13 Hs Vengeance

8/3/2019 13 Hs Vengeance

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Copyright: 2009 [email protected] www.davidandrewjohnson.com

HAYWARD SANITARIUM EPISODE 13 "VENGEANCE"

By

DAVID JOHNSON

Based on characters and story by Matthew Baucco and David Johnson


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TEASER

FADE IN:

INT. ABANDONED SUBWAY TUNNEL -NIGHT

Drip, drip, drip as water falls into a DARK PUDDLE.

Suddenly, the water splashes as a nasty RAT scurries acrossit. The camera pans across the dank dark surroundings andsettles on GRANDMA and GRANDPA ATWATER. They are comfortingtheir five year-old granddaughter, JENNY, who whimpers asshe sleeps fitfully in the murky filth.

GRANDMA(whispering)

The poor dear, at least she'ssleeping now. Oh, Henry, I'm sofrightened. What do they want withus? Why do they torture us so?

GRANDPAShhh, Ellie. I don't know, I justdon't know. But we have to staystrong, dear. For Jenny's sake ifnothing else.

GRANDMAI know, I know. You read about thesethings in the papers. I neverthought anything like this could...

Grandma breaks down and cries softly, Grandpa moves tocomfort her. Neither notices a dark figure moving out of theshadows behind them, MARIA CACADOR. She is a strikingLatina, dressed in stylish black clothes.

GRANDPAThere, there, dear.

MARIASo touching. If I could cry, I justmight be moved to tears.

GRANDPAYou're a monster! Why are you doing

this to us? What do you want?

MARIAI suppose I'm just a mad, impetuousfool.

GRANDMAPlease, we need something to eat. Atleast for the girl.


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MARIA(stoops over the girl,stroking her hair)

Hmm. You may be right. We can't havethe poor darling wasting away now,can we? Such a lovely little lady...Oh, my. She seems to have cut

herself, hasn't she?

Maria smiles and licks her lips lasciviously as she peelsaway the strip of Grandma's dress that was used to dress thelittle girl's wound. Without a sound, JEAN ST. GERMAINEseems to glide up behind her.

JEANMaria.

MARIAJean! You're back at last.

JEANNone too soon, by the looks of it.Come.

GRANDPAWait! The food! Please, have mercy.

MARIAHold your tounge, old fool.

Jean tosses a PACKAGE wrapped in butcher paper to the groundin front of the cowering old couple.

JEANThere, Mr. Atwater. We will leaveyou to eat in peace.

Jean takes Maria by the arm and whisks her away from theAtwaters with supernatural speed.

MARIAYou are too kind.

JEANI am practical. They must have

sustenance.

MARIAAnd me? Am I to remain in this holeforever?

JEANThe tunnel serves our purpose, andthe Father's.


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MARIA(frustrated)

Arrrgh. I escape that prison only tocower here in this... place. I growweary of this waiting with the rats.I want blood, Jean. I, too, havehunger.

JEANGo then. Kill and sate yourself. Iwill remain here to watch the childand her grandparents.

MARIAA meaningless kill will bring me nosatisfaction. I have sweetercravings.

JEANAtwater is not to be touched. Be

patient.

MARIADo not speak to me of patience! Iwill have my revenge, Jean. And itwill be sweet.

END TEASER

MUSIC and INTRO

VOICE OVERThere are some areas of the humanmind, and indeed of the world welive in, that were never meant forinvestigation. There are alwaysthose who delve into the darkerworlds of knowledge, and many paywith their sanity for theirinterest. Some of these unfortunatesare taken in by the HaywardFoundation, an organization thatstudies paranormal experiences andtheir effects on humanity. It iscases such as these that are sent to

a restored mansion in a smallcoastal town in Maine, a center forthe care and study of the insane.Since the 1920's this place has beenknown as...The Hayward Sanitarium.

ACT ONE

FADE INTO:


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INT. SHERIFF'S OFFICE -DAY

SHERIFF TRUMBLE opens his office door and walks out into thestation house with AGENT RYAN and AGENT GRAF. The station ispacked with law enforcement personnel going about theirbusiness. The Sheriff's few DEPUTIES are scrambling abouttrying to deal with them.

SHERIFF TRUMBLEWell, I hope you can learn somethingfrom them sanitarium files, boys.You did get copies to the marshalls,right?

AGENT GRAF(nods)

Yep.

SHERIFF TRUMBLEFine, fine. You can tell your people

to drop 'em by the storeroom.

AGENT RYANI'm not exactly sure they will allfit.

SHERIFF TRUMBLEWell, they've cleared it out and setup some copiers in there. They'lltell you where to stack the boxes.It's a whole operation.

AGENT RYAN(looks around the room)

This breakout is really bringingthem out of the woodwork. A lot ofdifferent agencies have ties to theSanitarium in one way or another. Ican't believe some of the psychosthey've got locked up in there.

AGENT GRAF(mutters sarcastically)

If they could keep them locked up,that is.

AGENT RYAN(ignores the comment)

Sheriff, what's it like having aplace like that in your backyard?

SHERIFF TRUMBLEHuh. Well, I don't suppose you spendmuch time thinking about it, really.


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The Hayward name has just alwaysbeen a part of the geography aroundhere, one way or another.(searching) I suppose we just mindour own business in these parts.

AGENT RYAN

So you think it's perfectly normalliving next door to a madhousepacked with lunatics who think theyare the walking dead?

AGENT GRAFHomicidal lunatics.

AGENT RYANWell, not all of them are convictedkillers.

AGENT GRAF

Convicted serial killers.

AGENT RYAN(has had enough)

Well it would creep me out.

SHERIFF TRUMBLEWell actually...

Just as Trumble is about to go into a long-winded story,DEPUTY MORRIS rushes up waving some papers in his hand.

DEPUTY MORRISJust came over the wires from downsouth... shots fired at the Bostonwaterfront...

SHERIFF TRUMBLEMorris, what do we care about thatlongshoreman riff-raff at a timelike this?

DEPUTY MORRISThe FBI sent it... to them.

AGENT RYANLet's see...

Ryan deftly plucks the papers the papers away and glancesthrough, handing pages to Graf.

AGENT RYANSays here three men fled harbourpolice... they might match up


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against Atwater, Cardamon andO'Brien.

AGENT GRAFThank you for your time andassistance, gentlemen. It's been anabsolute pleasure working with you.

SHERIFF TRUMBLEYou don't mean to tell me that youhonestly...

AGENT RYAN (OVER HIS SHOULDER)We'll be in touch.

CUT TO:

EXT. CITY STREET OUTSIDE ST. JOHN'S MISSION -DAY

DERMOTT O'BRIEN and DR. RICHARD ATWATER make their way down

a street in a depressed inner city slum. The day is cold,grey and bleak, and they have been out too long in it.

DERMOTTMan, my feet are killing me.Wakefield and I may wear the samesize suit, but these shoes areanother story.

ATWATERHow much farther is this place?

DERMOTTJust up there, on the next block

Among the desolate boarded-up windows, run-down shops andliquor stores that crowd the littered block, the MISSION isan unassuming, plain red brick building that at once vaguelyresembles a school, a church, and a fortress. As they getcloser, there are several homeless and destitute people --some drunk, some down and out, and some out of their minds.

Atwater stares as they walk past MICHAEL, a tall homelessman in a tattered and grimy black overcoat who lurks in theshadows of an alley next to the building. He clings to the

corner and watches them pass with haunted eyes. He suddenlyshouts

MICHAELRepent!

They stop, turn and look at him.

MICHAEL


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(whispers harshly)Repent. Repent. The end is at hand.But it's not too late.

He stares intensely at them and then suddenly drops hiseyes, turns to the brick wall and begins examining it,ignoring them completely.

DERMOTT laughs shortly to himself, shakes his head, andsmiles.

DERMOTTThink he could use a shrink, doc?Come on.

They continue up the street past a filthy hobo with a longbeard and grey hair with an uncontrolled tick, he may eyethem suspiciously or stare completely through them, it isimpossible to tell the difference. Closer to the door, thereis a small group of winos standing around smoking, some are

very drunk and some are also belligerent because the missionwon't let them in until they are sober. Dermott grabsAtwater and pulls him past to the heavy metal and glass doorand opens it.

INT. MISSION FOYER -DAY

They pass through the door into a small foyer that serves asa lobby with a few mismatched old chairs and some dog-earedancient magazines strewn about. The mission is worn andinstitutional in appearance, but clean and stark. Hand-madeposters decorate the walls and a bulletin board withannouncements pinned to it. There is a desk. The ATTENDANTstands near it, intently looking out the windows at thegroup outside.

ATTENDANTHow's it going, guys?

ATWATERIt's been better.

ATTENDANT(turns to them)

Yeah.

(sizes them up, returns hisgaze to the window, then, asif to himself)

You can say that again.

DERMOTTCome on Doc, This way.

They walk on. Past the foyer is a long hallway that


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continues back and a flight of stairs up. They walk down thehallway and turn into a room with racks and boxes of usedclothing and other thrift shop items. A couple of bums arelooking for coats. Dermott heads straight to the boxes ofshoes and starts pawing through them.

DERMOTT

Ugh. Wingtips.

ATWATERSo you really want to spend thenight here?

DERMOTTThey wouldn't take kindly to ussleeping at the library. Got anybetter ideas?

ATWATERNot really.

DERMOTTWe're about as hot as it gets rightnow, Doc. The coppers will probablyshow up here sooner or later, but wemight get away with hiding in plainsight.(takes out a pair of shoes)These aren't bad.

ATWATERYou're not going to wear those?

DERMOTTNope, too small. Damn. We might besafe from your girlfriend and herkissing cousin for a while here too.Popular theory holds that vampiresand religion don't mix.

ATWATERI'm not so sure about the wholecross and holy water bit.

DERMOTT

You've already accepted theexistence of vampires andwitchcraft. Can't you get your headaround this? It's just the otherside of the same coin.

ATWATERBut...


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FATHER SHEA (O.S.)Someone must have put something inthe sacramental wine, because I'mseeing things. Is that DermottO'Brien?

DERMOTT

And one more thing, I know thepriest who runs the place.

ATWATERFigures.

FATHER SHEA is at their side. He takes Dermott by the armsand squeezes his shoulders warmly, looking him in the eye.Shea is a big, powerful man, like a heavyweight boxer. Hehas a keen eye and a hard smile.

FATHER SHEABrother James told me you were back

here.(looks him deeply in the eye)

I heard about your escape from thesanitarium. Are you well?

DERMOTTWell enough, Father. Thanks to him.This is Dr. Richard...

FATHER SHEAAtwater. Right. I'm Father PeterShea. Is Cardamon with you, too?

DERMOTTUh, no. Long story.

FATHER SHEAProbably not that long if you skipthe part about the wharf shooting.

ATWATERWhat are we, front page news? JesusChri-

He stops short at the Father's raised eyebrow.

DERMOTTFather Shea has a way of knowingabout things.

FATHER SHEAOne does hear a great deal in aplace such as this. But noteverything. Put Cardamon on a ship


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then, did you?

Atwater looks nervously to the bums picking through coats.

ATWATERMaybe we should talk about this in amore private setting.

FATHER SHEAYou've nothing to fear within thesewalls, Doctor. But we could be morecomfortable. Have you found a pairyet, Dermott?

Dermott holds up a pair of worn black boots.

FATHER SHEAThen let's go. It's almost dinnertime.

EXT. MISSION YARD, DAY

They walk out, Father Shea pats the bums on the back as theypass. A side door takes them to a courtyard. Much more thanit seems from the street, the mission is serval buildings,including a stone church. The courtyard is packed dirt andstone from heavy traffic. Any plant life is brown andleafless. The setting sun cuts through the grey clouds andcasts a red glow as they walk towards the soup kitchen.

FATHER SHEAThe law was here looking for youalready. They will be back, ofcourse, but you will be able to passthe night in peace, should you wishto stay with us.

ATWATERThank you, you're very kind.

They come to a pause near a statue of the Virgin Mary.

FATHER SHEAThis is a place of sanctuary,Doctor. And you are clearly in need.

DERMOTTYou're right there. We have more toworry about than the cops, Father.

FATHER SHEAGiven your history, that doesn'tsurprise me. Who's after you, then?


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DERMOTTThe doc's daughter and parents havebeen pinched by a couple ofvampires.

ATWATERDermott! He'll think we're nuts!

FATHER SHEAVampires? Must be from out of town,we cleared the last ones out of hereyears ago.

ATWATERWhat!?

DERMOTT(businesslike, ignoresAtwater)

Then you haven't heard anything?

FATHER SHEANo, but we'll see what we can findout.

ATWATERWait a minute, you cleared them out?

FATHER SHEA(smiles kindly)

I'm sure Dermott can explain in duetime. How did you run afoul of them?

DERMOTTShe was a patient in the sanitarium,Maria Cacador.

FATHER SHEAAh yes, the so-called "VermontVampire." The accounts were sooutlandish, we never gave her muchcredence. She's really undead?

DERMOTTIt would seem so. The Doc hypnotized

her and I guess she ended upspilling a few too many beans.There's some link between thevampires and Morrow Industries.

Dermott pulls some papers from his overcoat and hands themto Father Shea.

DERMOTT


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We've been reading up on thecompany. They don't leave much of apaper trail, but what we could findlooks pretty nasty.

FATHER SHEA(leafing through)

I'd say so. Chemical weapons,biological agents... quite aportfolio. Deadly and diversified.

DERMOTTAye, their tentacles seem to reacheverywhere.

FATHER SHEAIndeed. Very, very interesting.There's two of them you say? Haveyou seen the other one?

ATWATERYes. He threatened to turn my littlegirl into a vampire.

The strain ATWATER is under is obvious. FATHER SHEA puts ahand on his shoulder and gives him a comforting smile.

FATHER SHEAWell, we'll have to see about thatthen, won't we?

ACT TWO

EXT. SANITARIUM GROUNDS - SUNSET

The sanitarium was once the mansion of home of the Haywardfamily, an impressive gothic structure set back in the woodson the high ground outside of the tiny seaside hamlet of NewBistol. HALLEY BROOKS and JOHN AJEMAN walk along the rockywooded bluffs above the crashing ocean waves, discussingtheir situation. In the background, the sun sinks slowlybehind the sanitarium, peeking through the gathering clouds.

AJEMANYeah, the tape cuts out when the

fireworks began. My recorder shortedout, along with everything elseelectrical in the room. I can't evenbegin to describe it.

HALLEYUnbelievable.

AJEMAN


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I can't say anything is unbelievableanymore. One thing is certain,Atkin's death was not of "naturalcauses."

HALLEYSo it's safe to assume that the

Fraternitas Trinacrea is still verymuch active.

AJEMANAnd probably safe to assume that weare anything but safe if we keepchasing them.

HALLEYJesus. What have we gotten ourselvesmixed up in?

AJEMAN

Something a lot more serious thandocumenting cold spots in oldhouses.

HALLEY draws to a stop and looks JOHN in the eye.

HALLEYJohn, what if there is a member ofthe Fraternitas working some hiddenagenda here?

AJEMANAt the sanitarium?

(his eyes widen and heforcibly exhales at thethought)

Now that's really scary. From whatAtkins said about initiatescollecting souls to amass power andknowledge, the inmates would beperfect fodder.

HALLEYIt would go a long way to explainingthe things that have been happening

around here lately. I wonder ifRichard and Justin unknowinglystumbled onto something.

AJEMANHeaven help them if they did.

CUT TO:


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INT. MISSION SOUP KITCHEN

Beneath a gory crucifix on the wall, ATWATER and DERMOTTwash dishes with the cleanup crew. A DISHWASHER supervisesthe clean up.

DISHWASHER

Yessir, yessir. You got the hang ofit now. 'Round here everyone pitchesin. We'll be through this in notime.

ATWATERMany hands make light work, huh?

DISHWASHERYessir, yessir.(shouts O.S.) Youmake sure that food's wrapped upgood before you put it away. (backto Atwater) 'Scuse me.

He departs to help pack up the leftovers.

ATWATERThought he'd never leave. I have anMD and a PhD, I know how to washdishes.

DERMOTTYou missed a spot.

ATWATERShut up or I'll soak you.

DERMOTTGo soak yourself, and don't forgetto wash behind your ears. They don'tlet grimy lads into vespers.

ATWATERHah. Me in church.

DERMOTTCare to bet on a lightning strike?

ATWATERListen to you, you're pretty funnywhen you aren't all whacked out ofyour head.

DERMOTTDon't let it get around, I have areputation to keep.


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ATWATERWhich keeps growing daily. You'vegot to tell me about Father Shea.What was all that stuff aboutvampires?

DERMOTT

Father Shea and the brothers herefollow a rather rare and forgottenorder. They kept a bit closer withsome older orthodox and traditions-- they're monks, warrior priests.They tend to keep tabs on the occultand other more nasty things mostpeople are better off not knowingabout.

ATWATERSeriously?

DERMOTTSeriously. They're a fairlysecretive lot. The Knights of St.John the Hospitaller were crusaders,you know, then there's theconspiracy theories of the Templarsand all that bullshit. But this oneis real, doc. I suspect the orderjourneyed from the Holy Land northto the Carpathians and becameclandestine sometime after thesecond crusade. We've known eachother since school, but since takinghis vows, Shea's always been carefulto steer clear of any specifics withme, given my research interests.

ATWATERNaturally. But it sounds like he'swilling to help us.

DERMOTTOh, he'll help us if he can, buteven a devout atheist such asyourself must know what these kinds

of blokes think about those who helpthemselves.

CUT TO:

EXT. ST. JOHN'S CHAPEL (NIGHT)

The moon rises above the small stone chapel. The simplestained glass windows are dimly lit from within. It looks


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spooky.

INT. ST. JOHN'S CHAPEL

FATHER SHEA and the BROTHERS sing the vespers, in Latin. Thechapel is lit by multitudes of candles, smoke from incensefills the air, the trappings and religious furniture have a

Byzantine flair to them.

The ICONS that adorn the walls are at once beautiful andgrotesque, disturbing. The FACES seem to stare straight intoATWATER, who sits uncomfortably in the back with DERMOTT. AsDermott follows the service completely by memory, Atwatertakes particular note of the STATIONS OF THE CROSS, theirstylized depictions convey the violence in an unsettlingway. The candle light flickering across them plays tricks onATWATERS eyes, which widen as FIGURES seem to actually moveand look back at him.

CUT TO:

INT. ABANDONED SUBWAY TUNNEL

JEAN walks slowly but purposefully down a dark tunnel, hisfoot steps splish and splash in the standing water. MISTbegins to rise around his feet as he walks, curling aroundhis legs like tentacles. He draws to a stop, the mistenshrouds him, obscuring everything and then drawing back toform cavern walls. The clouds swirl and form shapes likewolves and bats and rats which seem to disappear as soon asthey materialize.

JEANFather, are you with me?

A pair of glowing RED EYES appear in the mist in front ofand slightly above Jean's line of sight. The deep, hollowvoice of the DARK FATHER answers him.

DARK FATHERThe time draws near. You have donewell.

JEANI fear for our gambit's success.

DARK FATHERFear naught, my child, for we arefear.

JEANBy the blood, Father. By the blood.

CUT TO:


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INT CHAPEL NARTHEX - NIGHT

As THE BROTHERS pack up the chapel after vespers, BROTHERJAMES leads DERMOTT and ATWATER into a small staging areabehind the altar where robes are hung and other religiousfurniture is kept.

BROTHER JAMESSo it's vampires? Hard to get rid ofthem. Haven't had any around for awhile.

While he is talking, Brother James opens a tall and ornatelycarved wooden WARDROBE. He draws some odd costumes to theside and reaches deep within. He looks upward as he operatessome mechanism by feel and then steps inside and disappears.ATWATER and DERMOTT look at each other in surprise for amoment until James pokes his head out and says,

BROTHER JAMES

Well, don't just stand there. Comeon.

ATWATERBut I forgot my winter jacket.

DERMOTT(Heading in)

Huh?

ATWATER(heading through)

Chronicles of... Nevermind.

They pass through and emerge into...

INT. ARMORY

Brother James is lighting LAMPS. As the dim lights come up,Dermott and Atwater see rows of LONG PIKES, SPEARS andSWORDS gleaming in racks along the walls of the close room.There are suits of CHAIN MAIL and WHITE ROBES with the redcross of the Templar and SHIELDS with other coats of arms

representing various orders of religious and crusadingknights. They are not replicas.

Brother James draws an ornate SWORD from a sheath anddisplays it with a close, subtle flourish effortlesslyindicating his vast proficiency with the weapon.

BROTHER JAMESThis one is tempered with silver, it


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is fairly effective. But you stillneed to stake them once you've cutthe head off, of course.

ATWATER(Parrots quietly)Cut the head off...

BROTHER JAMES(looking down the blade)Yes. Some swear by decapitation. Wehaven't been able to verify thatreally. But stuffing the corpse withgarlic and wolfsbane is actuallynecessary, though. Not asuperstition there. We're collectinga supply from the garden for you.

ATWATER(Clears throat)

Ahem.

DERMOTTThe blade is spectacular. Even tountrained eyes like ours.

BROTHER JAMES(looks at them sideways and quicklysheaths the sword)I see. Firearms, then. What caliber?

Dermott reaches within his coat and pulls out his BLASTER, asawed-off double-barrelled shotgun with the stock removed soit is a hand cannon.

DERMOTTTwelve gauge.

BROTHER JAMESI believe we can provide suitableammunition for this.

Brother James goes to a large gun cabinet and unlocks anantique but perfectly maintained pad lock, inside variousantique and more modern GUNS, from matchlocks to machine

guns, are displayed neatly. He takes a substantial handfulof SHELLS from a drawer and gives them to Dermott, who loadsup.

DERMOTTPerfect.

BROTHER JAMESAgain, the shot is silver. You have


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stopping power, but you'll need todrive the stakes through theirhearts to bring the true death.

Brother James hands Atwater a LEATHER BAG. Atwater reachesin and pulls out a smoothly finished wooden STAKE. BrotherJames continues to pull items out of the drawers and

cabinets and hands them to Atwater who stuffs them in thebag one after the other. He pauses to look at a leather beltwith CRYSTAL FLASKS like grenades.

BROTHER JAMESYou can fill them at the font in thesacristy.

CUT TO:

INT. ST. JOHN'S CHAPEL

ATWATER submerges the crystal vials in a stone FONT of holy

water. He is not comfortable.

ATWATERHoly water.

FATHER SHEA appears behind him.

FATHER SHEAHave a little more faith, Doctor.You knocked and this was the doorthat was opened.

ATWATERI am not a religious man, Father.Far from it. I am a man of science,of reason. I never asked for any ofthis to happen.

FATHER SHEANone of us really know what we'reasking for, or even when we areasking. Few are aware enough torecognize the path they are on. Weall need faith, in each other, inthe seen and unseen.

ATWATERI'm sorry father, there is no god. Idon't just believe it, I know it.

FATHER SHEAOh, but I assure you, I know thereis a god. And not just one, thereare many. As a man of science, you


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know that there is knowledge beyondyour scope, that still escapes yourscientific definition. Science tendsto say this is just undiscoveredterritory. But, perhaps you mightconsider faith and belief as forcesof nature, forces that connect our

natural world to other supernaturalworlds. But, really, that's not whyI came. I believe I have otherinformation of a more pressingnature for you.

DERMOTT and BROTHER JAMES come walking down the aisle.

ATWATERYou know where my family is?

FATHER SHEAPerhaps we have a lead. James, do

you remember just the other day whenwe were remarking about the increasein stabbings and thought how strangewas the sudden popularity of knivesamong the south neighborhood gangs?

BROTHER JAMESAh, yes. Of course. They're feeding.

FATHER SHEAI talked to a fellow who sometimesresides under an overpass in thearea. (gestures O.S.) Michael, wouldyou come here please.

MICHAEL, the scary crazy homeless guy from the alleyshuffles in, his posture is odd, he is hunched over perhapsdeformed. He twitches and has a tick. His long, matted hairpartly obscures his face and he doen't make eye contact.DERMOTT and ATWATER exchange a glance.

FATHER SHEAFrom what I gather, Michael has seensome comings and goings from an oldaccess tunnel in one of the more

deserted areas of town south ofhere. I expect that they've got yourfamily in some sort of subterraneanlair... Storm drain junctions getquite large near the water, or anold subway tube.

DERMOTTSounds cozy. Can you point us in the


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right direction?

FATHER SHEAI think we can do one better thanthat. Michael, are you still willingto guide these men?

MICHAEL(twitches and mutters to self)Yea, though I walk through thevalley of the shadow of death, Ishall fear no evil.

DERMOTTI suppose that's a yes.

ATWATERWell what are we waiting for? Let'sget going.

ATWATER slings the bag over his shoulder and starts pushingMichael for the door.

BROTHER JAMESMind your haste, Doctor. Midnight isfast upon us, and the beginning ofthe feast of St. George.

DERMOTTWe haven't a moment to lose. Thanksfor everything.

FATHER SHEAYou're welcome. Go with God,Dermott, and keep your wits aboutyou.

Father Shea presses a CRUCIFIX into Dermott's hand. DERMOTTlooks touched for a moment, then a wry smile cracks hislips. He trots for the door and calls over his shoulder.

DERMOTTI'll be seeing you boys... In thisworld or the next!

FATHER SHEA and BROTHER JAMES share a look: Heaven andSaints preserve them.

ACT THREE

EXT BAD NEIGHBORHOOD, EMPTY STREETS -NIGHT

MICHAEL shuffles ahead of ATWATER and DERMOTT.


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ATWATERI'm not sure what we're going to do.You've got a gun, maybe the sight ofthe stakes and holy water and othertrappings will strike a chord withMaria's delusion. It could offer anadvantage.

DERMOTTWhat? Are you still trying to clingto the "rational explanation?"

ATWATEREvaluating Maria's psychoses is onething, but this other guy...

DERMOTTHe's a vampire, doc.

ATWATER

"Vampires" or not, they'redefinitely kidnappers and they havemy daughter. Maria Cacador is aremorseless psychopath who's killeddozens of people, and she's got mylittle girl. I'm calling the police.

ATWATER starts to head for a nearby pay phone, Dermott grabshim.

DERMOTTCall the cops? Are you out of yourbleeding mind?

ATWATERComing from you, I don't know how toanswer that.

We can now really see Dermott for the first time, undrugged.Devin wants him because Dermott really walks in the rift.He's been there. He knows. Not only has the fog has lifted,he's almost got it all figured out.

DERMOTT(Grabs ATWATER and starts

screaming at him)Damn it man! Don't you get it? It'sREAL. It's ALL real. That IS theonly rational explanation. Theboogey man was always under yourbed. You didn't just imagine it. Iknow, and without any doubt, becausehe's been trying to set up camp inmy freaking head. Vampires, witches,


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deamons, the monks, whatever, that'sjust the beginning. This is no warbetween good and evil, it's everyonefor themselves. I know that, I'veseen it with my own eyes. Why elsedo you think he's picked me? Why doyou think they picked you?

ATWATER(Grits his teeth)

Right now, I don't care why and Idon't have time. All I know is, Ihave to do everything I possibly canto save my daughter's life. That isthe only thing that matters. I can'tjust go in there and face down aserial killer. For God's sake. Lookat me, I'm no vigilante.

DERMOTT is about to say something more, but he stops short

and thinks and then lets go of ATWATER.

DERMOTT(sighs)All right, make the call andlet's go. If you ever want tosee your daughter alive again,we've got to get there beforethe cops.

CUT TO:

EXT. OVERPASS -NIGHT

MICHAEL runs down the empty street in a shuffling gait witha wild look in his eyes. He casts a quick glance over hisshoulder to see that DERMOTT, who is far behind, can see himand he leaps over the guard rail, disappearing into thedarkness. Dermott runs up to the place where he jumped andcomes to an abrubt halt, breathing audibly. He looks backand breathes and exasperated sigh as ATWATER comes runningup.

DERMOTTIs the cavalry on the way?

ATWATERI think the dispatcher thought I wascrazy.

DERMOTTHah. Fancy that. Come on.

DERMOTT and ATWATER leap over the guard rail and stumbledown the steep slope in the darkness. They come to the


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bottom and look around the graffiti and garbage that hascollected at water's edge. MICHAEL slips into a sewer grate.

ATWATER just goes in after him but slows once he is in thetunnels. Spooky descent into darkness as the light from theopening shrinks behind them. MICHAEL is far ahead and soondisappears in the darkness. There's no catching him, so they

keep venturing forward. The walls are dripping, rats scurry.They creep slowly through the twisting tunnels. It is scary.

ATWATERI don't see him at all anymore.

DERMOTTJust keep going forward.

ATWATERI don't think there's any worryabout the cops. No one will everfind us down here. Right, Dermott?

Dermott?

While Atwater is talking, a pair of HANDS just comes out ofthe darkness and grabs DERMOTT and pulls him into theshadows silently. ATWATER turns around and he is gone. Hebecomes very quiet, his eyes wide. Completely tense. Hecontinues forward, looking behind him nervously. The tensionkeeps building. The darkness is closing in around him.

Soon, He comes to a somewhat large area with a number ofdifferent tunnels out in different directions. GRANDPA,GRANDMA and JENNY are there. JENNY is dilerious, she needshelp in a bad way. ATWATER rushes to them and they allembrace. He looks at JENNY, lying in GRANDMA's lap, puttinghis hand on her forehead and examining her.

ATWATER(takes her pulse)

It's so weak. She's so cold. Howlong has she been like this?

GRANDMAWho knows son? We don't even knowwhat day it is.

ATWATERWe've got to get out of here, rightnow. Can you walk?

GRANDPAWalk? We'd better run, son.

ATWATER gathers JENNY in his arms, they get up and head forthe tunnel where Atwater entered. MARIA is standing there


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nonchalantly. She's been watching them.

MARIAAt last, the prodigal has arrived. Ithought you'd never get here. Itisn't nice to keep a lady waiting.

ATWATERMaria, this has gone far enough.Now...

MARIAOh, we're just getting started,darling. Now that you're here.

ATWATERI am taking my daughter and myparents out of here, Maria. Standaside. The police are on their way.

MARIA(walking coyly towards them)

Oh, Richard, you're so adorablydelicious. I could just eat youalive.

GRANDPAWe can take her together, Richie.We've got to. Before the other onecomes back.

MARIA(hisses)

You doddering old fool. That's theproblem with you humans. You needthe wolves to cull the young, oldand weak from the herd. Hmmm. Young,old... Which one does that make you,Richard darling?

GRANDPA makes his move and tries to grab MARIA. In thestruggle, which isn't really, GRANDPA suffers a heart attackand slumps, clutching his chest.

GRANDMA runs to him, starts wailing and crying and

screaming.

GRANDMAOh, dear God, no! No, no, no! Don'tleave me, please don't die! I'm notready!

MARIA sighs audibly and slowly crosses to GRANDMA. Shereaches down and grabs her by the throat, digging her


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fingernails in and lifting her to her feet.

MARIAYou old hag. Will you please shutthe hell up?

MARIA stares meancingly into GRANDMAS eyes. Then she throws

her hard against the stone wall behind her. GRANDMA slumpsdown on top of GRANDPA's body. MARIA turns towards RICHARD.

MARIAFinally. Some peace. I don't knowhow you could grow up with a shrewlike that for a mother, Richard.

RICHARD(whispering, tears)

Oh my god. Oh no.

MARIA

(so smug, so happy)What? What's that you say? Are youtrying to pray, darling? Just when Ithought you couldn't get anysweeter.

She crosses to him and strokes his cheek. Touching thetears, looking at them curiously on her fingertips. Then shedirects her gaze at Richard and her eyes go vacant and hardjust before she deals him a savage blow. ATWATER and JENNYfall to the ground. MARIA picks ATWATER back up to his feetand hits him again. and again. and again. ATWATER falls tothe ground, bleeding. MARIA gasps, and her eyes open wide asshe licks her lips.

MARIAFinally. Oh, Richard. You smell...so... good.

She sits astride him, falls into a longing gaze and touchesthe blood with quivering fingers. She brings her bloodyfingers to her lips and rubs them. Her eyes half close andthen become wanton.

MARIA

I know you've wanted this as much asI have.

KABOOOOM. MARIA is shot in the back and jolts violently,falling off of ATWATER. As she falls, DERMOTT is standingthere, still pointing the hand cannon with a smoking barrel.Dermott doesn't look good, he's taken a beating and canbarely stand, but he's alive and kicking.


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ATWATER drags himself to his feet, sputtering. He grabs thebag, pulls out a stake and limps a bit over to MARIA'sbloody body.

ATWATERI never wanted this. Any of this.You're evil, Maria.

MARIAAnd still the sweet talk.

DERMOTTDo it Doc. How do you like yourstake, bitch?

MARIAYou pathetic man. He can't kill me.He couldn't hurt a fly. That's whyyou need me, Richard. To make youmore.

RICHARDNo...

MARIAYes.

DERMOTTGod damn you.

JEAN appears from the shadows above them. MARIA uses themoment to whomp on ATWATER and leaps to her feet. ATWATER isout cold.

JEANToo late. Already damned.

MARIA(laughing)

Ha. Wonderful. Jean, you can havethat one. But, this one is all mine.And you thought you'd kill me, youpuny little thing.

JEAN

Actually Maria, darling, he thoughtright.

MARIAWhat?

JEANI've been asked to inform you thatthe corporation has made some hard


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decisions. Unfortunately, yourservices are no longer required.

MARIAHow dare you?

JEAN

No, how dare you? This vendetta ofyours. You thought to give him theblood? Mr. O'Brien, please, goahead, do your worst.

She makes a last lunge at DERMOTT and he blows her face offwith the other barrel. BOOOOM.

DERMOTTDecapitation. Swear by it.

DERMOTT is out of shot, puts his hand in his POCKET slowly.JEAN knows he has the advantage. ATWATER is messed up,

slowly coming around. Face off time.

JEANNow, what am I going do with youtwo? Mr. OBrien, please. You can'treload fast enough.

DERMOTT pulls his hand out of his pocket. He's holding theCRUCIFIX. A smile spreads across JEAN's poker face. He stilllooks supremely confident, but he doesn't make any moves.

JEANHow quaint. I haven't seen one ofthose in years.

DERMOTT can't read him. JEAN inhales sharply and smileswolfishly.

JEANI love the smell of fear.

Face off is over. Here he comes.

DERMOTTOh, Shit.

JEAN lunges and is intercepted by MICHAEL, who appears fromno where and repels him with power and grace, a warrior'smove. JEAN is flipped and rolls into a corner but lands onhis feet, back to the wall. He comes up unsure of what hithim, on full alert ready for combat.

MICHAEL circles backwards. Standing at full height, he is asuddenly a surprisingly huge and meanacing presence. His


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tangled hair not obscuring his face, we see he is boyish,clean shaven. He looks like Michaeangelo's David, evokesthoughts of renaissance statues. His skin even seems toglow, smooth like polished marble. He is serene, but thereis no doubting the fire in his eyes. He is ready for battle.

JEAN

Who are...? You dare to...

MICHAEL stares through him. Shock and disbelief spreadacross JEAN's face, he recognizes Michael and lookssuspiciously at him. He clearly respects him.

JEANWhy are YOU here?

MICHAELYou can't have these two.

JEAN

(sneeringly)The father bids me. You would bewise to stand aside...

JEAN flies through the air with a snarl and attacks MICHAEL,His fangs are bared and nails tear at him like claws. He isferal, vulpine, undoubtably a vampire. The attack isbeastly, sudden and savage, he crawls and writhes all overthe tall man tearing at MICHAEL's skin and clothes until hefinally casts him off and throws him to the ground.

JEAN lands again on his feet in a feral crouch, fangs bearedand hissing. MICHAEL steps on an old piece of 2x4 lumber,smoothly flips it up into the air with his foot and catchesit in midair. He cracks it sharply against the wall so itsplinters to a point and starts spinning it around like a bostaff as if it weighs nothing and moves in gracefully toattack. JEAN takes a brutal beating with multiple blows tothe body and head until he is backed into a corner and can'tget up. MICHAEL looms above him, poised to run the woodthrough JEAN's CHEST.

MICHAELYou are old, but not nearly oldenough. You know nothing, cast out.

There is more at stake here than youand your brood could possiblycomprehend.

JEANWould you go to war over thesepathetic humans?

MICHAEL


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And you would know defeat yetanother time. Tell your master, thefallen ones and their children arecommanded to stay away.

JEANOf course I will.

JEAN is beaten, bloody, and pissed. Mist begins to rise andswirl around his legs.

JEANUntil we meet again, avenger.

JEAN flies away into the dark and disappears with a whooosh.DERMOTT picks up the WOODEN STAKE and plunges it intoMARIA's CHEST. He starts spreading the WOLFSBANE on top ofher.

ATWATER (COMING TO)

What...

DERMOTT crosses to where ATWATER has fallen. As he stoops toaid him, he sees a white FEATHER with blood spattered on itin the muddy puddle on the ground. He looks towards MICHAEL,who has resumed his previous seemingly insane posture, historn coat arranged to conceal what may appear to be ahunched back.

DERMOTTEasy, Doc. Looks like your guardianangel's got you covered.

He looks up, but MICHAEL is gone. Instead, AGENT GRAF andAGENT RYAN are running down one of the access tunnels,flashlights moving up and down.

AGENT GRAFFreeze! FBI!

DERMOTTSure, sure. We're frozen. No cops,just two G-Men?

AGENT RYAN

(looking around)Yeah. Well, honestly, Metro PDthought it was a crank call.

AGENT GRAF notices MARIA'S BODY

AGENT GRAFWhat the hell?


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ATWATERHell is exactly what it is.

DERMOTTWould you believe it was selfdefense?

AGENT GRAFSelf defense? You stabbed her with astick and covered her in weeds inself defense?

AGENT RYAN(with Atwater's parents)

The old lady still has a pulse. Theguy is gone.

ATWATEROh, god. Jenny.

He crawls over to her.

AGENT GRAFNot so fast, Doctor.

DERMOTTCheck her neck for bites.

AGENT GRAFWhat?

ATWATERNo. I don't see anything.

DERMOTTGood. Look, guys. You may notbelieve me, I have a lot of respectfor you. So I'm going to level withyou. This is how this goes down:You've got to get them to ahospital. And we have to get to theSanitarium.

AGENT GRAF(laughing)

How is that going to happen?

DERMOTTWe need to get there as soon aspossible or there will be Hell topay. Literally. Don't ask me whythat's important, Doc, but it is. Ican feel it. We need to find Haley.


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AGENT GRAFYou guys are bonkers.

DERMOTT smacks him upside the head.

DERMOTTLook boyo, you're going to have to

come along, so pull your head out ofyour ass. It isn't important thatyou believe me, but it is vital thatyou do what exactly as I tell you.Bring the body of the vampire. Keepthe wolfsbane and garlic packedaround her. We have to dispose of itproperly or she'll come back.

ATWATERBut, my daughter, my mom. Help them.

AGENT RYAN

Ok, we'll take care of it.

AGENT GRAFSeriously?

AGENT RYANSeriously.

They all look at each other for a long moment. DERMOTT andATWATER turn and take off. AGENT RYAN pulls out his cellphone and starts dialing. AGENT GRAF looks at himincredulously.

AGENT RYANThey're not going to run away, theytold us they're headed. We'll followit through and collar them there.

INT. DR. HAUPTMAN'S OFFICE

DR. KARL HAUPTMAN and DR. SUTCLIFFE disucss the situation athand in Hauptman's office.

HAUPTMANThis reaction is far too extreme.

Once the authorities apprehendAtwater and Cardamon, we'll seethere's a rational explanation forall of this.

SUTCLIFFEKarl, you of all people should knowthat the foundation is only partlyinterested in 'rational


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explanations.'

HAUPTMANBut, the sanitarium. Closing thesanitarium. It is... unglaubisch.

SUTCLIFFE

Yes. The decision is final. The lastof the inmates should be relocatedby the end of the week. We're havingsome issues getting some placed, butit will all work out. You've had along and distinguished career, Dr.Hauptman. You have a lot to be proudof as you move on to retirement.

HAUPTMANBut, the sanitarium is the first,the foundation was born here.

SUTCLIFFEAll things must end when their timecomes.

HAUPTMAN(to himself)

No, not all things end.

OUT MUSIC

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13 Hs Vengeance

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