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The Immortal
by Kimberly Britt (kimbritt02@yahoo.com)

Rated: R   Genre: Horror   User Review:
NOT YET
RATED

When a lonely introvert and an ambitious nurse stumble upon the cure for vampirism, they set out to right all the wrongs that have been committed against them and those they love.


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.



THE IMMORTAL

FADE IN:

INT. THURSTON FAMILY LIVING ROOM - NIGHT
                                                            
BLACK.

SCREAMS, both male and female. ANIMALISTIC SNARLS.

FLASHES OF GRUESOME IMAGES:

Bodies falling.

Blood running down the walls.

Blood dripping off furniture.

Blood pooling around bodies.

An 8 year old boy, YOUNG IAN, peeks out from behind a sofa.

Heavy breathing. Hyperventilating. Then --

Silence.

Young Ian breathes frantically.

A pair of RED STILETTO PUMPS appear before him.

His eyes widen.

Someone grabs him from behind and drags him away.

He SCREAMS.
                                                            
 
INT. CITY BUS - NIGHT
                                                            
IAN THURSTON (20s) leaps up from his nightmare, nearly
stumbling out of his seat. His unkempt hair and weeks worth
of facial stubble show his lack of interest in his
appearance.

His haunted eyes gaze wildly around the bus, investigating
every face around him.
                                                            
The few BUS PATRONS pay him no attention. They are either
asleep or worn out from a long days work.

Ian relaxes some, but not much. Looks out the window to
decipher his location.
                                                            

2.

                       WOMAN ON BUS (O.S.)
You're out of time.
                                                            
He looks over his shoulder to find an elderly woman seated
behind him.
                                                            
                       IAN
What?
                                                            
                       WOMAN ON BUS
You got the time?
                                                            
He eyeballs her a moment longer, then glances at his watch.
                                                            
                       IAN
Yeah. Nine thirty.
                                                            
She nods her thanks, leans back against the headrest and
closes her eyes.

Under one of the bench seats in front of him, Ian catches a
glimpse of red stilettos. They stand out like a sore thumb
among the boring, black, sensible shoes.

He leaps out of his seat and rushes up to the spot where he
saw the shoes. Sees the back of a woman wearing a black
leather coat with long, straight, black hair flowing down
her back.

He taps her shoulder.

The woman turns, giving him a good look at her face. She is
a young JAPANESE WOMAN who looks up at him with a confused
expression.
                                                            
                       JAPANESE WOMAN
      (in Japanese)
Can I help you?
                                                            
He glances down at her shoes. They are red, but definitely
not stilettos as he initially thought.
                                                            
                       IAN
Nevermind.
                                                            
The woman prattles on in Japanese to the JAPANESE MAN next
to as Ian walks to the back of the bus.

He pulls the stop cord and waits beside the rear exit door.

He zips up his black jacket and pulls the hood over his
head. Takes an MP3 player out of his backpack and puts the
earbuds into his ears.

3.


ALTERNATIVE MUSIC blasts out, drowning out all other sounds.
                                                            
 
EXT. SEEDY NEIGHBORHOOD - NIGHT
                                                            
The city bus comes to a noisy halt at a bus stop. It pulls
away almost before Ian has a chance to step off.

Ian looks around to get his bearings, then starts off down
the street, head bowed, minding his own business.

He passes several bums who eye him suspiciously.

BUM #1 makes a half-hearted attempt to sit up, lifts his
open palm.
                                                            
                       BUM #1
Spare any change?
                                                            
Ian doesn't hear him over his MUSIC, keeps going.
                                                            
Bum #1 grumbles under his breath as he lays back down on his
cardboard, make-shift bed.

Ian turns a corner and heads down an equally dark and
ominous street.

The dim street lights flicker, giving only a hint of what
lies ahead.

Abandoned buildings and warehouses.

A stripped car dumped on the curb.

A brief glimspe of a woman wearing a dark trench coat and
red stiletto heels. She turns a corner and is gone.

Ian gives chase, jogging after her.

He turns the same corner only seconds later but finds
nothing more than a black cat that walks with a limp.

HANDS come out of nowhere and grab Ian, pulling him into the
shadows.

Three thugs, dressed in dark clothing, push him up against a
chain link fence. THUG #1 and #2 hold him in place while
THUG #3 pulls a knife on him.

In the scuffle, Ian's earbuds get pulled out of his ears,
ending the MUSIC.
                                                            

4.

                       THUG #3
Gimme your money.
                                                            
                       IAN
      (calm)
Don't have any.
                                                            
Thug #3 presses the knife into his neck, almost breaking the
skin.

Ian still doesn't react.
                                                            
                       THUG #3
I ain't playin'.
                                                            
                       IAN
Neither am I.
                                                            
Thug #3 motions to his buddies. They rummage through Ian's
pockets but come up empty. Not even a wallet.

Thug #2 rips off Ian's backpack and dumps it over. An
energy bar, newspaper and 2 AA batteries fall out.

Pissed off, Thug #3 kicks the useless items across the
alley.
                                                            
                       THUG #3
What the fuck? I aughta drop your
broke ass right here.
                                                            
Thug #3 digs the knife in a little deeper. Opens up a
hairline cut. A thin stream of blood runs down his neck.
                                                            
                       IAN
Do it.
                                                            
Ian grabs hold of the knife. Increases the pressure on it
until the cut turns into a deep gash.

Blood pours out, soaking Ian's jacket and Thug #3's hand.

Thug #3 releases the knife and it clinks to the ground. Thug
#1 and #2 step away from Ian.
                                                            
                       THUG #3
What the fuck? You got a death
wish or something?
                                                            
                       IAN
Or something.
                                                            
Ian collapses as the thugs disappear into the night.
                                                            

5.

                       THUG #3 (O.S.)
Freak!
                                                            
Ian covers his neck wound with one hand and collects his MP3
player and newspaper with the other. Shoves them into his
backpack. Struggles to his feet and staggers out of the
alley onto the

MAIN ROAD

where there are no signs of the thugs, or anyone else. He
looks down both directions of the street, then heads down
one of them.
                                                            
 
EXT. DILAPIDATED WAREHOUSE - NIGHT
                                                            
A ramshackle old building sits on a dimly lit corner,
decaying like a dead body. All of the exterior windows are
either missing or cracked. Doors hang off the hinges.
                                                            
Ian emerges from the shadows. Looks around to ensure no one
is watching. Enters the building.
                                                            
 
INT. DILAPIDATED WAREHOUSE - NIGHT
                                                            
A long, dark, doorless hallway leads to an old freight
elevator.

A flashlight hangs on a hook near the door.

Ian grabs the flashlight, turns it on and heads down the
hallway.
                                                            
                       DEAD GUY #1 (O.S.)
      (faint)
Help me.
                                                            
Ian shines the light behind him toward the voice, but the
hallway is empty. He halls ass toward the elevator.
                                                            
                       DEAD GUY #1 (O.S.)
      (desperate)
Help me.
                                                            
                       IAN
I can't help you.
                                                            
He steps into the open elevator. Tries to pull down the
metal inner door but it's stuck.
                                                            

6.

                       IAN
C'mon!
                                                            
He pulls frantically but the door won't budge.

A DRAGGING sound comes from the dark end of the hallway.

Ian trains the flashlight beam in that direction. Sees DEAD
GUY #1, belly to the ground, crawling toward him. He uses
his arms and fingernails to claw his way closer.

Further inspection reveals that he is missing his entire
lower body from the waist down. He leaves a trail of blood
behind him.
                                                            
Ian pulls the door with renewed conviction.
                                                            
                       IAN
C'mon!
                                                            
The door SQUEALS down, BANGING into place.

Ian slams his fist into the rusty up arrow.

The elevator doesn't move.
                                                            
                       IAN
Don't do this. Not now. C'mon!
                                                            
He checks the hallway and finds that Dead Guy has almost
reached him.
                                                            
Ian pounds on the arrow again. Still nothing.

Dead Guy grabs a hold of the metal bars of the elevator
door. Uses his firm hold to pull himself the rest of the
way.

Reaches his free hand into the elevator, narrowly missing
Ian's leg as Ian leaps back, falling against the back of the
elevator, landing on his rear with a thud.

Dead Guy continues reaching in vain for Ian.

The elevator lurches into motion, slowly ascending.

Ian breathes a sigh of relief as the elevator clears the
bottom floor, leaving the Dead Guy behind.
                                                            
SECOND FLOOR
                                                            
Another long hallway, this one with just one door, if you
don't count the elevator. They lie on opposite ends of each

7.

other, seemingly close yet a world away.

ELEVATOR

SHUTTERS to a stop, doors slowly part to reveal --

Ian with a combination of fear and exhaustion painted across
his face. Sweat beads his forehead as his chest rises and
falls rapidly.

He peers out at the hallway before him. Nothing suspicious,
yet he is hesitant to step out.

The elevator lurches again and begins its decent back to the
ground floor.

Ian has no choice but to bound from the elevator and into
the dark hallway.
                                                            
Slicing through the darkness with the small beam of light,
he proceeds cautiously ahead.

A drip on his shoulder catches his attention. A tiny red
spot.

He touches it to find it wet. His head slowly turns to the
ceiling to find --

A large puddle of blood that spreads the entire length of
the hallway ceiling in a matter of seconds. Rich red blood
rains down on Ian, forcing him to make a run for it.

Outside his apartment door, he kicks off his right shoe and
reaches inside. Pulls out a key. Struggles to get it into
the lock.

The hallway fills with blood at an alarming pace. It is
already up to his ankles and progresses to his knees as he
fumbles with --

THE KEY

as it slips from Ian's blood-soaked hands and falls into the
sea of blood. A dimple in the surface is the only hint to
its whereabouts.

Ian sinks to his knees, now waist deep in blood. Frantically
feels around for the key. Can't locate it.
                                                            
                       IAN
Son-of-a-bitch! Where is it?!
                                                            

8.

Blood is now up to his chest.

Ian drops the flashlight and searches with both hands now.

Blood reaches his neck.

Then his chin.

Ian's right hand emerges with the key and he quickly lets
himself into his --

APARTMENT
                                                            
but before he can slam the door shut, a river of blood flows
in ahead of and after him.
                                                            
Ian stumbles around in the dark, feeling his way like a
blind man. Another small beam of light suddenly illuminates
a tiny portion of the apartment. He has found a flashlight.

He aims the light at the bottom of the door. There are no
traces of blood on the floor or his body. He stares at his
now clean hands and clothing in disbelief.

BANGING ON THE DOOR shatters his reprieve, causing him to
hurdle back into something. Turns to find --

A PUNCHING BAG

swaying back toward him. He gives it a hard punch, then
staggers down a short hallway and into a door at the end.
                                                            
SAFE ROOM
                                                            
Ian slams the door after him as POUNDING begins on the other
side. He rapidly engages a variety of locks, from standard
to deadbolt to chain to slider.

He turns to reveal the interior of the "safe room".

The walls are completely covered with newspaper articles.
Old, yellowing ones in the back and more crisp, recent ones
in the forefront.

A bare concrete floor plays host to a twin-sized mattress,
no sheets, pillows or blankets. A large cardboard box next
to it is the only other object in the room.
                                                            
Ian sets down his backpack and fishes the newspaper out of
it. Frenziedly leafs through it. Has trouble locating what
he's looking for.
                                                            

9.

                       IAN
Bastard! Where are you?!
                                                            
RELENTLESS POUNDING outside the door increases in volume as
Ian continues his search.

A bold headline catches his attention.

INSERT - NEWSPAPER HEADLINE

CONSTRUCTION SITE ACCIDENT LEAVES MAN SEVERED IN TWO

BACK TO SCENE

He sloppily rips it out and goes to the nearest wall,
sticking it up with a thumb tack.

The POUNDING ceases almost instantly.
                                                            
Ian flops down on the bed, spent. After enjoying a moment
of silence, a hand goes up to his neck, comes away
blood-stained.

He goes into the cardboard box, which contains a plethora of
energy bars and energy drinks. A first aid kit rests on
top. He takes it out and opens it up.

Armed with a mirror and some butterfly bandages, he seals up
the wound on his neck. His hand works quickly and
accurately, probably with lots of practice.
                                                            
With that out of the way, Ian puts the MP3 player earbuds
back in his ears and leans back against the wall. Eyes
fixed on the door, as if standing guard.
                                                            
 
INT. CITY BUS - DAY
                                                            
Ian sits near the back, head bowed, listening to his music.

Contrary to his previous bus ride, this time the vehicle is
packed with riders, some even forced to stand.

A HAND taps Ian on the shoulder.

He startles, looks up to find an attractive young woman,
CECILIA. She looks to be in her late 20s with long, jet
black hair, equally dark, piercing eyes and pale skin. A
pair of dark sunglasses sit atop her head.

Ian pulls of his earbuds.
                                                            

10.

                       CECILIA
I'm sorry. I didn't realize you
were listening to music.
                                                            
                       IAN
's okay.
                                                            
He attempts to put them back in, but the woman proceeds on,
undaunted by his obvious lack of desire to converse with
her.
                                                            
                       CECILIA
That's a nasty wound. Cut
yourself shaving?
                                                            
His hand absently goes up to his neck. Remembering. All
that's left of the once-gash is a tiny, scarred over cut.
                                                            
                       IAN
Something like that.
                                                            
                       CECILIA
So what? You decided to swear off
shaving?
                                                            
She brushes a hand against his stubbled cheek.

Ian repels from her touch, catching the woman off guard.
                                                            
                       CECILIA
Sorry. I shouldn't have --
                                                            
                       IAN
No, I'm sorry. It's just --
                                                            
                       CECILIA
Can you pull the cord? This is my
stop.
                                                            
Ian pulls the stop cord.

As the bus slows to a stop, the woman gets to her feet.
Follows a few other people to the back exit. Glances at Ian
over her shoulder.
                                                            
                       CECILIA
See ya around.
                                                            
Before he can respond, she's gone.

As the bus pulls back onto the road, Ian glances at her out
the window.


11.

She turns and looks, aware that he's watching. Waves,
flirty.
                                                            
 
EXT. DOWNTOWN - DAY
                                                            
The sidewalks are alive with people, hurriedly rushing to
and fro.

Equally busy are the streets, packed bumper to bumper with
early morning traffic. HORNS BLARE and drivers SHOUT
EXPLETIVES at each other in frustration.

Streets are lined with hotels, some modern and classy,
others aged and run-down.

Ian moves against the flow of foot traffic, pushing and
shoving his way to one of the oldest-looking buildings on
the block. It sticks out like a sore thumb among the
surrounding buildings.

He enters through antique wrought iron doors. A sign above
the doors reads:

GRAND LENNOX HOTEL
                                                            
 
INT. GRAND LENNOX HOTEL - DAY
                                                            
Despite the name, the hotel is anything but grand.

The old, faded red and gold carpets appear to have not been
changed since the middle ages. The once ornate floral
wallpaper is torn and peeling in numerous locations. Crown
molding is cracked and even missing in spots. Outdated
chandeliers provide the only lighting, which is far from
adequate.
                                                            
Ian bypasses the few hotel guests that are scattered around
the lobby.

We hear the MUSIC of his MP3 player until

A hand comes out of nowhere and strips his earbuds away,
abruptly ending the music.

Ian turns to find the owner of the hand, MARKUS, an African
American in his late 40s, dressed neatly in a button down
shirt and slacks.
                                                            
                       MARKUS
You're late.
                                                            

12.

Ian glances at an oversized clock on the wall above the
reception desk. It's 8:02.
                                                            
                       IAN
Two whole minutes.
                                                            
                       MARKUS
Two minutes. Two seconds. Doesn't
matter. Do it again and you're
out of a job.
                                                            
Ian doesn't reply. Waits patiently for Markus to walk away,
then puts his MUSIC back in and continues on.
                                                            
 
INT. GRAND LENNOX HOTEL - LAUNDRY ROOM - DAY
                                                            
A row of outdated, industrial-sized washing machines line
one wall of the large room with dryers opposite them. The
NOISE from all the machines operating at once is almost
deafening.

Ian empties an overflowing cart of off-white sheets into an
open washing machine. Barely able to hear his MUSIC over
the HUMMING, THUMPING and SWISH-SWASHING.

He is stripped down to tattered old jeans. Sweat drips down
his bare chest and back.
                                                            
A towel-filled cart seems to come out of nowhere, slamming
into Ian's hip. He turns to the culprit, a woman dressed in
old-fashioned MAID garb.

She addresses him, but all Ian sees is her lips moving.

He takes his earbuds out.
                                                            
                       IAN
What?
                                                            
                       MAID
I called you three times. Why're
you always wearing those stupid
things?
                                                            
                       IAN
I prefer music over people.
                                                            
                       MAID
Obviously.
(on her way out)
Hurry up, wouldya. We're almost
out of towels.
                                                            

13.

And she's gone.

Ian puts his MUSIC back on. Tosses the last of the sheets
in, adds some detergent, starts up the washer. Opens a
neighboring one and begins tossing in the towels.
                                                            
One of the towels, once lifted, reveals a red stain beneath.
Blood.

Ian stares at it for a moment, freaked out. He frantically
pulls towel after towel out, all soaked in blood. The last
one is removed to reveal...

The naked bottom half of a man's body, from the waist down.
Skin is a sickening shade of bluish-purple. Internal organs
and bones spill out from the severed edge.
                                                            
Ian stumbles back, trips over an empty laundry cart. Falls
to the concrete floor.

Movement comes from within the towel cart.

He bolts to his feet and runs from the room.
                                                            
 
EXT. GRAND LENNOX HOTEL - DAY
                                                            
Two POLICE CRUISERS are parked on the curb in front of the
hotel.

A MALE COP and FEMALE COP stand with Ian as he smokes a
cigarette. His hand trembles as it brings the cigarette to
his lips for a drag.
                                                            
                       IAN
So what you're telling me is that
I hallucinated it.
                                                            
The two cops exchange a look. "You wanna tell him, or
should I?". Male cop takes the initiative.
                                                            
                       MALE COP
Basically, yeah.
                                                            
Ian scoffs loudly. Takes another drag.
                                                            
                       FEMALE COP
Listen, it's hot down there. Gotta
be, what, 90... 100 degrees?
                                                            

14.

                       IAN
This isn't the desert. And it
wasn't a mirage. I know what I
saw.
                                                            
                       MALE COP
You know what you think you saw.
There was no blood. No body. Just
a bunch o' dirty towels that
you're probably tryin' to get
outta washin'.
                                                            
                       FEMALE COP
What my partner is so eloquently
trying to say is that perhaps
you're a bit sleep deprived or --
                                                            
Ian lights a new cigarette with the old one. Drops and
stomps out the butt.
                                                            
                       IAN
First I'm overheated, now I'm
sleep deprived. Which is it?
                                                            
Female cop is quickly losing her patience. Her sympathetic
smile morphs to one of repressed annoyance.
                                                            
                       FEMALE COP
Look, I'm not a doctor. Or a
shrink. All I know is there's no
body down there.
                                                            
Markus, looking quite agitated, walks out of the hotel and
up to them.
                                                            
                       MARKUS
If you're done making prank calls
and chain smoking, you have a job
to do.
                                                            
Ian throws up his arms, exacerbated.
                                                            
                       IAN
So no one gives a fuck that
there's a body, or should I say
half of a body, in with the
laundry?
(to Markus)
In your hotel?
(to cops)
In your jurisdiction?
                                                            
The cops and Markus share a look. This isn't gonna be easy.
                                                            

15.

                       IAN
Tell me, Officer...
(looks at name tag)
Browne. You cops didn't happen to
lose one or both halves of that
construction site victim, did you?
Or maybe... was there another guy
cut in half in the last couple of
days and it was his business end I
found in the laundry room?
                                                            
The cops sigh, shaking their heads.
                                                            
                       MARKUS
I've been pretty lenient with you,
Thurston, considering all the
complaints I get on a daily basis.
But if you persist with this
ludicrous story --
                                                            
                       IAN
Fuck you. Fuck your job.
                                                            
Ian drops the second cigarette next to the first. Smashes
it into sidewalk. Averts his anger toward the cops.
                                                            
                       IAN
And fuck you, too.
                                                            
He casually goes to the hotel stairs and picks up his
backpack. Slings it over his shoulder.
                                                            
                       MALE COP
Kiss your mother with that mouth?
                                                            
                       IAN
No, but I kissed yours a couple
times. She didn't mind.
                                                            
Male Cop lunges at Ian but the Female Cop steps between
them, hands on his chest.
                                                            
                       FEMALE COP
Relax. He's just a kid.
                                                            
Ian flips them the bird and walks off, melting into the
crowd.
                                                            
 
INT. BETTY'S CAFE - DAY
                                                            
Normal lunch time traffic means all the tables in the little
cafe are occupied.

16.


Ian sits alone near the window, staring outside. A half
consumed cup of coffee in front of him.
                                                            
A middle aged WAITRESS takes an order from a neighboring
table, then works her way to Ian.
                                                            
                       WAITRESS
Another cup o' coffee?
                                                            
Ian shakes his head, his eyes never leaving the window.
                                                            
                       WAITRESS
What about something to eat?
                                                            
He shakes his head again.
                                                            
                       WAITRESS
Ice cream? It's pretty hot out
here.
                                                            
He finally looks at her, but only for a second.
                                                            
                       IAN
I'm fine.
                                                            
                       WAITRESS
No offense, sweetie, but you don't
look fine. Not at all.
                                                            
Waitress looks out the window in the direction of his gaze.

IAN'S POV

Down the street, a line of yellow police tape secures the
entrance to a construction site. A half constructed
apartment building surrounded by scaffolding and other
equipment.

BACK TO SCENE
                                                            
                       WAITRESS (O.S.)
Yep, that's where it happened.
S'ppose you read about it in the
paper. They say it was a work
accident. But the thing is...
                                                            
Waitress slides into the booth, opposite Ian. Leans across
the table, voice hushed. For the first time she actually
has his attention.
                                                            

17.

                       WAITRESS
One of my regulars, Ted, a real
respectable guy, said he was there
when it happened. Said he ain't
never seen anything like it.
Papers said he fell from the tenth
floor onto a piece of sheet metal.
Cut him clean in half. But Ted
said it was like he was --
                                                            
                       IAN
      (matter-of-fact)
Ripped in half.
                                                            
                       WAITRESS
      (shocked)
How'd you know?
                                                            
                       IAN
Just a guess.
                                                            
                       WAITRESS
You know him?
                                                            
                       IAN
No. You?
                                                            
                       WAITRESS
Came in a coupla times. Nice
fella, if I recall. Memory's not
what it used to be.
                                                            
Ian takes off his left shoe, retrieves a few dollars.
                                                            
                       WAITRESS
Now there's an interesting place
to store your money. Ever heard
of a wallet?
                                                            
                       IAN
Don't really have a use for one.
What do I owe you?
                                                            
                       WAITRESS
You don't owe me nothing, sweetie
pie. Just hope your day starts to
improve.
                                                            
Ian chuckles to himself, almost ironically. Puts his money
away. Stands up.
                                                            
                       IAN
Thank you.
                                                            

18.

                       WAITRESS
Don't mention it. 'Specially to
my boss.
                                                            
She winks at him as he walks off.
                                                            
                       RUDE DINER (O.S.)
Yo, Terry, can we get some service
over here?
                                                            
                       WAITRESS
Hold your horses. I'm coming.
                                                            
She watches Ian leave, then goes to the RUDE DINER and slaps
him on the back of the head.
                                                            
                       WAITRESS
Didn't your mama teach you any
manners?
                                                            
 
EXT. CONSTRUCTION SITE (CRIME SCENE) - DAY
                                                            
Ian stands before the police tape, frozen in place. His
bewildered brown eyes, survey the whole crime scene. Not
much to see from his vantage point.
                                                            
                       MALE COP #2 (O.S.)
Hey, kid, move it along.
                                                            
Ian turns to find MALE COP #2 standing guard over the crime
scene.
                                                            
                       IAN
Yeah. Sorry.
                                                            
Ian walks off. Stops behind a tree.

He can hear faint RADIO CHATTER over the cop's walkie
talkie.
                                                            
                       MALE COP #2
      (into radio)
My relief isn't here yet.
                                                            
Inaudible RADIO CHATTER.
                                                            
                       MALE COP #2
Okay, I'll be right there.
                                                            
Male Cop #2 gets into his patrol car and speeds off, LIGHTS
and SIREN on.
                                                            

19.

Ian looks around to ensure he's not being watched, then
lifts the police tape and walks under.
                                                            
A short walk around the partially constructed building leads
him to a blood splattered piece of concrete. The point of
impact.
                                                            
Images quickly flash before his eyes.
                                                            
SERIES OF SHOTS
                                                            
A) A scuffle between 2 or more large, unidentified figures.

B) Pearly white fangs.

C) Fangs tearing into flesh.

D) Fangs dripping with blood.

E) A body falling.

F) A top half and a bottom half of a naked body land several
feet apart.
                                                            
Ian cries out, shields his eyes as if doing so will block
out the images. Stumbles back.
                                                            
SCREAMS OF PAIN fill his ears, followed by the sickening
sound of FLESH TEARING.
                                                            
He covers his ears now, cowering.
                                                            
                       IAN
Stop. Stop it!
                                                            
As if on cue, the noises stop. Eerie silence once again
prevails. Until
                                                            
                       CECILIA (O.S.)
You shouldn't be in here.
                                                            
Ian turns toward the voice to find the same woman he met
earlier on the bus.

She stares at him as if trying to place him.
                                                            
                       CECILIA
Do I know you?
                                                            
                       IAN
No.
                                                            

20.

He scurries to his feet and bolts for the police tape.
Crosses underneath.

Cecilia is right on his heels.
                                                            
                       CECILIA
      (realization)
Yes, I do. You were on the bus
this morning.
                                                            
He continues on down the street, paying her no attention.

Undaunted, she follows along, struggling to catch up.
                                                            
                       CECILIA
What were you doing in there?
                                                            
Ian suddenly cuts across the street.

CARS slam on their breaks to avoid a collision. HORNS
BLARE.

He continues on. Doesn't seem to notice.

Cecilia follows closely, weaving between the maze of stopped
cars.
                                                            
                       CECILIA
Are you insane? You could have
died.
                                                            
                       IAN
      (under his breath)
Wouldn't be the first time.
                                                            
                       CECILIA
What did you say?
                                                            
                       IAN
Nothing. Forget it.
(looks over shoulder)
Why're you following me?
                                                            
Woman manages to bridge the distance between them. Walks
alongside him now. Alternates looks at him and the sidewalk
ahead.
                                                            
                       CECILIA
Well, at first I just wanted to
find out why you were at a crime
scene screaming "stop it". But
now that you've almost been hit by
20 cars, I'm just waiting to see
            (MORE)

21.

                       CECILIA (cont'd)
what you do for an encore.
                                                            
He stops. Stares at her. Really sees her for the first
time. Can't help but notice her beauty.

He opens his mouth to speak, then starts off again.
                                                            
                       CECILIA
What?
                                                            
                       IAN
I gotta be somewhere.
                                                            
                       CECILIA
Me, too. You gonna be okay.
                                                            
He picks up his pace, nearly jogging.

Cecilia throws her hands up in defeat and goes off in the
opposite direction.
                                                            
 
INT. CITY BUS - NIGHT
                                                            
Ian sits on the back of the bus, nearly asleep. Gory images
from the crime scene flashing through his head.

SERIES OF SHOTS
                                                            
A) A scuffle between 2 or more large, unidentified figures.

B) Pearly white fangs.

C) Fangs tearing into flesh.

D) Fangs dripping with blood.

E) A body falling.

F) A top half and a bottom half of a naked body land several
feet apart.
                                                            
                       CECILIA (O.S.)
We've gotta stop meeting like
this.
                                                            
Ian jumps up to find the same woman sitting beside him.
                                                            
                       IAN
You following me?
                                                            

22.

                       CECILIA (O.S.)
We obviously travel the same
route. I'm surprised we've never
run into each other before today.
                                                            
She thrusts a hand out to him.
                                                            
                       CECILIA
Cecilia.
                                                            
He does little more than stare at her outstretched hand.
                                                            
                       CECILIA
Here's how it works. You tell me
your name. Shake my hand. And
then I say "nice to meet you".
                                                            
He folds his arms across his chest defiantly.

She puts her hand down.
                                                            
                       CECILIA
Or not.
                                                            
                       IAN
Ian.
                                                            
                       CECILIA
Nice to meet you, Ian.
                                                            
Ian rests his head against the window, putting some distance
between them.
                                                            
                       CECILIA
So, do you work downtown, or...
                                                            
                       IAN
Do I look like a people person to
you?
                                                            
                       CECILIA
No, as a matter of fact, you
don't. Why is that? What is it
about people, me in particular,
that bothers you so much?
                                                            
                       IAN
Nothing. In fact, if I were to
suddenly enjoy the company of
strangers, I just might start with
you.
                                                            

23.

                       CECILIA
That's some sort of backwards
compliment, isn't it? I'm
flattered.
                                                            
Ian looks away from her to glance out the window.

IAN'S POV

A tractor trailer runs a red light, barrelling straight for
them.

BACK TO SCENE
                                                            
                       IAN
No!
                                                            
Ian instinctively shields Cecilia with his body as the
tractor trailer makes impact. CRASH!
                                                            
As the bus flips numerous times, its passengers tumble like
laundry in a clothes dryer.

When it finally comes to rest, bleeding and batters bodies
are strewn everywhere.
                                                            
Ian lies at the top of the heap, bleeding profusely from a
gash on his forehead.
                                                            
                                         DISSOLVE TO:
                                                            
 
INT. HOSPITAL ROOM - DAY
                                                            
Out of the darkness, a female face slowly materializes.
While her facial features are a blur, we can clearly make
out her long curly blond hair. Her grey-blue eyes come into
focus next, followed by the rest of her face.

Ian slowly comes to. He lies motionless in a hospital bed,
his head wrapped in a white bandage with a spot of red where
some blood has seeped through.
                                                            
                       ARABELLA
You're awake.
                                                            
Ian blinks repeatedly, bringing the mysterious woman and the
rest of the room into focus.

ARABELLA, 20s, a natural beauty, smiles down on him. A
light shines behind her head, giving her an angelic aura.
                                                            

24.

                       IAN
      (hoarse)
Are you...
(clears throat)
Are you an angel?
                                                            
The woman smiles, brightening her entire face. The kind of
smile that could light up a room.
                                                            
                       ARABELLA
Not that I know of.
                                                            
She opens a set of blinds, sending bright sunshine streaming
in. It illuminates the dreary interior of the sterile room.

Ian can clearly see that she is dressed as a nurse.

She walks back to the bed, checking his I.V. and monitors.
                                                            
                       IAN
You're a nurse?
                                                            
                       ARABELLA
How rude of me. Arabella Marie
Kennedy-Miller.
                                                            
She puts out her hand and he shakes it.
                                                            
                       IAN
You need a nickname.
                                                            
                       ARABELLA
I have one. It's Belle.
                                                            
                       IAN
I'm --
                                                            
                       ARABELLA
Lucky to be alive.
                                                            
Ian attempts to sit up in bed. Finds that his movement is
restricted by the numerous tubes and wires connecting him to
monitors and I.V.s.

He rips off the heart monitor and heads for the I.V.
                                                            
                       ARABELLA
Whoa, hold on. You still need
that one.
                                                            
She gently removes his hand from the I.V. tubes, returns it
to his side.
                                                            

25.

                       ARABELLA
It's a miracle you can even move
after what happened. Do you
remember?
                                                            
                       IAN
Bus accident.
                                                            
She nods.
                                                            
                       IAN
Aren't you gonna ask me what my
name is? If I know where I am?
What year it is?
                                                            
                       ARABELLA
Now that you mention it, your name
would be nice. You don't look
like a John Doe.
                                                            
                       IAN
It's Ian.
                                                            
                       ARABELLA
Nice to meet you. Although I wish
it were under better
circumstances.
                                                            
                       IAN
How are the other people? From
the bus?
                                                            
Belle's smile quickly fades, replaced with a look of worry.
She edges toward the door.
                                                            
                       ARABELLA
Your doctor will want to know that
you're awake.
                                                            
                       IAN
      (solemn)
They're all dead, aren't they?
                                                            
With her back to him...
                                                            
                       ARABELLA
Yes.
                                                            
Turns to him.
                                                            
                       ARABELLA
You should be, too. You were,
actually. For seven minutes. No
one thought you would make it.
            (MORE)

26.

                       ARABELLA (cont'd)
They were about to call it and
then you just -- I have no
business telling you this. I'm
sorry.
                                                            
She turns to leave again, but Ian grabs her hand.
                                                            
                       IAN
Tell me.
                                                            
Belle pulls up a stool and sits beside the bed. Leans in
closer as if about to tell him a secret.
                                                            
                       ARABELLA
A tractor trailer ran a red light.
Witnesses said he was going at
least 50 miles per hour. It was
an unsurvivable crash. Everyone...
everyone else probably died on
impact.
                                                            
She pauses, expecting to see some sort of reaction. Ian
doesn't even blink.
                                                            
                       ARABELLA
The bus flipped six times. You
were the only one found alive.
They brought you here on a medivac
helicopter. No one expected you
to make it two minutes, let alone
pull out of a two week coma.
                                                            
Now she gets a reaction.
                                                            
                       IAN
I was in a coma?
                                                            
He almost seems happy about it, raising Belle's eyebrows.
                                                            
                       ARABELLA
Why do you sound relieved?
                                                            
                       IAN
When can I get outta here?
                                                            
He sits up in bed, swings his legs over the side. Belle
promptly puts him back the way he was.
                                                            
                       ARABELLA
Did you hear anything I just said?
You almost died.
                                                            

27.

                       IAN
And then I had a nice, long nap.
Now I'm all healed up and I want
outta here.
                                                            
                       ARABELLA
No broken bones. No internal
bleeding. No severed limbs or
damaged organs. Besides that nasty
bump on your head, there wasn't a
scratch on you. Do you have any
idea how... unheard of that is?
                                                            
She gives it a moment to sink in. Again surprised at Ian's
lack of a reaction.
                                                            
                       ARABELLA
Which reminds me, I should change
your bandage.
                                                            
She puts a hand up to Ian's head.

He seizes her by the wrist. Stronger than he should be in
his current state.
                                                            
                       IAN
Don't do that.
                                                            
She uses her free hand to pry Ian's fingers off her arm.
                                                            
                       ARABELLA
Okay, then. I'll just go get your
doctor.
                                                            
                       IAN
How long have you been a nurse?
                                                            
                       ARABELLA
Excuse me?
                                                            
                       IAN
How long?
                                                            
                       ARABELLA
Three years. Another year and a
half I'll hopefully earn my own
white coat.
                                                            
                       IAN
You're pre-med?
                                                            
She nods, smiles modestly.
                                                            

28.

                       IAN
In the three years you've been a
nurse, how many people have you
seen walk away from an accident
like that?
                                                            
                       ARABELLA
None.
                                                            
                       IAN
Do you have any idea what that
means?
                                                            
                       ARABELLA
You must have a guardian angel
watching over you.
                                                            
Ian notices a shiny gold cross resting on Belle's chest,
suspended on an equally shiny chain.
                                                            
                       IAN
I don't believe in angels. What I
do believe is that as soon as you
go out there and tell that doctor
I'm awake, this room will be
filled with every specialist
within 300 miles of this place,
wanting to poke and prod me until
they discover the secret to my
seemingly impossible recovery.
                                                            
                       ARABELLA
They've already done a fair amount
of poking and proding, I'm afraid.
You've been on the news, in the
papers. You're famous. Everyone's
talking about you.
                                                            
He rips the I.V. out of his arm before Belle can stop him.
                                                            
                       IAN
I have to get out of here. You
have to help me.
                                                            
                       ARABELLA
I take it you don't want an entire
medical journal dedicated to you.
                                                            
                       IAN
You could say that.
                                                            

29.

                       ARABELLA
You want me to sign you out...
against medical advice?
                                                            
                       IAN
I'm not signing out. I'm busting
out. With your help.
                                                            
                       ARABELLA
I can't do that. I could lose my
job. No, I'm pretty sure I would
lose my job. There has to be
another way. Just refuse the
tests. Tell them that you're a
mormon and you don't want --
                                                            
Ian tears the bandage off his head, revealing that the
"gash" is now nothing more than a tiny, nearly healed wound.

Belle stands in shock, mouth agape.
                                                            
                       ARABELLA
I just changed that bandage this
morning and it was...
                                                            
                       IAN
I need your help.
                                                            
                       ARABELLA
Stay here. I'll be right back.
                                                            
She scampers out of the room.

Ian throws the sheets off of him and gets to his feet. Looks
in drawers and cabinets for his clothes. Only finds a
hospital robe. Slips it on.

Peeks out into the

HALLWAY

Belle and another nurse, talk in secret whispers. Her words
are inaudible, but her gesture towards Ian's room is clear.

HOSPITAL ROOM

Ian backs away from the door before the other nurse can see
him.
                                                            
                       IAN
      (to himself)
Shit.
                                                            

30.

He carefully steals another look. Sees Belle and the other
nurse hurrying away. Surveys the rest of the hallway.

NURSE'S STATION

A group of nurses gather around a computer monitor, pointing
and gawking, hands covering their shocked mouths.
                                                            
BACK TO SCENE

Ian backs away from the door. Turns to find...

A ZOMBIE-LIKE WOMAN with black, eyeless sockets. Naked. Her
skin a ghastly shade of pale white, her black hair hangs
limply on either side of her head, making her pallor that
much more apparent.
                                                            
Ian turns and dashes out the door and right into Belle, who
pushes a wheelchair.
                                                            
                       ARABELLA
Get in.
                                                            
He hesitates, looks behind him to find the zombie woman
gone.
                                                            
                       ARABELLA
Hurry up. They know you're awake.
They're on their way.
                                                            
Ian climbs into the wheelchair and Belle pushes it down the
hallway as quickly as possible without looking too
suspicious.
                                                            
                       ARABELLA
Keep your head down.
                                                            
He bows his head as they head down a

HOSPITAL CORRIDOR
                                                            
A group of men in suits head their way, prompting Belle to
make a U-turn and head in the opposite direction.
                                                            
She wheels him into an open

ELEVATOR

and hits the lobby button.
                                                            
                       ARABELLA
I hope you have a plan. Because
they're gonna be looking for you.
                                                            

31.

                       IAN
Story of my life.
                                                            
                       ARABELLA
Maybe you could tell me about it
sometime.
                                                            
                       IAN
First things first.
                                                            
                       ARABELLA
I'm working on it.
                                                            
The elevator DINGS open. In the

LOBBY

Two SECURITY GUARDS see them and quickly advance toward the
elevator, one addressing them and the other talking into his
walkie-talkie.
                                                            
                       SECURITY GUARD #1
That patient needs to be returned
to his room.
                                                            
ELEVATOR

Ian and Arabella reach for the door close button
simultaneously.

The doors close just in time.

Belle pushes the 3rd floor button.
                                                            
                       ARABELLA
Can you walk?
                                                            
                       IAN
Yeah. Why?
                                                            
                       ARABELLA
We're gonna have to take the
stairs.
                                                            
Doors open on the

3RD FLOOR

Ian bounds from the wheelchair while Belle checks the
hallway. Clear on both ends. She pulls him along.
                                                            
                       ARABELLA
It's over here.
                                                            

32.

She leads the way to the stairwell entrance. Pulls the door
open. They're almost inside when...

SECURITY GUARD #2 comes around a corner and spots them.
Yells at someone over his shoulder.
                                                            
                       SECURITY GUARD #2
They're over here.
(to Belle and Ian)
Hey, you two. Stop right there!
                                                            
                       ARABELLA
Come on!
                                                            
She grabs his hand and pulls him into the

STAIRWELL

They race down the stairs, zooming past a woman on her way
up. As Ian passes her, she looks up briefly, allowing him a
glance at her face. It is the woman from the bus, Cecilia,
looking exactly as she did the last time he saw her.

He stops in his tracks to stare at her. Belle tries to pull
him along.
                                                            
                       ARABELLA
What are you doing?
                                                            
                       IAN
Cecilia?
                                                            
She smiles broadly, almost deviously.
                                                            
                       ARABELLA
We have to go!
                                                            
He looks back at Belle, as if just remembering her presence.
                                                            
                       IAN
Do you see her?
                                                            
                       ARABELLA
Yes, of course. But we don't have
time for a visit. Let's go!
                                                            
Ian continues to stare at Cecilia, entranced. Her intense
brown eyes never leave his.

Belle pulls him by the arm, finally able to get him moving
again.

Cecilia remains in place, watching them go.

33.


A second later the 3rd floor door flies open and SECURITY
GUARD #1 and #2 come rushing down.

Cecilia swiftly moves to the side, points down the stairs.
Allows them to breeze past her.
                                                            
2ND FLOOR

A group of doctors stand in a hallway talking over some
charts and X-rays.

The stairwell door flings open and Belle and Ian run out.
They see the doctors and head the other way.

Belle tries a door. It's locked. Tries another. Locked.
Her third try is the charm. She pulls Ian into the room
just as the security guards exit the stairwell.

They look around and find the hallway empty except for the
doctors.
                                                            
Security guard #1 goes down one end of the hall. Starts
turning doorknobs.

Security guard #2 goes in the opposite direction. Tries the
same two doors that Belle did.
                                                            
SUPPLY CLOSET
                                                            
Belle and Ian are pressed chest to chest in the tiny closet,
breathing heavily.
                                                            
                       SECURITY GUARD #2 (O.S.)
Hey, you guys see a nurse and male
patient come through here?
                                                            
2ND FLOOR
                                                            
The doctors shake their heads. One of them, MALE DOCTOR,
speaks up.
                                                            
                       MALE DOCTOR
Those are all locked offices.
                                                            
Security guard #2 releases the doorknob and follows Security
guard #1 down the hallway and around a corner.
                                                            
SUPPLY CLOSET

Belle and Ian breathe a sigh of relief.
                                                            

34.

                       ARABELLA
There's an open air patio at the
end of this hall. Leads down to
the parking lot.
                                                            
                       IAN
Please tell me you didn't take the
bus to work this morning.
                                                            
                       ARABELLA
I have a car. You ready?
                                                            
He nods.

Belle peeks out. Sees the same group of doctors, once again
focused on their charts.
                                                            
2ND FLOOR

Belle and Ian sneak out of the closet and try to slip past
the doctors, unnoticed. They are almost home free when...
                                                            
                       MALE DOCTOR (O.S.)
Hey!
                                                            
They pause their retreat to face the doctor.
                                                            
                       MALE DOCTOR
Some security guards were looking
for you.
                                                            
Ian looks like he's about to push the panic button, but
Belle remains cool as a cucumber.
                                                            
                       ARABELLA
They found us. We're due at the
lab.
                                                            
She grabs his arm and pulls him away.

They make it to the glass doors leading to the open air
patio. We watch them walk through the doors and quickly
down the stairs leading to the parking garage. Home free.
                                                            
 
INT. ARABELLA'S CAR - DAY
                                                            
Belle drives while Ian sits in the passenger seat, sweating
profusely, messing with the air conditioner vents.
                                                            
                       IAN
What's wrong with your air
conditioner?
                                                            

35.

                       ARABELLA
Nothing. What's wrong with you?
                                                            
                       IAN
I'm hot.
                                                            
                       ARABELLA
It's not that hot.
                                                            
                       IAN
It's hot.
                                                            
                       ARABELLA
You're probably feverish. Which
is why you should still be in your
hospital bed.
                                                            
She tries to press the back of her hand against his forehead
but he foils her attempt.
                                                            
                       IAN
I'm nobody's pin cushion.
                                                            
                       ARABELLA
What were you afraid of them
finding?
                                                            
He looks out his window, avoiding her question. Can feel
her looking at him, waiting on the answer.
                                                            
                       IAN
You wouldn't understand.
                                                            
                       ARABELLA
You'd be surprised.
                                                            
                       IAN
Stop here.
                                                            
Belle looks around. Doesn't see any houses.
                                                            
                       ARABELLA
You live here?
                                                            
                       IAN
Just stop.
                                                            
Belle checks her rear view mirror then pulls over on the
side of the road. Watches as Ian takes some change out of a
change holder between the two seats. Exits the car and
returns a few seconds later with a newspaper.
                                                            
She eyes him questioningly while he leafs through the paper.
                                                            

36.

                       ARABELLA
You're gonna read the newspaper
right now?
                                                            
                       IAN
Just drive.
                                                            
She shakes her head as she pulls back onto the road.
                                                            
                       ARABELLA
Who was that woman... in the
stairwell?
                                                            
He ignores her, continues to flip through the paper. Finally
finds what he's looking for. Rips the article out and
tosses the rest of the paper.
                                                            
                       IAN
You don't want to know.
                                                            
                       ARABELLA
You're right. That's why I asked.
Because I didn't want to know.
                                                            
                       IAN
      (long pause)
She was on the bus.
                                                            
                       ARABELLA
But everyone on the bus...
                                                            
                       IAN
Aren't you glad you asked?
(pointing)
Turn here.
                                                            
Belle makes a right turn at the next intersection, heading
into the seedy neighborhood where Ian was previously mugged.
                                                            
                       ARABELLA
      (matter-of-fact)
So she was a ghost? We saw a
ghost in the stairwell?
                                                            
                       IAN
Welcome to my world.
                                                            
 
EXT. DILAPIDATED WAREHOUSE - DAY
                                                            
A red compact car pulls up to the curb. Engine stops.
                                                            
 

37.

INT. ARABELLA'S CAR - DAY
                                                            
Ian and Arabella unfasten their seatbelts. Ian opens his
door, starts to step out.
                                                            
                       ARABELLA
Is my car safe out here?
                                                            
                       IAN
Nothing's safe out here. Keep
moving.
                                                            
                       ARABELLA
Do you have anyone in there to
help you?
                                                            
                       IAN
I've been taking care of myself
since I was eight. I'm pretty
good at it.
                                                            
                       ARABELLA
Yeah, well, I helped you leave the
hospital before you were ready, so
it's on my conscience if something
happens to you.
                                                            
She pulls the keys out of the ignition and exits the car.
                                                            
 
INT. DILAPIDATED WAREHOUSE - DAY
                                                            
The door CREAKS open and Belle peeks in, apprehensively. Ian
motions for her to go first.
                                                            
                       IAN
After you.
                                                            
                       ARABELLA
Is it safe?
                                                            
                       IAN
Define safe.
                                                            
She enters, followed closely by Ian. As the door shuts
behind them, it is nearly pitch dark inside.

Ian reaches for the flashlight and clicks it on.
                                                            
                       ARABELLA
Forget to pay the electric bill?
                                                            

38.

                       IAN
Everyone thinks this building is
abandoned. Lights would kind of
blow that theory.
                                                            
He walks toward the elevator with Belle trailing behind.
                                                            
                       ARABELLA
So would having a car parked out
front.
                                                            
He turns to flash her a "now you're getting the idea" look.
                                                            
                       ARABELLA
Okay, then, I won't stay long. I
just wanted to make sure you were
okay.
                                                            
He pulls the elevator door open and steps inside, waiting
for her to get in.
                                                            
                       ARABELLA
No lights but the elevator works?
                                                            
                       IAN
You think this hallway is creepy,
you should see the stairs.
                                                            
                       ARABELLA
That's saying a lot.
                                                            
She still makes no move to enter the elevator.
                                                            
                       IAN
Coming?
                                                            
She hesitates a moment longer, then gets inside the

ELEVATOR

Ian pulls down the inner metal doors and hits the up arrow.
It doesn't move. Belle raises an eyebrow.
                                                            
                       IAN
It takes a minute.
                                                            
To pass the time...
                                                            
                       ARABELLA
So... what happened when you were
eight?
                                                            
He pushes on the up arrow again.
                                                            

39.

                       IAN
Why do you wanna know? Why are
you helping me?
                                                            
                       ARABELLA
Maybe we can help each other.
                                                            
The elevator suddenly lurches into motion, catching both
riders off guard.
                                                            
                       IAN
How can I help you? You need a
study buddy for your medical exam?
                                                            
                       ARABELLA
I think we have more in common
that you realize.
                                                            
                       IAN
Lady, if you knew anything about
me, you wouldn't want to have a
single thing in common.
                                                            
The elevator makes a very noisy stop on the 2nd floor. Ian
and Belle pull the metal doors up and step out into the

HALLWAY

He shines his light ahead. It looks clear. They start down
the long hallway.
                                                            
                       ARABELLA
How long have you lived here?
                                                            
                       IAN
A while.
                                                            
                       ARABELLA
Where'd you live before this?
                                                            
                       IAN
Somewhere else. What's with the
20 questions?
                                                            
They stop at his apartment door. He goes to pull off his
shoe, then realizes he's not wearing any.
                                                            
                       IAN
Shit. I don't have my keys.
                                                            
Belle digs in her oversized purse.
                                                            

40.

                       ARABELLA
They rounded up all the belongings
on the bus. Your bus. Everything
else had been identified except a
set of keys and an MP3 player, so
I assumed they were yours and
snatched them up for you. I know
they're in here somewhere.
                                                            
Ian hears a noise, turns the flashlight to the end of the
hall to find...

THE ZOMBIE WOMAN

She begins a slow, casual walk toward them.

Ian taps Belle's shoulder in anxious anticipation of the
keys.
                                                            
                       IAN
Hurry. Hurry!
                                                            
                       ARABELLA
      (still searching)
In a minute.
                                                            
                       IAN
Now would be good.
                                                            
                       ARABELLA
I have a lot of crap in here. Hold
on.
                                                            
He jiggles the doorknob in vain, then puts his hand out
again.

Despite her apparently slow speed, the zombie has almost
reached them.
                                                            
                       IAN
Belle!
                                                            
                       ARABELLA
Got it.
                                                            
Belle pulls out a set of keys from her cavernous purse and
hands them to Ian. He quickly inserts one into the lock and
lets them into

IAN'S APARTMENT

slamming and locking the door behind them.
                                                            

41.

She stops to look around while he hurries to the safe room.
                                                            
                       IAN (O.S.)
This way!
                                                            
She follows the sound of his voice, makes her way into the

SAFE ROOM

Ian slams the door behind them and locks the first of the
five locks.

Loud FEMALE WEEPING filters in from outside the door.

He takes the newspaper article and tacks it to the wall
while Belle looks around the room, not nearly as freaked out
as she should be.

The weeping stops.
                                                            
                       ARABELLA
Another one of your friends from
the bus?
                                                            
                       IAN
      (hopeful)
You saw her, too?
                                                            
                       ARABELLA
I didn't have to. I saw the look
on your face.
                                                            
                       IAN
You've just confirmed what I've
known for a long time. I'm crazy.
                                                            
                       ARABELLA
You're not crazy.
                                                            
Belle walks around the room, gazing at the innumerable
newspaper articles on the walls.

Ian grabs a pair of jeans off his bed and slips into them.
                                                            
                       ARABELLA
Who are they?
                                                            
                       IAN
Dead people. Really pissed off
dead people.
                                                            
                       ARABELLA
What do they want from you?
                                                            

42.

                       IAN
I don't know.
                                                            
                       ARABELLA
What would you want?
                                                            
He gives her a weird, confused look.
                                                            
                       IAN
What?
                                                            
                       ARABELLA
If you were a corpse. And you
were haunting someone. What would
you want?
                                                            
                       IAN
Probably to not be dead.
                                                            
                       ARABELLA
If it were me, I'd want revenge.
I'd want someone to find the
person that killed me and make him
or her... or them pay.
                                                            
He looks her over long and hard, as if she is a complicated
puzzle he is trying to solve.
                                                            
                       IAN
Look, I'm not good with hints, no
matter how spot on they are. So
if you're trying to tell me
something, just out with it
already.
                                                            
                       ARABELLA
All I'm saying is --
                                                            
                       IAN
What do you know?
                                                            
                       ARABELLA
A lot, actually. A lot more than
I should.
                                                            
                       IAN
About?
                                                            
                       ARABELLA
About you. About what happened to
you.
                                                            

43.

                       IAN
Kind of hard not to know when you
were my nurse.
                                                            
                       ARABELLA
I mean before that.
                                                            
                       IAN
How would you know that?
                                                            
                       IAN
Are you ...?
                                                            
He takes a cautious step back.
                                                            
                       ARABELLA
No. I'm not one of those
aforementioned pissed off dead
people.
(beat)
I'm as alive as you are.
                                                            
                       IAN
That's not saying much,
considering I died two weeks ago.
And five years before that. And
seven years before that. And four
years before that.
                                                            
                       ARABELLA
You stop counting after the fifth
time. At least I did.
                                                            
Ian stares at her. Did he hear her right?
                                                            
                       IAN
You too?
                                                            
She nods.
                                                            
                       ARABELLA
When I saw your chart... I had to
get assigned to you. To see for
myself. Ever since I became a
nurse, I've had my eye out for
other people... like me.
                                                            
Ian takes it all in, sinks down onto the mattress.
                                                            
                       IAN
How does something like this
happen?
                                                            

44.

                       ARABELLA
I don't know. But I think people,
not just you, but everyone focuses
too much on the "whys". Maybe we
should be asking why not. Why not
you? Why not me? I truly believe
that there are some questions that
aren't meant to be answered. At
least not by us.
(beat)
God works in mysterious ways
sometimes.
                                                            
                       IAN
That might be good enough for you,
but I don't believe in God. I
refuse to believe in some almighty
being that does nothing to stop an
eight year old child from losing
every member of his family in one
night.
                                                            
                       ARABELLA
How did you get away?
                                                            
                       IAN
Who says I got away? Maybe I died
that night. Maybe this is hell.
My own personal hell.
                                                            
                       ARABELLA
It's ironic that someone who
doesn't believe in God believes in
Hell.
                                                            
                       IAN
You seem to be taking this all in
stride. I've got dead people
following me around at all hours
of the day and you're cracking
quips.
                                                            
                       ARABELLA
They can't hurt you.
                                                            
                       IAN
But you see them too, don't you?
                                                            
                       ARABELLA
It comes with the territory. You
see a lot of things you don't want
to. But you get used to it.
                                                            

45.

                       IAN
What, like an occupational hazard?
                                                            
                       ARABELLA
That's an interesting way to put
it. But, yeah. I guess... in a
way.
                                                            
Ian gets up, paces around the room. Takes it all in.
                                                            
                       IAN
Are there others... like us?
                                                            
                       ARABELLA
Define what you mean by "like us".
                                                            
He gives her a look that says "you know what I mean".
                                                            
                       ARABELLA
I need to know how much you know
before I can answer that. Do you
remember the attack?
                                                            
                       IAN
Those bastards killed my entire
family. Of course I remember.
                                                            
                       ARABELLA
Then you know what they are. What
we are.
                                                            
He shakes his head vehemently, as if offended by the
implication.
                                                            
                       IAN
No. I didn't get bitten. I'm
nothing like them. And if that's
what you think, you're dead wrong.
                                                            
Belle reaches into her purse and pulls out a pocket knife.
Flips it open in one swift movement and grabs Ian's hand.
Carves a "V" into his open palm.

He pulls away as if feeling the pain, but we suspect it is
all for show.

THE WOUND

bleeds for a second, then the blood slowly retracts back
into the wound and it closes. Doesn't even leave a mark
behind.
                                                            

46.

                       ARABELLA
Explain that.
                                                            
                       IAN
You just keep a knife in your
purse, in case you ever have to
prove to someone that they're a
freak show?
                                                            
                       ARABELLA
Actually, I keep it for
protection. But, yeah,
occasionally I find a useful
purpose for it.
                                                            
She closes the knife and tosses it back into her purse.
                                                            
                       IAN
So what you're telling me is I'm a
vampire? You're a vampire? Then
why are you wearing a cross and
why don't I burst into flames on
my way to work every morning?
                                                            
                       ARABELLA
You do sweat like a pig, though.
                                                            
Ian gives her a hard look.
                                                            
                       ARABELLA
Look, those are all myths. I've
seen a lot of horrific things
happen to vampires, but none of it
has resulted in their death.
                                                            
He's just about done listening. He makes a move to stand up,
but she stops him.
                                                            
                       ARABELLA
Okay, listen, you were bitten. We,
for whatever reason, we didn't
completely make the change.
                                                            
                       IAN
I stand corrected, then. We're
not total freaks. We're just
half-freaks.
                                                            
He gets up and walks away. Runs his fingers through his
hair nervously.
                                                            

47.

                       ARABELLA
I'm sorry. I thought you were
ready to hear it. I overstepped.
                                                            
                       IAN
No, I find it all fascinating.
Please, go on.
                                                            
Belle picks up her purse and heads for the door.
                                                            
                       ARABELLA
I can see that I've scared you and
that's not why I came.
                                                            
Ian grabs her arm and pulls her back, right into him. His
eyes have an intense glow to them. Determination.
                                                            
                       IAN
Why did you come here?
                                                            
                       ARABELLA
I don't know. I thought maybe we
could be friends.
                                                            
Ian releases her arm. But neither of them separate from
their close stance.
                                                            
                       IAN
Friends? You come here and drop
this bomb on me and now you want
to be friends?
                                                            
                       ARABELLA
I know how lonely a life of
solidarity can be.
                                                            
She tries to stroke his arm but he puts a stop to the
unwanted contact before it can occur.
                                                            
                       IAN
Don't. You want a friend, look
somewhere else. I'm not the
friend type.
                                                            
                       ARABELLA
I was just trying to --
                                                            
                       IAN
Help? Yeah, you keep saying that.
                                                            

48.

                       ARABELLA
And now I have to go help myself.
Try to salvage my job. Are you
gonna be okay?
                                                            
                       IAN
Just dandy.
                                                            
                       ARABELLA
I don't suppose you have a cell
phone... or a regular phone, for
that matter?
                                                            
He shrugs his shoulders.
                                                            
                       ARABELLA
At least I know where to find you.
                                                            
She tries to pull the door open, then remembers the numerous
locks.

Ian unlocks them for her.

She steps out into the hallway.
                                                            
                       IAN
Wait.
                                                            
She turns to him, expectantly. Doesn't receive much for her
trouble.
                                                            
                       IAN
Thank you. And I hope you don't
lose your job.
                                                            
She flashes a cursory smile, then disappears down the dark

HALLWAY

Ian steps back into the room and WE HEAR all the locks
clicking shut.
                                                            
 
INT. HOSPITAL - DAY
                                                            
Belle is back on duty. She studies a chart at the nurse's
station.

Two nurses, NURSE #1 and NURSE #2, converse in secret
whispers a few feet away.

Belle keeps her eyes on the chart while pretending not to be
listening in.
                                                            

49.

                       NURSE #1
It's so sad. The husband still
thinks she's gonna make it.
                                                            
                       NURSE #2
So it's for sure then?
                                                            
                       NURSE #1
Dr. Vaughn gave her a less than
one percent chance of recovery.
                                                            
Nurse #2 shakes her head sullenly.

Nurse #1 puts the chart she's holding down and they walk
away.
                                                            
Belle looks over her shoulder, watches them leave, then
walks over and grabs the chart.
                                                            
She walking down a hallway and stops at a room. Matches the
room number on the chart with the one on the door. Looks
around to ensure no one is watching before going inside.

PATIENT'S ROOM

A female patient lies in bed, hooked up to various machines.
She appears to be in a deep sleep.
                                                            
Belle takes out a large syringe from her pocket. Injects it
into the woman's arm. Slowly pulls back the plunger until
the syringe is filled with blood. She caps it and starts
with another.
                                                            
                       VAUGHN (O.S.)
What are you doing?
                                                            
Belle startles, dropping both syringes. Kneels to retrieve
them, looking up at

DR. VAUGHN
                                                            
Tall, dark and intimidatingly handsome. A crooked smirk on
his superior face.
                                                            
She pockets the blood-filled syringes and straightens up.
                                                            
                       ARABELLA
Dr. Vaughn. I was just drawing
this patient's blood.
                                                            
                       VAUGHN
That's not what I'm talking about.
Come with me.
                                                            

50.

He takes her by the arm none too gently and leads her out of
the room and straight into an

EMPTY HOSPITAL ROOM

where she promptly struggles to pull free.
                                                            
                       ARABELLA
You're hurting me.
                                                            
He releases her of his grip and she promptly puts some
distance between them.
                                                            
                       VAUGHN
Where is he?
                                                            
                       ARABELLA
Why should I tell you?
                                                            
Dr. Vaughn chuckles then calmly takes Belle by the throat
and lifts her off her feet.

As he speaks, we can briefly see a purple gleam to his eyes
and a flash of sharp fangs.
                                                            
                       VAUGHN
Need I remind you how easy it
would be to arrange the
disappearance of someone with no
family or friends to notice them
missing?
                                                            
                       ARABELLA
      (struggling)
Okay.
                                                            
He returns her to her feet, releases his grip on her neck.
Folds his hands in front of him.
                                                            
                       ARABELLA
He lives in an abandoned warehouse
on Newport Road.
                                                            
Pleased with her response, he heads for the door.
                                                            
                       ARABELLA
What are you gonna do to him?
                                                            
                       VAUGHN
That's none of your concern. Now,
have your fix and get back to
work.
                                                            

51.

He leaves the room.

Belle collapses back onto the gurney. Contemplates a few
seconds. Then reaches into her pocket and takes out one of
the syringes. Stares at the thick red substance inside
before injecting her arm and depressing the plunger.

Her head rolls back and her eyes close. She slowly exhales.
                                                            
 
INT. GRAND LENNOX HOTEL - DAY
                                                            
Markus, the hotel manager, walks through the lobby with an
ASSISTANT at his side, clipboard and pen at the ready.

Markus pauses to point at a cracked portion of crown
molding.
                                                            
                       MARKUS
I want this replaced. And not
with that top of the line crap. As
long as it meets cosmetic
inspection.
                                                            
The assistant takes notes on his clipboard. Follows Markus
to a spot where the wallpaper is peeled down to the wood.
                                                            
                       MARKUS
What will it cost us to replace
this wallpaper?
                                                            
                       ASSISTANT
The whole lobby, sir?
                                                            
Ian approaches them. Waits to be noticed, then speaks up
when he isn't.
                                                            
                       IAN
I want my job back.
                                                            
                       MARKUS
I fired you.
(to Assistant)
Get me an estimate on the
wallpaper. Lets move on.
                                                            
Markus walks briskly through the lobby with his assistant
and Ian trailing behind.
                                                            
                       IAN
I almost died.
                                                            

52.

                       MARKUS
I heard about that. Unfortunate.
Tell me, how does one go about
surviving an unsurvivable crash?
                                                            
                       IAN
I need my job.
                                                            
                       MARKUS
And I need the toilets and leaky
faucets on the fourth floor fixed.
Think you can handle that?
                                                            
Ian stops to stare at him incredulously. The assistant
flashes him an apologetic look.
                                                            
                       IAN
What about my old job? I don't
know shit about plumbing.
                                                            
                       MARKUS
Take it or leave it.
                                                            
 
INT. GRAND LENNOX HOTEL - 4TH FLOOR - NIGHT
                                                            
Ian walks down a long, dark hallway armed with a toolbox and
a keyring with numerous keys. Stops at a door with 412
carved into it. KNOCKS.
                                                            
                       IAN
Hello? Anybody in here?
(beat)
I'm here to fix your plumbing.
                                                            
No response from within the room.

Ian searches on the keyring until finding a key with "412"
on it. Slides it into the lock and turns.

The door slowly CREAKS open, revealing an unoccupied
interior.
                                                            
                       IAN
Hello?
                                                            
He steps into

ROOM 412

Despite the outdated furniture and bedding, the room is in
decent shape. A king sized bed is flanked by matching

53.

nightstands. An antique dresser across the room holds an
old black and white TV.
                                                            
Ian looks around to ensure that he is alone before
proceeding into the

BATHROOM

to find it in similar outdated fashion.

A porcelain basin is attached to the wall, exposing all the
plumbing underneath. A cracked, antique mirror hangs on the
wall above the basin. A free-standing tub takes up a
majority of the square footage.

As Ian kneels to set down his toolbox, WE SEE

CECILIA in VAMPIRE FORM

standing in the bathroom doorway. Fangs bared, eyes glowing
purple. Skin pale, made paler by the harshness of her black
hair.

She reaches out to him, her hand on his shoulder.

He turns to find Cecilia in her HUMAN FORM. Still a shock.
It's obvious he doesn't recognize her in the dim lighting.
                                                            
                       IAN
Goddamnit, you shouldn't sneak up
on people like that.
                                                            
                       CECILIA
I didn't think I had to knock to
enter my own room.
                                                            
He stands up to get a better look at her. Recognizes her.
                                                            
                       IAN
Cecilia?
                                                            
                       CECILIA
What's the matter? You look like
you just saw a ghost?
                                                            
She smiles coyly, walks into the

BEDROOM

Ian follows.
                                                            

54.

                       IAN
They told me no one survived the
crash.
                                                            
                       CECILIA
You did.
                                                            
                       IAN
They said I was the only one.
                                                            
                       CECILIA
Well, they lied.
                                                            
                       IAN
Why would they do that?
                                                            
                       CECILIA
So the better explanation is that
I'm lying? That I did die? That
I'm... what... a figment of your
imagination?
                                                            
                       IAN
I have an uncanny tendency of
running into the recently
deceased.
                                                            
Cecilia unbuttons her blouse, purposefully slow. Slides it
off and lets it fall to the floor. Unzips her skirt and
shimmies it off. She wears no undergarments.

Ian can do little more than stare, hypnotized by her naked
form.
                                                            
                       CECILIA
Do I look dead to you?
                                                            
She walks toward him, backing him against a wall. Cornering
him, like a lioness to her prey. Takes his hand and places
it on her chest.
                                                            
                       CECILIA
Do I feel dead?
                                                            
Presses her lips against his, kissing him long and hard.
Walks away, leaving him speechless. Sits on the bed.
                                                            
                       CECILIA
Could you hurry with the pipes? I
have a business meeting.
                                                            
Ian snaps out of it, goes back into the


55.

BATHROOM

Takes a wrench out of the metal toolbox. Tightens a leaky
pipe under the sink.
                                                            
                       IAN
I hope you'll put some clothes on
before they get here.
                                                            
                       CECILIA (O.S.)
I'm waiting for the shower.
                                                            
                       IAN
You just had your naked body
pressed against me and your tongue
down my throat. It's a little
late for modesty, don't you think?
                                                            
When she doesn't reply, Ian glances over his shoulder into
the bedroom. He has a clear shot of the bed but Cecilia is
not there anymore.
                                                            
                       IAN
Cecilia?
                                                            
Still no reply.

He sets down the wrench and walks into the

BEDROOM

to find Cecilia lifted off her feet while an unidentified
MALE VAMPIRE drinks from her neck. Her arms and legs dangle
lifelessly.
                                                            
                       IAN
What the fuck?!
                                                            
The vampire drops Cecilia in a heap on the floor. Turns on
Ian, snarling, bloody fangs bared, eyes an intense purple.
                                                            
                       IAN
Oh shit!
                                                            
Ian makes a run for it with the angry vampire hot on his
heels. After bursting out of the hotel room, he bolts down
the

FOURTH FLOOR HALLWAY
                                                            
Finally gets up the courage to look behind him. The hallway
is empty.


56.

Lights flicker then go out.

Ian searches around him wide-eyed. Feels his way around in
the dark until reaching the elevator. Pounds on the down
arrow, to no avail.
                                                            
                       IAN
Open up, you piece of shit!
                                                            
He kicks the elevator repeatedly until it eventually DINGS
and opens to reveal

ELEVATOR

Two FEMALE VAMPIRES feasting out of both sides of a
businessman's neck. They turn in unison to snarl at him,
displeased with the interruption.

Ian stumbles back.
                                                            
                       IAN
Nevermind. I'll get the next one.
                                                            
The doors close as the vamps get back to their meal.

A noise at the other end of the hall gets Ian moving again.
He feels his way to the stairwell and pulls opens the door.

An eerily dim emergency light barely illuminates the stairs
leading up and down.

Ian starts down, holding onto the railing for support. He
makes it down several flights before slipping and falling on
one of the stairs.

Realizes that the stairs and railings are covered in blood.
So is he.
                                                            
                       CECILIA (O.S.)
      (weak)
Ian, help me!
                                                            
The voice came from above. Ian looks up but finds no one
there.
                                                            
                       IAN
Cecilia?
                                                            
He starts up, then thinks better of it. Turns back around
to find Cecilia standing there, still naked, bleeding
profusely from a grizzly neck wound.

She falls forward limply while Ian makes a half-assed effort

57.

to catch her. Allows her to slide off of him and onto the
stairs.
                                                            
                       IAN
Jesus Christ!
                                                            
He steps over her and trudges on, occasionally looking over
his shoulder.
                                                            
 
INT. GRAND LENNOX HOTEL - LOBBY - NIGHT
                                                            
The reception area bustles with activity. Seems to be a
popular time of day for check-ins with at least 10 people in
line. Nothing out of the ordinary.

Ian bursts through the stairwell door, frantic. Runs right
into a group of HOTEL GUESTS. Looks around suspiciously to
find that the lights are all on. Checks himself. No blood
anywhere on him.
                                                            
                       HOTEL GUEST
Are you alright?
                                                            
                       IAN
I'd find another hotel if I were
you.
                                                            
The guests stare at each other, confused, as Ian makes a run
for the exit. He's almost home free when

Markus appears out of no where and grabs his arm.
                                                            
                       MARKUS
Am I to assume the pipes are all
fixed? Or is this your second
letter of resignation?
                                                            
                       IAN
There's a dead fucking body in
your stairwell and a whole lotta
something going on in your
elevator. You might want to check
that out.
                                                            
With Markus and the guests staring, outraged, Ian runs out.
                                                            
 
EXT. GRAND LENNOX HOTEL - NIGHT
                                                            
Ian runs frantically out into the night, no idea where he's
headed. Ends up in the middle of the street.


58.

A car SCREECHES its tires to avoid him but it's too little
too late. The car makes impact, tossing Ian back several
feet.
                                                            
The driver's side door opens and the person behind the
wheel, Arabella, comes running out, distraught. Rushes to
Ian's aid.
                                                            
                       ARABELLA
I'm sorry. I didn't see you.
                                                            
Ian is already trying to get back on his feet. Belle gives
him the extra help that he needs.
                                                            
                       ARABELLA
Are you okay?
                                                            
                       IAN
I'm not gonna die, if that's what
you're asking.
                                                            
                       ARABELLA
C'mon, get in the car.
                                                            
She puts his arm around her neck and helps him into the
front passenger's seat. Closes his door, then quickly gets
into the driver's seat.
                                                            
 
INT. ARABELLA'S CAR - NIGHT
                                                            
Belle floors the gas, taking off down the street. Weaving
through traffic. Eyes intensely focused on the road as if
it takes every once of concentration.

Ian has a white-knuckled grip on the dashboard.
                                                            
                       IAN
You late for something?
                                                            
                       ARABELLA
I need to tell you something and
it would really help if you just
took my word and didn't ask too
many questions.
                                                            
                       IAN
After what happened to me tonight,
I'll believe just about anything.
                                                            
                       ARABELLA
I hope you mean that because this
is pretty big.
                                                            

59.

                       IAN
Bigger than a fucking vampire
sucking the life out of a woman
that supposedly died in a bus
crash, the same bus crash that
should have ended my life, yet
didn't? Bigger than that? Because
that's pretty big.
                                                            
Belle pulls the car into a turn lane. Waits for oncoming
traffic to clear.
                                                            
                       IAN
No, no, no. Keep going straight
on this road until you hit the --
                                                            
                       ARABELLA
I can't take you home. They know
where you live.
                                                            
Belle instinctively looks in her rear view mirror.
                                                            
                       IAN
How would they know that?
                                                            
He turns to her accusingly. She looks away from the road to
flash him a sheepish grin.
                                                            
                       IAN
Son-of-a-bitch! You said you
wanted to help me, not lead them
to my fucking door!
                                                            
                       ARABELLA
That wasn't my intention. And I
am going to help you. Why do you
think I'm here?
                                                            
                       IAN
Well, first you give up my
location and then you run me over
with your car. Forgive me for
being leery.
                                                            
The traffic clears and Arabella navigates the car down a
deserted side street. Pulls into a dark corner. Shuts off
the engine.
                                                            
                       IAN
What're we -- ?
                                                            
                       ARABELLA
Shhhh!
                                                            

60.

She looks out her window, then Ian's. Turns to look out the
back window. Suspicious. Nervous.
                                                            
                       IAN
Expecting someone?
                                                            
                       ARABELLA
      (whispering)
We're being followed. Get in the
back seat.
                                                            
                       IAN
What? Why?
                                                            
                       ARABELLA
No questions.
                                                            
Ian climbs into the back seat.
                                                            
                       IAN
What are you gonna do?
                                                            
                       ARABELLA
Just stay here.
                                                            
Belle opens her door and starts to get out.
                                                            
                       IAN
Don't go out there!
                                                            
She goes anyway, shutting the door on his concern.

He watches through the front window as she slinks around,
looking in every direction possible before disappearing into
the shadows.

Ian inches closer to the window, peers out, his breath
fogging up the glass.

A RABID DOG smashes into the glass, standing on its hind
legs, barking and growling.

Ian lurches back reflexively, smacking his head against the
opposite window.

The dog continues to snarl, scratching the window with
impossibly sharp claws. The glass begins to crack.
                                                            
                       IAN
Oh shit!
                                                            

61.

He pulls on the handle, but the door won't budge. Tries to
lift the lock, but there is only a hole where it should be.
He bangs on the window with his fists, to no avail.
                                                            
The dog bursts through the glass and leaps into the car,
landing on Ian's chest. Pins him to the car seat.

Ian fights him off with all his might.

The dog morphs into a MALE VAMPIRE, the same one that
attacked Cecilia in her hotel room.
                                                            
                       IAN
You looked better as a dog.
                                                            
Ian kicks the vampire with all his might, giving him a
temporary reprieve. Ian uses it to dive into the front seat
and pull the driver's side door open.

The vampire pursues him, but he kicks him in the face and
lunges out the door.
                                                            
 
EXT. SIDE STREET - NIGHT
                                                            
Ian lands in front of a pair of black stiletto boots.
Follows them up sexy legs to a mini skirt, halter top and
finally Cecilia's face, in VAMPIRE FORM.
                                                            
                       IAN
I liked you better dead.
                                                            
HANDS emerge from the car, grab Ian and pull him back in.
                                                            
 
INT. HOSPITAL - DR. VAUGHN'S OFFICE - NIGHT
                                                            
Dr. Vaughn appears to be having sex with a NURSE #1 on his
desk. The nurse throws her head back in esctacy, eyes
rolling back in her head.

The phone RINGS.

Dr. Vaughn ignores it for a few seconds, then pries his lips
off the woman's neck, leaving a bloody gaping hole.

He releases her, allowing her head to thump against the
desk. Wipes his mouth on his sleeve and picks up the phone.
                                                            
                       VAUGHN
This better be important.
                                                            
 

62.

EXT. SIDE STREET - NIGHT
                                                            
Cecilia stands, partially concealed by shadows. Holds a
cell phone to her ear.
                                                            
                       CECILIA
He got away.
                                                            
She pulls the cell phone away as what must be an ass-chewing
comes through. Puts it back to her ear.
                                                            
                       CECILIA
It won't happen again, I assure
you.
                                                            
As she snaps her phone closed, we see that her male vampire
counterpart lies dead at her feet.
                                                            
 
INT. ARABELLA'S APARTMENT - DAY
                                                            
Ian leaps out of bed, fending off imaginary foe. A hand
goes up to his neck but he doesn't feel a bite mark. Relief.

He tries to have a look around the room but everything is a
blur.

The under-furnished bedroom is furnished with a full-sized
bed draped in white bedding and shrouded in a gauzy canopy.
Nothing else.
                                                            
He slowly makes his way to the door, with the room spinning
around him. Feels around for the knob, turns it, surprised
to find it open.
                                                            
Staggers out onto a landing. Grabs a metal railing for
stability.
                                                            
                       ARABELLA (O.S.)
Morning, Sunshine.
                                                            
Ian looks in the direction of the voice. Struggles to
focus. Blinks his eyes repeatedly. Sweats profusely.

All he can make out are blurs.
                                                            
                       IAN
Belle?
                                                            
                       ARABELLA (O.S.)
Take it easy on those stairs.
                                                            

63.

Things slowly start to come into focus. Ian looks down on
what appears to be a medical laboratory. Various medical
apparatuses are set up on expansive lab tables.

One such table is devoted to numerous vials and beakers of
varying shapes and sizes, all filled with what appears to be
blood.
                                                            
Belle stares into a microscope.
                                                            
                       IAN
You live here?
                                                            
                       ARABELLA
People who live in abandoned
warehouses shouldn't cast stones.
                                                            
Ian carefully walks down the stairs, holding onto the
railing.
                                                            
                       IAN
What happened to me? The room is
spinning.
                                                            
                       ARABELLA
Sit down. I'll get you something
to eat and you'll be right as rain
in no time.
                                                            
                       IAN
By "something to eat", you don't
mean... ?
                                                            
                       ARABELLA
Blood? No.
                                                            
He carefully negotiates the last step and walks through the
lab, headed toward Belle. Passes the lab table with all the
blood samples.
                                                            
                       IAN
Whose is it?
                                                            
She finally looks up from her microscope.
                                                            
                       ARABELLA
Yours.
                                                            
Ian gives her a "come again" look. Grabs hold of the lab
table for stability.
                                                            

64.

                       IAN
That explains why I feel like
shit. Do you plan on putting it
back?
                                                            
                       ARABELLA
Hadn't thought about it.
                                                            
                       IAN
Do I wanna know what you're gonna
do with it?
                                                            
                       ARABELLA
I'm testing it.
                                                            
                       IAN
For?
                                                            
                       ARABELLA
I was wrong about you. You're not
a vampire.
                                                            
                       IAN
You have no idea how relieved I am
to hear you say that. I just had
the worst encounter --
                                                            
                       ARABELLA
You're immortal.
                                                            
                       IAN
Come again?
                                                            
                       ARABELLA
Vampires are not immortal, not in
the true sense of the word. They
can die under the right
circumstances. You proved that
last night.
                                                            
                       IAN
What do you mean? I killed a
vampire? No, I'm fairly confident
I would remember if that happened.
                                                            
                       ARABELLA
I'll explain everything.
                                                            
                       IAN
Start with what you're testing my
blood for. You think it's gonna
whisper the secret of my
immortality in your ear?
                                                            

65.

Belle scoots the stool she's sitting on away from the
microscope.
                                                            
                       ARABELLA
Have a look.
                                                            
He stares skeptically at her for a second before moving into
position.

MICROSCOPE POV

Little dark circles on a light gray background.
                                                            
                       IAN
I have no idea what I'm looking
at.
                                                            
                       ARABELLA
Normal red blood cells.
                                                            
                       IAN
Fascinating.
                                                            
He shifts his eyes to her.
                                                            
Ian puts his eyes back up against the microscope.

Arabella takes a drop of blood out of a different vial and
drips it onto the current slide.

MICROSCOPE POV

New blood cells appear beside the previous ones. The old
blood quickly begins to "attack" the new until there are no
new blood cells left.
                                                            
                       ARABELLA
What do you see?
                                                            
                       IAN
My blood is kicking that other
blood's ass.
                                                            
                       ARABELLA
Astute observation.
                                                            
                       IAN
Whose blood is it?
                                                            
                       ARABELLA
      (after dramatic
       pause)
Mine.
                                                            

66.

Ian straightens up, alarm registering on his face.
                                                            
                       IAN
So it's true. You are one of
them.
                                                            
                       ARABELLA
I'm nothing like them.
                                                            
He backs away as she advances toward him.
                                                            
                       IAN
You're one of those fucking
monsters.
                                                            
                       ARABELLA
We're not all monsters. Some of
us are just like you. Just trying
to survive.
                                                            
Ian scans the room, trying to locate an exit. Sees a set of
double doors. Hurries to them, tries to get through, but
they're locked.
                                                            
                       IAN
      (banging)
I want out of here. How do I get
out of here?
                                                            
                       ARABELLA
You walk out that door, you're on
your own.
                                                            
He turns to face her, fuming.
                                                            
                       IAN
I was better off on my own. My
life has taken a real shitty turn
since meeting you.
                                                            
                       ARABELLA
Is that so?
                                                            
                       IAN
Things went from "holy shit" to
"totally fucked up" the minute I
got into your car. You set me up.
You practically fed me to your
fanged friends last night.
                                                            
Arabella walks towards him, joining him at the door.
                                                            

67.

                       ARABELLA
It was an experiment. They've
been looking for you for so long.
I wanted to see what they would do
with you once they had you.
                                                            
He scoffs loudly, beyond angry now.
                                                            
                       IAN
You're telling me I was your lab
rat. And you think that's gonna
convince me to stay?
                                                            
He turns away from her again, pounds on the door, tries to
get out.
                                                            
                       ARABELLA
The woman from the bus, Cecilia --
                                                            
                       IAN
You mean the vampire from the bus.
                                                            
                       ARABELLA
She ordered this other guy...
vampire to attack you. He knew
something wasn't right, but she
assure him there would be
something in it for him. And
there was, just not what he was
expecting.
                                                            
 
INT. ARABELLA'S APARTMENT - KITCHEN - DAY
                                                            
A very minimal, industrial kitchen. Metal racks hold canned
goods while one six-foot long stainless steel counter top
houses a microwave oven and a hot plate. The refrigerator
and small sink round it off.
                                                            
Ian sits at a stool next to the counter wolfing down a plate
of food.

Belle fills a glass with milk and sets it down next to him.

He drinks half of it in one gulp. Shovels in more food
                                                            
                       ARABELLA
When's the last time you ate?
                                                            
                       IAN
      (mouth full)
You mean besides energy bars?
2003.
                                                            

68.

                       ARABELLA
How do you live like that?
                                                            
He gives her a look.
                                                            
                       ARABELLA
Oh, right.
                                                            
                       IAN
I'm listening. Talk.
                                                            
Belle pulls up another stool and sits across the counter
from him.
                                                            
                       ARABELLA
I've spent the last three years of
my life trying to find a cure for
this... affliction and --
                                                            
                       IAN
You kill people and drink their
blood. You're a vampire. Let's
not sugar coat this.
                                                            
                       ARABELLA
I'm not that kind of a vampire.
                                                            
                       IAN
Lemme see your fangs.
                                                            
                       ARABELLA
What?
                                                            
                       IAN
Your fangs. And your creepy
purple eyes. And then tell me
you're not a vampire.
                                                            
                       ARABELLA
You couldn't possibly believe I'm
dangerous or you wouldn't still be
here.
                                                            
                       IAN
I don't really have anywhere else
to go, now do I?
                                                            
                       ARABELLA
So what're you gonna do, hide out
for the rest of your life? Did
you hear anything I told you in
the lab? They can't hurt you.
                                                            

69.

Ian stands up suddenly, his stool flying backwards and
crashing into a wall.
                                                            
                       IAN
I heard the important part. That
you're a blood-sucker and I'm --
                                                            
Belle gets in his face, equally upset.
                                                            
                       ARABELLA
When I was 18 and in college, I
went to a party and I got really
drunk and I hooked up with the
wrong guy. Anyone else in my
situation would have gotten a
hangover or... an STD. But I got
this...
                                                            
She pulls down the front of her shirt just enough to show an
old scar, two tiny holes.
                                                            
                       ARABELLA
I got bitten, but I didn't turn.
Not completely. I don't know what
went wrong. So to answer your
question, no. No fangs. No
creepy eye color changes. No
aversions to garlic or sunlight or
crosses.
                                                            
She motions to the cross on a chain around her neck.
                                                            
                       IAN
Then how do you know you're one of
them?
                                                            
                       ARABELLA
As best as I can figure, half of
my blood is vampire and the other
half is human. When it's in
balance, I'm fine. But when the
scale tips...
                                                            
Ian sighs loudly, walking away from her.
                                                            
                       IAN
Patients turn up missing at the
hospital?
                                                            
                       ARABELLA
I give myself a blood transfusion.
And then I'm okay... for a while.
                                                            

70.

                       IAN
And where do I factor in all this?
                                                            
                       ARABELLA
That cure I was telling you about.
The one I've been searching for. I
think you might be it.
                                                            
 
INT. IAN'S APARTMENT - DAY
                                                            
The door flies off the hinges and Dr. Vaughn, now dressed in
civilian clothing, storms in, followed by an entourage of
men and women dressed all in black.
                                                            
Dr. Vaughn signals and his "people" scatter, searching the
apartment. Overturning furniture. Displacing every single
object in their way.
                                                            
A group walks down the hallway, headed by a body-builder
type guy, MAX.

He disappears into the "safe room".
                                                            
                       MAX (O.S.)
Vaughn.
                                                            
Vaughn makes his way down the hall and into the

SAFE ROOM

Looks around to find all the newspaper clippings covering
the walls.
                                                            
                       MAX
He's not here.
                                                            
Vaughn violently rips down a section of newspaper clippings.


Turns on Max, full CREATURE FORM. Not only does he have the
fangs and purple eyes, but his whole face is distorted
beyond recognition.
                                                            
                       VAUGHN
      (seething)
Find the nurse and you will find
him. I want him brought to me
before dawn or I'll have all your
heads.
                                                            
 

71.

INT. ARABELLA'S APARTMENT - LABORATORY - DAY
                                                            
Ian sits on a chair, having his blood drawn by an impossibly
large needle and syringe.
                                                            
                       IAN
How do you know this is gonna
work?
                                                            
                       ARABELLA
I don't.
                                                            
Belle removes the needle from his arm, then pulls off the
rubber tourniquet from his bicep.
                                                            
                       IAN
How do you know it won't kill you?
                                                            
                       ARABELLA
I don't know that either.
                                                            
                       IAN
Then I'm gonna have to strenuously
object.
                                                            
                       ARABELLA
I didn't know you cared.
                                                            
They make eye contact, hold each others' gaze.
                                                            
                       IAN
There has to be a safer way.
                                                            
                       ARABELLA
Stop me if you think of one.
                                                            
She takes the needle and attempts to jab it into her arm. He
grabs it from her.
                                                            
                       IAN
Would you just wait a minute?
                                                            
She waits, but he's got nothing.
                                                            
                       IAN
Let me do it.
                                                            
He takes her arm and carefully inject her with a small
amount of the blood.
                                                            
                       ARABELLA
All of it.
                                                            

72.

                       IAN
Just see how you react to this
before --
                                                            
Belle grabs his hand, pushes the plunger in the rest of the
way, unloading the entire syringe of blood into her vein.
                                                            
Ian stares at her like she's an exhibit in the zoo. Waits
for any sign of a reaction.
                                                            
                       IAN
Anything?
                                                            
                       ARABELLA
Maybe it would work better if you
stopped staring at me.
                                                            
 
EXT. ARABELLA'S APARTMENT - DAY
                                                            
Ian takes a final drag off his cigarette. Tosses the butt.
Is about to walk back into the building when a

BLACK CAT

limps by. Stops in front of Ian and gets on its hind legs
to scratch the door.
                                                            
Ian tries shooshing the cat away but it won't budge. Nudges
it with his foot.
                                                            
                       IAN
Go on. Get!
                                                            
The cat still won't budge.

Ian shoves it aside with his foot while opening the
apartment door. But before he can get in, the cat runs in
ahead of him.
                                                            
 
INT. ARABELLA'S APARTMENT - DAY
                                                            
Ian chases the cat through a short hallway/foyer.
                                                            
                       IAN
Hey! Get outta here!
                                                            
Cat speeds ahead, into the

LABORATORY

and disappears under one of the lab tables.

73.


Ian gives chase, ducking down to look in the last location
he saw it.
                                                            
                       IAN
Where are you?
                                                            
Ian is so focused on his cat hunt that he almost doesn't see
Belle stagger by.
                                                            
                       ARABELLA
What are you doing?
                                                            
From his crouched position on the floor, he looks up at her.
                                                            
                       IAN
I let a cat in.
                                                            
He quickly straightens up, looks her over.

Belle's face is several shades paler than the last time we
saw her. She looks weak and frail and holds her stomach,
hunched over.
                                                            
                       IAN
You okay? You look like hell.
                                                            
                       ARABELLA
I'm gonna go upstairs and lay
down.
                                                            
                       IAN
I'm taking you to the ER.
                                                            
                       ARABELLA
And tell them what, that I
injected myself with someone
else's blood because I thought it
was the cure to vampirism?
                                                            
                       IAN
It sounded better in my head. So
what's the plan then?
                                                            
                       ARABELLA
I just need to rest for a while.
                                                            
She grabs hold of the staircase railing and struggles to
pull herself up the first step.

Ian comes up behind her and picks her up, carrying her the
rest of the way.

74.


BEDROOM
                                                            
He sets her in the middle of her bed and steps back to
observe.

Belle's skin is even paler and there are tiny bruises all
over her arms. She clutches her stomach, doubled over.
Rolling in pain.
                                                            
                       IAN
What is it?
                                                            
                       ARABELLA
Anemia. Rapid red blood cell
destruction.
                                                            
                       IAN
It's not working?
                                                            
                       ARABELLA
No, it is. I just didn't expect
it to be this... fast. Or...
painful.
                                                            
                       IAN
What can I do?
                                                            
Belle starts with a seizure, her petite frame wracking
violently.

Ian gets on the bed, tries to hold her down.
                                                            
                       ARABELLA
There's a box... under the floor
boards. If something happens to
me...
                                                            
                       IAN
Something is happening to you!
                                                            
                       ARABELLA
You need to... find it. It'll...
explain everything.
                                                            
Belle's seizure gets worse. Even with Ian's body pressed
against hers, he is barely able to keep her in the bed.
                                                            
                       IAN
What do I do? Tell me what to do!
                                                            
                       ARABELLA
I... need... blood.
                                                            

75.

                       IAN
What am I supposed to do? I can't
give you mine. It's killing you.
                                                            
                       ARABELLA
I'd rather die than live like
this.
                                                            
Ian looks around the room. Sees Belle's purse. Dumps it
over, searches through the spilled contents until locating a
pocket knife.

He cuts the palm of his hand and squeezes his fist above her
mouth.

Blood drips onto her face, as she shakes relentlessly.

Ian holds her face still, allowing his blood to pool into
her mouth.
                                                            
He drains a dangerous amount of his blood into her before
her seizure subsides.

He falls away from her and lands hard on the floor, spent.
Watches from a distance as Belle starts to respond to the
blood.
                                                            
Her body goes rigid against the bed, looking stiff and
painful. The veins in her arms and neck throb, threatening
to burst through her skin. Her head snaps back and her eyes
roll back into her head.

A piercing scream escapes her lips.

And then her body goes limp. She appears dead.
                                                            
                       IAN
No, no, no, no!
                                                            
Ian crawls back onto the bed and feels for a pulse. Breathes
a sigh of relief when he finds one. Rolls over onto his
back, wipes the sweat from his face, sighs loudly.

He sits up suddenly, as if remembering something. Gets on
the floor and starts feeling around on the floorboards.
Eventually finds a loose one. Pulls it up to reveal a box
underneath.
                                                            
He pulls the box up and wastes no time tearing into it.
Stares down into a stack of newspaper articles and what
appears to be photos further down.

He picks up the articles, thumbs through them.

76.


INSERT - ARTICLE HEADLINE

FAMILY OF FOUR SLAIN, EIGHT YEAR OLD MISSING

BACK TO SCENE

He tosses it aside, turns to the next one.

INSERT - ARTICLE HEADLINE

TEEN SURVIVES SIXTH STORY FALL

BACK TO SCENE

Turns to the next one.

INSERT - ARTICLE HEADLINE

DEADLY SHOOTING LEAVES 12 DEAD AND 1 CRITICALLY INJURED

BACK TO SCENE
                                                            
Ian rapidly leafs through the remaining articles, throws
them aside. Looks back into the box to find a series of
grizzly crime scene photos. Picks them up for a closer
look.

INSERT - CRIME SCENE PHOTO

An older woman, Ian's mom, lying sprawled on the floor in a
pool of blood. Her throat is ripped out, leaving a gaping
hole.

BACK TO SCENE

Ian squeezes his eyes shut. Deep shaky breath. Keeps
going.

INSERT - CRIME SCENE PHOTO

An older male, Ian's father, also in a pool of blood. There
is a gaping hole where his left eye should be.

BACK TO SCENE
                                                            
Ian takes the remainder of the photos and flings them across
the room with a yell. Composes himself slightly. Finds one
last article in the box. Slowly picks it up. Stares in
shock.

INSERT - ARTICLE HEADLINE


77.

TODDLER GIVEN SECOND CHANCE

BACK TO SCENE

Ian reads aloud from the article.
                                                            
                       IAN
Chicago toddler, Ian Thurston, was
pronounced dead at the scene, then
resuscitated by paramedics a full
three minutes after his heart
reportedly stopped. His parents,
Jordan and Beverly Thurston, say
it was a miracle and they feel
truly blessed.
                                                            
Destroyed, Ian lets the paper drift out of his hand and back
into the box. Sinks to the floor, head in hands.

A pair of hands come to rest on his shoulders. He looks up
to find Belle standing beside him, looking back to her
healthy, beautiful self.
                                                            
                       ARABELLA
I wanted to tell you... I should
have.
                                                            
                       IAN
It all started with me. I'm the
reason they all died.
                                                            
She kneels on the floor in front of him. Takes his face
between her hands, forcing him to look at her.
                                                            
                       ARABELLA
You can't take that on. It wasn't
your fault.
                                                            
His eyes tear up. He tries to push her away but she holds
on tight.
                                                            
                       ARABELLA
You can't change the past. But
you can avenge it.
                                                            
                       IAN
How? By tricking vampires into
biting me?
                                                            
                       ARABELLA
It won't take them long to figure
it out, if they haven't already.
We'll just have to find another
way to get your blood into their
            (MORE)

78.

                       ARABELLA (cont'd)
system.
                                                            
                       IAN
What if we just ask really nicely?
                                                            
Ian sees the hurt in her eyes. Eases up a bit.
                                                            
                       IAN
Do you think it worked?
                                                            
                       ARABELLA
I feel... normal. You did it.
                                                            
                       IAN
Me? No. I would've pushed the
panic button when you almost
swallowed your own tongue. That
was all your doing.
                                                            
Ian breaks their contact, getting off the floor and moves to
the bed.

Belle follows, sitting within close proximity to him.
                                                            
                       ARABELLA
This also means we can help other
people. People like me.
                                                            
                       IAN
And what about me? Who's gonna
help me? Where am I gonna be
in... 20 years? 50 years? When
you're gone?
                                                            
Realization seems to slowly wash over Belle. It is only now
that the ramifications of her actions are starting to occur
to her.

Now it's Belle who is tearing up. She looks deeply into
Ian's eyes, remorseful, sullen.

Their faces inch closer together. Lips almost touching.
Belle initiates a kiss.

Ian doesn't reciprocate at first, then pulls her to him,
kissing her passionately.

Their hands explore each other's bodies as he eases her back
onto the bed. Undresses her.
                                                            
 

79.

INT. ARABELLA'S APARTMENT - LABORATORY - NIGHT
                                                            
The black cat limps across the lab floor, slowly MORPHING
into Cecilia. She saunters over to the "blood table" and
picks up a vial of Ian's blood. Holds it up to the light,
smiling sinisterly.

Her cell phone RINGS.

She removes it from a pocket of her leather jacket. Checks
the caller I.D. Answers.
                                                            
                       CECILIA
Talk to me... Yeah, I'm in... Tell
Vaughn he needs to learn some
fucking patience... Well, phrase
it however you'd like. Don't call
me again.
                                                            
 
INT. ARABELLA'S APARTMENT - BEDROOM - NIGHT
                                                            
Ian sits up in bed alertly after what must have been a
nightmare. Immediately looks for Belle but finds the bed
beside him empty. A gold cross and chain rests on her
pillow.

The sound of GLASS SHATTERING in the b.g is followed by a
FIRE ALARM WAILING.

Ian looks toward the door and sees smoke seeping in
underneath it.
                                                            
Ian hurriedly throws on some clothes and rushes out of the
room. At the top of the

STAIRS

he can see the laboratory down below going up in flames. The
smoke is so thick he can barely breathe.
                                                            
                       IAN
      (coughing)
Belle!? Where are you?
                                                            
Flames encroach the staircase, forcing Ian to make his way
down.

LABORATORY

Ian shields his face from the immense heat as he searches
best he can for Belle.
                                                            

80.

                       IAN
Belle!
                                                            
The room is so filled with smoke that Ian can barely see
anything now. He backs up toward the exit as the flames
grow in size and intensity.
                                                            
                       IAN
      (desperate)
Belle!
                                                            
He opens the exit door and walks out of the apartment,
coughing and gasping. Finds something stuck into the back
of the door. It's a business card for The Grand Lennox
Hotel, held in place by Belle's pocket knife.
                                                            
 
INT. GRANDE LENNOX HOTEL - LOBBY - NIGHT
                                                            
Ian walks through the lobby with a fire in his eye we
haven't witnessed from him thus far. He looks bound and
determined to get where he's going and God help anyone that
gets in his way.
                                                            
Markus seems to come out of nowhere, intercepting him.
                                                            
                       MARKUS
Your job is no longer --
                                                            
Ian punches him in the face with such force that Markus is
knocked to the floor. Ian continues on to the elevator and
gets inside.

ELEVATOR

He contemplates the floor buttons before selecting the
fourth floor.

The elevator trembles violently, then begins a downward
decent.

Ian grabs the wall to steady himself. Looks perplexed.
What's below the lobby?
                                                            
The elevator comes to an abrupt stop, jostling Ian around.
The doors part to reveal an

UNDERGROUND CAVERN

crawling with vampires, both in HUMAN and CREATURE FORM.
                                                            
The sea of creatures part, uncovering a set of steep stone
steps that lead to a ledge where Vaughn and Cecilia (human

81.

form) stand, as if King and Queen.

The flicker of numerous torches cast an eerie glow on the
two leaders, making them seem that much more evil.
                                                            
                       VAUGHN
Come in, come in. We won't bite.
                                                            
Vaughn laughs thunderously while Cecilia just smiles
venomously beside him.
                                                            
                       IAN
I'm not staying long. I just came
for Belle.
                                                            
                       VAUGHN
Belle? Which one is she again?
                                                            
                       CECILIA
Cute blonde nurse.
                                                            
                       VAUGHN
Of course. Isn't she one of ours?
                                                            
                       IAN
Was. She was one of yours.
                                                            
Vaughn smiles, impressed with Ian's unyielding demeanor. He
starts down the stairs while Cecilia stays behind. Stops a
short distance from the open elevator. Signals someone O.S.
                                                            
                       VAUGHN
Max.
                                                            
Max steps out of the shadows in CREATURE FORM, morphing back
into HUMAN as he does so.

He grabs Ian by his shirt and drags him out of the elevator.
Delivers him to Vaughn.

Ian brushes Max's hands off.
                                                            
                       IAN
Get off of me!
                                                            
Vaughn nods and Max obediently stands slightly behind and to
the left of him. Arms folded in front of him. At the ready
should his services be further needed.

Vaughn looks Ian over, skeptical.
                                                            

82.

                       VAUGHN
So this is The Immortal One. I
thought you'd be more...
formidable.
                                                            
                       IAN
And you're the blood-sucking
son-of-a-bitch that killed my
family. I thought you'd be
uglier.
                                                            
Vaughn changes into his CREATURE FORM for a split second,
growling ferociously.

By now Ian has seen it all and isn't phased.
                                                            
                       IAN
Where's Belle?
                                                            
Vaughn motions to Cecilia and she produces a sickly-looking
Belle.

Belle, once again, looks weak and pale, barely able to stand
on her own two feet.
                                                            
                       VAUGHN
I'm afraid your "cure" has started
to wear off a bit. It appears
you're not the savior that you
seem to think you are.
                                                            
                       IAN
So what you're telling me is that
my blood isn't lethal to vampires.
                                                            
                       VAUGHN
It appears so.
                                                            
                       IAN
Prove it. Bite me.
                                                            
For the first time, Vaughn looks at a loss for words.
                                                            
                       IAN
That's what I thought.
                                                            
Ian pushes past Vaughn and Max and heads up the steps.

Max gives Vaughn a "want me to go after him?" look but
Vaughn shakes his head.

Cecilia pulls Belle back defensively as Ian nears.

83.


There is a fresh set of fang marks on Belle's neck.
                                                            
                       IAN
What'd they do to you?
                                                            
Vaughn is suddenly right behind Ian, breathing down his
neck.
                                                            
                       VAUGHN
She would be dead right now if we
hadn't saved her.
                                                            
                       ARABELLA
I'd rather be dead.
                                                            
                       VAUGHN
That can still be arranged. Celia.
                                                            
Cecilia sweeps the hair off Belle's neck. Exposing the bite
mark even more.

Cecilia MORPHS into her VAMPIRE FORM, sinks her fangs into
Belle's neck.
                                                            
                       IAN
No. Stop!
                                                            
As if taking her orders from Ian now, Cecilia immediately
retracts her fangs.

Increasingly weakened, Belle falls to a heap at Cecilia's
feet.

Ian tries to rush to her aid, but Vaughn blocks his path.
                                                            
                       VAUGHN
Not so fast.
                                                            
Ian grabs him by his shirt and tries to force him out of the
way. He looks like a kitten trying to attack a lion.

Vaughn chuckles at his futility.

Cecilia squats beside Belle, hovering over her like a
buzzard.
                                                            
                       IAN
Get away from her. Don't you
touch her!
                                                            

84.

                       VAUGHN
How's about an even trade? Her
life for yours.
                                                            
                       IAN
I've got a better idea.
                                                            
Ian pulls out the pocket knife, presses it against Vaughn's
cheek.
                                                            
                       IAN
How's about Belle and I walk out
of here and I won't cut that
fucking grin off your face?
                                                            
Vaughn reverses the situation quickly, grabbing Ian and
slamming him against the wall. The knife falls to the
ground with a clank.
                                                            
                       VAUGHN
It doesn't have to be this way. We
could work together. You have
what everyone in this room
desires. True immortality. Do
you really want to waste that
freedom spending eternity fighting
a losing battle?
                                                            
                       IAN
I have no intention of fighting
that battle. All I want is to
avenge my family's death. The
only person I want to see dead is
you.
                                                            
Vaughn takes Ian by his throat, lifts him off his feet.
                                                            
                       VAUGHN
Do you think you'd grow a new head
if I ripped this one off?
                                                            
                       IAN
      (hoarse)
Only one way to find out.
                                                            
Vaughn tightens his grip on Ian's neck, jaw clenched, eyes
changing to purple, fangs bared.
                                                            
His face continues to change, MORPHING into a horrible,
bulging-eyed, pointy-eared, fanged beast. As a final step
to his transformation, an enormous pair of black wings tears
through his clothing.
                                                            

85.

And then Vaughn drops him as a primal growl escapes his
lips.

Ian stares up in dismay as Vaughn turns to reveal a large
syringe sticking out of his back, the plunger pushed all the
way in.

Vaughn faces his attacker, Cecilia.
                                                            
                       VAUGHN
What did you do?
                                                            
He reaches behind him, trying to pull the needle out. Then
lunges at Cecilia.

Cecilia takes a big step back, allowing Vaughn to collapse
on the floor.
                                                            
                       CECILIA
I'm done taking orders from you.
From now on, I'm giving them.
                                                            
She squats down next to him, a safe distance away but close
enough to look him in the eye.
                                                            
                       CECILIA
My first order is for you to die.
                                                            
He sweeps at her with a large, clawed hand but comes up
short.

Cecilia straightens up. Steps back to watch the show, a
sadistic smile on her face.

Vaughn slowly MORPHS back into his VAMPIRE FORM and then his
HUMAN FORM.

Everyone watches in shock as his skin melts off until all
that's left is his skeleton.

A few more seconds and his bones turn to ash.
                                                            
Ian uses the distraction to crawl over to Belle and sweep
her into his arms. He looks her over. She's barely hanging
on.
                                                            
                       CECILIA
Well, now that that unpleasant
business is out of the way...
                                                            
Cecilia turns to face the sea of vampires.

A hint of fear is registered on their distorted faces. Not

86.

a single one among them attempt to challenge her authority.

Pleased, she turns to focus on Ian and Belle.
                                                            
                       CECILIA
Take her and go.
                                                            
Ian stares at her, not making a move to leave.
                                                            
                       IAN
What?
                                                            
                       CECILIA
Take her and leave. Before I
change my mind.
                                                            
Ian scurries to his feet and pulls Belle up to hers. Tries
to help her walk but she's too weak.

He scoops her up into his arms and walks down the steps.

Again the vampires part down the center, allowing them to
pass, unharmed.
                                                            
                       CECILIA (O.S.)
You might be untouchable, but she
isn't. You come after me and I'll
kill her.
                                                            
Ian doesn't bother to look her way, continues on into the
elevator.
                                                            
Max is the only one that dares question Cecilia's new-found
authority.
                                                            
                       MAX
You're letting him go. He can
destroy us all.
                                                            
In a split second, Cecilia has Max flat on his back and the
heel of her boot against his throat.

From inside the

ELEVATOR

Ian looks back and sees Cecilia's hold on Max.
                                                            
                                         FLASHBACK TO:
                                                            
 

87.

INT. THURSTON FAMILY LIVING ROOM - NIGHT
                                                            
A middle aged male, JORDAN, lies on the floor, a black boot
crushing his throat. He's still alive. Barely.
                                                            
                       JORDAN
      (suffocating)
Don't hurt my family.
                                                            
The boot comes off his throat, giving him a reprieve. Then
it comes down on his face, the heel piercing through his
left eye.
                                                            
                       YOUNG IAN (O.S.)
Dad!
                                                            
The boot's owner, Cecilia, whips around to find Young Ian
peeking out from behind an overturned sofa.
                                                            
BACK TO PRESENT
                                                            
Ian has a knowing look on his face as the elevator doors
close.

Before he can press a button, the elevator lurches upward.
                                                            
Ian turns his attention to Belle. Looks down at her still
form in his arm.

Her eyes slowly open to reveal that they are an intense
shade of purple.

Before Ian can react, she sinks her fangs into his neck.
                                                            
                       IAN
No!
                                                            
The elevator comes to an abrupt, SCREECHING halt.

The light overhead flickers, then goes out.

Everything goes BLACK.
                                                            


FADE OUT.


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