A DROP OF BLOOD

by andrew paul

Drops of blood drip... 

OUR P.O.V. from below... ONE DROP OF BLOOD HITS US/OUR VISION... BLOOD COVERS OUR VISION

WE find ourselves inside a DROP OF BLOOD...

... THE DROP OF BLOOD DIVIDES into millions of red blood cells traveling and thousands of white blood cells...

A MAP OF THE BLOOD... AS WE pull back... passing red blood cells carrying oxygen... white blood cells racing up to a germ... blood vessels breaking... oval-shaped cells racing and gathering around and sealing it... pulling back through coagulated blood cells... through skin tissue... and out of the body through cloth fiber... and then leather fiber... and out to REVEAL...

ROTT COFFIN, mid-thirties.  Innocent eyes, pretty face.

He kneels down, makes the sign of the cross and prays in silence.

INT.  CATHEDRAL, CHICAGO - DAY - (PRESENT DAY)

Behind Rott rows of empty seats.  Only the MURMUR of the chorus upstairs beginning the afternoon repetitions.

Rott stands, tired.

INT.  CAR - DAY

Rott sits in his car parked in front of the cathedral.

Rests his temple against the glass.  Checks his wrist watch.

Almost one o'clock.

He leans backwards and takes a bag from the back seat.  Takes out a sandwich. He eats in silence.

Suddenly his face wrinkles twitch.  Eyes close tight.  His mouth opens into a groan making the chewed sandwich to fall.

He puts his hand where the ribs are.  Groans.

INT.  NORTHWEST MEMORIAL HOSPITAL, CHICAGO - DAY

A blood stained bandage is removed.  The wound bled.  Rott, half-naked, sits on a bed.  Waits.  Puts his hand to protect his eyes against the dull white light that comes from the tube overhead.

					DOCTOR'S VOICE hears.(O.S.)
The bullet was removed in good conditions.  No ribs were hit.Only scratched.  How about those painkiller?
										
					ROTT
			Work.  For about fifteen minutes. Then 
			is hell.

A gently-looking doctor, DOCTOR HAMILTON, 50s, walks over.

					HAMILTON
			She's very worried about you.

The doctor puts a new bandage on the open wound.

					ROTT
			I hope, you haven't told her.

Rott stands and starts to dress slowly.

					HAMILTON
			No.  But she senses.  The night you were
			shoot she woke up, sweating. She was 
			agitated, she was saying that something 
			bad had happened to you. I had to stay
			with her till morning.

					ROTT
			Thank you doctor for everything.
					(stares at the doctor)
			And I mean for everything.

					HAMILTON
			Not yet.  She's still at a chronic evel. 
			Treatments start to fail at such high 
			advance.

	Rott listens to the doctor.

					ROTT
			And her organ?

					HAMILTON
					(smiles)
			It copes very well with her body.
			Your sister is very lucky that she 
			got the transplant when she needed it.  
			Thousands of people die every year 
			without getting what they have been 
			waiting for five or ten years. Just 
			frozen hopes.

Rott nods.  High hopes are what keeps him alive.

INT.  SIDE-ROOM, HOSPITAL - 6TH FLOOR - DAY

Rott enters.  Slowly.

MIRANDA COFFIN, early fifties, is asleep.  An opened book sits atop her chest. The covers reveal "Anne Rice - Interview with a Vampire."

Rott walks near her bed and looks at her.  Takes her hand and holds it tight.  Rott makes himself stand without giving in to tears.

Miranda slowly opens her eyes.  Her ill face animates with a smile.

					ROTT
			Was that a smile?  Oh, I miss the wide 
			smile that cheered up a whole room 
			full of grumpy people.

					MIRANDA
					(very happy)
			It will come.  How's my brother?

					ROTT
			Anne Rice?

					MIRANDA
			Its fun.

					ROTT
			Yeah, but vampires!

					MIRANDA
			You know I like garlic, so there's 
			no harm.

Rott sits near her, on the bed.

					MIRANDA
			The doctor says its going very well, 
			in spite of the recent discoveries.

Rott nods wry.

					MIRANDA
			There're a wide range of treatments 
			for multiple myeloma.

She stops.  Sees Rott looking at her blankly.

					MIRANDA
			Cut the mourning.  I know I'm running 
			my last miles.  When are you going to 
			visit Mr. Varzaru.?

					ROTT
			This evening.

					MIRANDA
			Please, give him all my best wishes 
			for donating.  And you promised me 
			that you would help him with his visa. 
			At least this much we can do for him.

					ROTT
			Yes.  At least.  Don't worry about 
			this.  I'll take care of it.  I'll 
			take care.

					MIRANDA
			His bone marrow is working just 
			perfectly.

					ROTT
			I have to go.

Miranda takes his hand and puts it on her right cheek.

					MIRANDA
			You've always given me warm.

					ROTT
			Well than don't give up on me.

Miranda nods her head, that she won't.  Rott leans over, kisses her forehead and leaves.

					MIRANDA
			I know you've been hit. I know that 
			you are praying for me every day. 
			I know you are suffering.  But...

Rott doesn't say anything, just closes the door.

Miranda holds that words for a few seconds but slowly, she gets back to her reading.

INT.  CAR, HOSPITAL PARKING LOT - DAY

Rott shuts the door.  He puts his medicine on the dashboard and starts to cry.

INT.  HOTEL CONFERENCE ROOM, CHICAGO - SAME DAY

THE WORDS "INTERNATIONAL CONFERENCE OF HEMATOLOGISTS."

In black letter on a white background.

The words above a dais; where Doc.  MIRCEA DUMITRIU, 60, an eminent hematologist, lectures 100 scientists in attendance.

					MIRCEA
			Some diseases have been linked with 
			vampirism because they proved one 
			or more symptoms that have also been 
			associated with vampirism. 

In the crowd, a few rows from the dais, a WORRIED WOMAN.30, sharp and prettier than she knows.  A NAME TAG identifies her as "Dr. MINA JOCELYN".

Her striking, intelligent eyes that squint from years of intense study are now very cautious.  The tired ocular globes are moving slowly like a surveillance camera around the room.

					MIRCEA (cont'd)
			And if that suffering person was 
			tended to believe in vampires, the 
			possibility of awakening and hunting 
			for fresh blood became plausible.  

Suddenly the room turns dark and FILM SLIDES with blood maps of different diseases and their effects are projected on a white canvas on the wall behind Mircea.

					MIRCEA (cont'd)
			And most common, in Easter European 
			countries from 1600 to the present, 
			is Porphyia.  A rare genetic blood 
			disease that causes pale skin, 
			sensitivity to light and makes the 
			incisors look bigger.  Of course 
			there are more... like Lupus, 
			Phototoxic Dermatitis, Chron's disease
			and even sunburn.

On the canvas horrifying slides of people sunburned and suffering from diseases that transforms them into wolves or vampires.

					MIRCEA (cont'd)
			Also sudden death, such as by 
			suffocation, allows the blood to 
			stay liquid in a dead body for a much 
			longer period of time than usual. So, 
			some of the dead's close friends dug 
			the corpse up and struck it with a 
			wood stick.

Lights turn on.  Applause.

Mina stands.  Her eyes stop on Mircea as he is greeted by other members of the hematologist trade.

INT. GYM SWIMMING POOL, HOTEL - AFTERNOON

Mircea slides through the water.  Swimming cap on, goggles.  His STEADY BREATHING takes us in and out of the water.  Something unsettling about this sound as the door CREAKS open and someone enters.

Mircea emerges from the pool.  A voice SHATTERS HIM and pulls him back into the pool.

					VOICE
					(a very poor English)
			Vampires are just a fiction of one 
			writer's sick imagination!

Mircea tries to swim back at the surface.  Takes his cap and goggles off.  Taking a big mouth of air...

					MIRCEA
			Danka.

DANKA MORT.  A lean, boxer's body, not an ounce of fat on him.  He has thick, jet-black hair and eyebrows, with piercing, predator-like eyes.

					DANKA
			Where are the vials?

Mircea tries to emerge from the pool.

					DANKA
			You left.  Coming to fulfill your 
			American dream.

					MIRCEA
			I'm way beyond my past now.

Danka walks to him, takes out a metallic box, hallmarked with a cross inside of a circle and opens it to reveal a rotten bat fetus.

					DANKA
			Some unfinished business you forgot 
			to take care of.

Danka takes out a silver needle.  Spikes the bat and produces blood mixed with a yellowish fluid.

Mircea backs away.  Noises coming from the changing booths makes Danka to stop.  He listens... keen senses.

His inhuman abilities draw the noises closer, like happening near him... he makes out a door opening, a jacked being zipped, breathing, someone undresses, a female voice...

					FEMALE VOICE(off)
			Mr. Dumitriu, it's me, Mina...

					MIRCEA
			Mina... in here, hel-

Danka covers his mouth and steps behind.  All this movement in seconds.

					DANKA
			We are getting weaker.  The blood 
			mutates.  The Order wants answers.

					MIRCEA
			The bats are history.  They can't 
			bear the passing of time.

					DANKA
			Neither do you.

Danka spikes Mircea with the needle.  Mircea hisses as the contain its poured into his body.

					DANKA
					(dryly)
			Gonna miss coming back here so 
			often.

Danka jumps in water taking Mircea with him.

Mina opens the door.  Her eyes peering into the darkness.

She makes out the pool.  The water is waving slowly.

Her hand reaches a button.  The lights turn on.

The pool turned into a pool of blood.

Mina isn't impressed.  Her eyes alert.  She breaths slowly... She looks at the thick blood but she can't see anything.

Suddenly from the pool Danka jumps near her.  Puts her down and runs for the door.

Mina recovers.  Her first impulse is to go after Danka but she reconsiders and dives for Mircea into the pool.

INT.  MIRCEA DUMITRIU'S ROOM - AFTERNOON

Danka enters.  He looks frantically for something.  Rags everything.  Finds something.  A file.  Thumbs it and finds answers.  And an address.  That's all he wants.

INT.  HALLWAY - AFTERNOON

Mina, now dressed, hurries along the hall.  Reaches Mircea's door.  She pushes it.  The room is a mess.  No

Sign of Danka.  She goes through the room and finds a torn file.  Her anticipated thoughts hit her.

					MINA
			Oh, no.

A hand jumps and gets hold of her neck, chocking her.

Danka puts her down again, her whole body shaking uncontrollably.
She kisses her onto her ear and then whispers.

					DANKA
			Your friend will incubate and 
			become what he despises most.  
			He'll experience what we're going 
			through now.  But your nightmare 
			is not over yet.

Mina gives up, losing her conscious from the tight squeeze.

Danka leaves her.

EXT.  COBBLESTONE STREET - EVENING

Thunders strike across the sky like sharpen knives hurled into a lifeless meat.  The sky bleeds with heavy rain.

Yellowish light casts ill shadows over the buildings.  Rott's car enters the narrow street and stops in front of Nr.45.  A red brick two levels house.

IN THE CAR

Rott looks in the rear mirror.  Takes out some papers tagged Imigration Office and exits the car.

INT.  HOUSE - FOYER - EVENING

The door creaks open and an OLD LADY appears on the threshold.
A frightened little figure. Invites Rott in.

					ROTT
			I've come to see Mr. Varzaru.

					OLD LADY
			He's in, but he hasn't come down 
			for dinner.  I called him and he 
			gave me no answer.

Rott senses from the old lady's behavior that something might be wrong.

The old lady climbs the stairs, Rott follows her.

					ROTT
			Has something happened?

					OLD LADY
			He was visited by a hurried fellow 
			countryman.  The visit was rather 
			short... Then the visitor came down 
			and said that Mr. Varzaru wanted 
			to rest.

					ROTT
			How did he looked like?

Almost reaching the end of stairs.

					OLD LADY
			Massive.  He had a bagpack and a 
			map of Chicago.  He seemed lost 
			at first but when he came down... 
			he sure got what he wanted 'cause 
			he looked very confident.  Almost 
			dangerous.

The two walk straight along a long corridor that opens on the right side of the stairs.

					OLD LADY
			He is a very polite tenant.  He 
			pays the rent in time.  He always 
			likes what I cook.  But..

They arrive at Varzaru's door.  Rott knocks at the door.

					ROTT
			Mr Varzaru?

					OLD LADY
			I don't question my tenants lives... 
			I thought he had work to do after...

Rott checks the door knob.  Unlocks.  Rott pushes slowly the door.

INT.  MR. VARZARU'S APARTMENT - NIGHT

Rott's eyes peer through the living room.  The old lady follows him, but backs away as the room is in total disorder.

Everything torn down.

					ROTT
			Ma'am, go back and call 911.

The old lady starts to cry and goes downstairs.

Rott checks the bedroom.  Nothing but books scattered across the floor.

INT.  BATHROOM - NIGHT

Rott enters and sees Varzaru's body laid into the bathtub.

A grisly sight.  He backs away in horror.  Puts his hand at his mouth, on verge of throwing up.

The tilted walls and floor are smeared with blood.  Trail of pair of boots imprinted with blood spreads across the shards covered floor.

Rott recovers.  Tries to check Varzaru's pulse.  Gone.  His eyes get glimpses of Varzaru sunk into the bathtub.

Pale skin.  His face bears a purple pallor.  Eyes are ghost-white, almost translucent.  The place where his bone marrow was extracted is opened and inner guts spill out.

Rott's eyes are drawn by something else.  The sink is full of broken vials.

The bathroom is like a mini biological laboratory.

Microscopes, special refrigerating bags with different vials tags and medical kits.  Hundreds of medical magazines and zeroed files fill the space between the toilet and bathtub.

EXT.  COBBLESTONE STREET - EVENING - MOMENTS LATER

The main area is taped off.  Police barricades.  A HANDFUL OF POLICE OFFICERS work their brains out to make something of this killing.

Rott, agitated, recovers from witnessing the grisly sight.

HOWARD, forty, a fellow officer, approaches him.

					HOWARD
			The old lady is too frightened to 
			get a clear picture of the visitor.  
			Put a sketcher to talk. Make a 
			description of the suspect but she 
			got into shock, we had to call 
			paramedics to assist her.

					ROTT
			How about the body of Varzaru?

					HOWARD
			Still checking it out.  I hate having
			a foreign serial killer making his 
			"60 minutes" famous spree.

					ROTT
			Why foreign?

					HOWARD
			Just a hunch.  This country's full 
			of too many emigrants.  We should 
			keep a closer eye on them.  
			Never know when one's mind pops 
			an idea... 

JEFF, a young coroner walks near them.  He is lost in thoughts and shakes his head in disbelief.  Speaks for himself, like he's trying to convince himself of something.

					JEFF
			The human body contains approximately 
			5.6 liters of blood... how...  was 
			that?

					HOWARD
			What?

					JEFF
			Blood.  There's not a single drop 
			of blood in that body.

Howard starts.  Rott locks eyes with Jeff.

					ROTT
			What?

					JEFF
			That Varzaru body upstairs has 
			no blood through its veins!

					ROTT
			How's that possible?

Jeff shakes his head.  I've got no idea.

					JEFF
			The strange thing is that his body 
			was stung by needles.  

					ROTT
			I gotta go.  Howard keep posted.  
			I need all the information I can 
			get.  You do that for me.

					HOWARD
			Yeah, everything for Miranda.

Rott gets to his car.

CHIEF POLICE QUINT, fifty, tries to hurry things up.

					QUINT
			Get your asses going.  I want this 
			solved by tomorrow afternoon.

INT.  ROTT'S CAR - NIGHT

Rott shuts the door.  Takes a painkiller.  Like a breath of fresh air.

Suddenly, almost making Rott jumping out of his seat, the side door opens and Mina dashes in.

					MINA
				(says all in one breath)
			I know who is responsible for this.  
			I know him.  You've got to help 
			me.  Help catch this man.

She catches her breath.  Rott tries to calm her down.

INT.  HOSPITAL - SIDE-ROOMS WARD - 3RD FLOOR - NIGHT

The RECEPTIONIST at the front desk fills out forms and at the same time watches a rerun of a soap-opera.  She looks away.

Elevator doors close.  CLING!  Looks back, startled.  Nobody in the hospital foyer.  She looks at the elevator's floor numbers.  Not glowing.  She stays a few seconds then goes back to whatever she was doing.  Her a surveillance camera makes its round.

INT.  ROTT'S CAR - NIGHT

Rott shows Mina his badge and name tag.

					ROTT
			I'm Rott Coffin.  I'm a cop with 
			45th Precinct.  Who are you?

Mina stops from breathing hard.  Tries to gather herself.

					MINA
			My name is Mina Joycelin.  I'm a 
			hematologist.  Doctor Mircea 
			Dumitriu was killed this afternoon.  
			By the same man.

					ROTT
			Miss.  Joycelin I'll drive you to 
			the station and get you some help.

					MINA
			No, you don't understand.  You have 
			to help me stop this man.  Probably 
			collected...

Mina stops.

					ROTT
			What?  Collected what?

INT.  HOSPITAL - SAME FLOOR - NIGHT

Empty corridors.  Blinding white light.  Monotonous walls.  A toilet is flushed.  A FAT NURSE emerges from W.C. and hurries back at her place, behind another desk and watching the same rerunning of the soap-opera.

But something is different.  The door to a cabinet is opened.

					FAT NURSE
			Is someone there?  Rodney, don't 
			you dare play night games with me.  
			You know I'm gonna break your neck!

The fat nurse enters the cabinet.  The drawers are all piled up on the floor.  Files scattered across the room.  The fat nurse starts.  Her face is in shock.

INT.  ROTT'S CAR - NIGHT

					MINA
			If you knew who is he you'd be 
			afraid.

					ROTT
			Well I don't.  Tell me.

Mina looks at him.  Lock that blank stare of Rott.

					MINA
			You think I escaped from some mental 
			facility, don't you?

INT.  VIDEO SURVEILLANCE ROOM - NIGHT

A SECURITY GUY, hulking figure, small brain, sits on a chair, not looking at the six monitors, the recording tapes are rolling.  In his lap a PRETTY NURSE.

					PRETTY NURSE
			What me to sting you?  And take 
			some of your blood?

					SECURITY GUY
			Yeah.  Then you gonna let me sting 
			you?
				(looks at the needle 
					she holds)
			Besides you gonna see a real 
			needle.

The pretty nurse emits a silly laughter.

					PRETTY NURSE
			Do the pony thing!

More laughter.

In the meantime, as this superb romance reaches its climax, on one of the monitors, a hulking figure hurries along a corridor checking the name tags on the doors.

It looks for something.  Something it'll find soon.

INT.  ROTT'S CAR - NIGHT

Mina sits there, agitated as Rott looks back at the crime scene; Howard looks at his car.

					ROTT
			No...

Mina looks at him.  This cop has to give her some credit.

					ROTT
			Did you know the deceased, Varzaru?

					MINA
			Not in person.  But I've heard of 
			him.  Look.  He took something 
			from Varzaru.

					ROTT
			What?

					MINA
			Varzaru donated recently an organ 
			to a person suffering from a 
			chronic state of leukemia.

Rott listens.

					MINA(cont'd)
			And I think that the person who 
			has that organ might be in danger.

Instinctively Rott, starts the car, backs away hitting another parked car then makes a sudden stop.  Mina yells in pain as she hits the dashboard.

					MINA
			What?

					ROTT
			That person is my sister.

With an unbearable noise and rubber wheels wearing out, the car strides onto the cobblestone street and dives into the boulevard's crowded traffic.

INT.  CAR - SECONDS LATER - CAR

Rott dials a number at mobile.

					MINA
			Where are we going?

					ROTT
			To Northwest Memorial Hospital...

					MINA
			Who are you calling?

					ROTT
			Doctor Hamilton...

Rott puts the acceleration at work as the car waves between two cars at the red stop and between other four in the middle of the intersection.

INT.  HOSPITAL SIDE-ROOMS WARD - 3RD FLOOR - NIGHT

The elevator doors open.  Rott, Mina and two bodyguards dash into the foyer.

Nobody at the front desk.  The corridor ahead of them is dark.

					ROTT
			Anybody here?  I'm going to her 
			room. You guys find someone.

The two bodyguards split and look.

					MINA
			I'll come with you.

INT/EXT.  CORRIDOR/SIDE-ROOM - NIGHT

Rott hurries as he sees a side-room door opened, door torn, its hinges are off.  His sister's side-room.

					ROTT
			Oh, God, no.

Rott enters the room, his eyes searching Miranda.  Nobody in the room.  The white sheets are stained with blood now.

Equipment chipped.  Mina raises from the floor two bent needles.

A BODYGUARD'S voice vibrates onto the dark corridor.

					BODYGUARD (o.s.)
			Mister, I found someone.  In 
			pretty bad shape.

Rott turns and heads outside almost knocking Mina down.

INT. EMERGENCY STAIRCASE - NIGHT

Miranda lies on the stairs, her hands clawed to the banister, deathly pale, unconscious.  Her neck is covered by small holes.  Rott kneels and checks her pulse.  Shakes his head in disbelief.

Mina watches a terrified Rott.

INT.  EMERGENCY ROOM - NIGHT

BOOM!  Entry doors swing open as Rott carries Miranda is his arms.

					ROTT
			Somebody helps us!

Nurses swarm over to Rott, taking Miranda.  A male assistant comes and puts Miranda on a stretcher and wheels her into trauma ward.

Rott stands in the hallway, his eyes wide opened.  From behind Doctor Hamilton, dressed in casual clothes, comes towards Rott.

					HAMILTON
			Where's she?

					ROTT
			In there.  Please doctor, she's 
			not breathing.

Hamilton pats him on the shoulder, heartens him, and hurries inside the trauma ward.

INT.  BATHROOM, SAME FLOOR - NIGHT

Rott splashes water on his face.  Turns the faucet off.  Mina rests herself against the tilted white wall.  Rott eyeballs Mina.

					MINA
			I'm sorry for your sister.

Rott takes Mina by her collar, pulling her tight and close enough to see beyond her eyes, almost lifting her from the ground.

					ROTT
			I won't let anything happen to 
			her.  Do you understand me.  Do 
			you understand me?

A jolt of pain hits Rott who groans.  Lets Mina off the hook.  Takes a painkiller and drinks water.

					MINA
			Again, I'm sorry.  It wasn't my 
			fault. Things just happened this 
			way.  Your sister is just collateral 
			damage.

					ROTT
			What're talking about?

Mina approaches Rott.  Takes a look at Rott's wound.

					MINA
				(worried)
			This man wasn't suppose to reach 
			this far.

					ROTT
			Why?  You know him?  You let him 
			loose?

					MINA
			No.
				(beat)
			It's hard to tell you about 
			something in which I think you 
			don't believe.

					ROTT
				(recovering from 
                  the pain)
			Then don't bother.
				(considers the 
                  recent events)
			I'll give it a try.

					MINA
			This man... Danka Mort came here 
			to collect something.  They are 
			losing power.  They need something 
			to propel them to higher grounds.

Rott tries to understand something.

					ROTT
			What the hell does that mean? 
			
					MINA
			Mircea Dumitriu's assistant. 
			They killed him.  They will come 
			after me. They already came for 
			your sister.

					ROTT
			Leave out my sister from this.
			Who are they?

					MINA
			You see in the Romanian language 
			Danka Mort, "Mort" means dead. 
			They...  Are vampires.

Beat.  A cold silence dominates the bathroom.

					ROTT
			You really did escape from some 
			mental facility.  Lady, here's 
			not a Goddamned Twilight Zone 
			episode.  This is my life's sister.  
			This is a sane world we live in.  
			Not some nightmare of yours.

Hamilton stands on the threshold.  Rott sees him, acts like seeing a ray of light.  Mina looks at him, in a merciful way.

					MINA
			I'm sorry for you.  For not 
			understanding.

					ROTT
			Someone better tie you up and 
			throw you back... you are the real 
			dangerous people.

Hamilton takes Rott away, on the hallway.  Rott tenses, bracing for the worst.  Stable now.  She had no major injuries.

					ROTT
			Thank God.  I'm gonna catch this 
			guy.  I'll make sure won't hurt 
			anybody being ever again.

Hamilton looks worried about something else.  Rott looks at him.

					HAMILTON
			I don't know if I should tell 
			this...  but...

A bodyguard hurries along the corridor.

					BODYGUARD
			We found a nurse dead in her 
			cabinet, all drawers were torn 
			down... and... it's a total mess.

Other bodyguards and assistants hurry out of the emergency ward.

					ROTT
			What?

					HAMILTON
			It seems that her blood quantity
			decreased. She has needles 
			markings as if someone has just 
			drained blood from her body.  
			She lost a lot of blood. We're 
			trying now to get her a blood 
			transfusion. But it's still very 
			strange.

					ROTT
			What's happening?

					HAMILTON
			I'm gonna hold her under 
			observation. You go and solve this.

					ROTT
			Thank you, Doc Hamilton.  But when 
			can I see her.... I'm just shocked 
			about the state I found her in... 
			is...  is...

Hamilton pats him on the shoulder.

					HAMILTON
			Soon.

Rott stands there in the middle of the crowded hallway.

He remembers Mina and goes for the bathroom door, opens it and sees that she's gone.

INT.  INFORMATION DESK, GROUND FLOOR - NIGHT

Rott strides to the desk where a CUTE NURSE is filling out a patient's form.

					ROTT
			May I use the phone?  Police 
			business.

The cute nurse nods and gives him the receiver.  Rott dials in a hurry.

					ROTT
			Howard, you're on duty?  Great, 
			I need a favor.  Yeah...

EXT.  CITY STREETS - EARLY DOWN

Rott drives the car down the streets through an eerie morning mist that surrounds a series of increasingly degenerating neighborhoods, coming at last in front of a crowded of teens staircase, leading to a four level derelict house.

INT.  STAIRS - DOWN

Rott climbs the filthy stairs.  Arrives at a door.  Tries to open it.  Enters the filthy apartment.

INT.  DANKA'S APARTMENT - DOWN

Rott rummages through the apartment.  On the table finds a card.  A card on which is embedded a name: CARPATIKA MEDICAL CLINIC" Bucharest. Romania.

A red hair dyed kid comes down the stairs.  Looks at Rott...

					KID
			If your lookin' for the new creepy 
			guy...  is not in.

					ROTT
			But where?

Listless, the kid shrugs.

					KID
				(picking his nose)
			Used to go... at the blood bank... 
			at the corner... I think.

Rott exits the apartment.  Descends.

					ROTT
			Thanks kid... and cut the picking.

The kid gives him the finger.

EXT.  STREET - EARLY DOWN

An inner-city, store-store front clinic.  Trash and leaves blow over wet pavement.  Parks his car near a drugstore, across the blood bank.

INT.  CAR - EARLY DOWN

Rott waits.  Takes out a gun.  Weights it nervously.  He feels uncomfortable using it.  A voice starts him, Howard's voice filtered through the transmitter.

					HOWARD
			Are you there?

	Rott answers.

					ROTT
			Yeah.  But he wasn't home.  I'm 
			front of a blood bank.  Suppose 
			to be here.

					HOWARD
			Ok, keep me posted.

					ROTT
			Got it.

					HOWARD
			Oh, don't forget to take the 
			gun...

Remember to take the safety off.  I should have come with you.

					ROTT
			No.  My business.  My chance.

Rott cuts the transmission.  Takes a clip and fills it, slowly.

Dives the gun into his right pocket, and exits the car.

INT.  BLOOD BANK - ENTRANCE - EARLY DOWN

Donors sit in a waiting area, filling out forms, leafing through informational material.

Behind the information desk, a bored-looking EMPLOYEE hackles someone over the phone.

					EMPLOYEE
			Uh-huh?  Well lady I want no ear, 
			skin or body piercing person 
			givin' blood over here.  Might 
			infect all.  If you change your 
			mind come over and have a form 
			fill and blood check.  I donno
			'bout money.

Rott shows the cocky Employee his badge.  She puts the receiver down.

					ROTT
			I'm looking for a person who comes 
			here often to donate blood. His 
			name's Danka Mort.

					EMPLOYEE
			A second.  To check...

The employee looks over a PC monitor.

					ROTT
			He might be here now.

					EMPLOYEE
			Ah-ha.  Got it.  Examining room 
			number twenty-two.

Rott nods, thanking her.

INT.  COMMUNITY BLOOD BANK - HALLWAY - NIGHT

Rott follows a NURSE into a dimly-lit hallway.  We track their progress in a convex safety mirror suspended from the hallway ceiling as they pass all manner of medical supplies centrifuges, an apheresis device, etc.

					NURSE
			Is this a case of emergency?

					ROTT
			No.
	
					NURSE
			We try to keep our clients clean.

					ROTT
			I'm sure of that.

Rott dives his hand into the pocket where the gun is.  The hallway rounds into a corner, and onto another long corridor ending with a heavy locked door.

A sense of dread permeates the atmosphere as the door to an examination room is wide opened and the yellowish patch of light coming from the empty bulb casts a shadow onto the corridor 
opposite wall.

A HULKING SHADOW.  For seconds.  Then it vanishes.

Rott stops.  Mina's words come to mind.  Takes out the gun.

Enters the examination room.

A guard is pinned to a kind of reclining dental chair with arm and headrest with needles and tubes through which his blood is collected and poured into little glass tanks.

The nurse Screams in horror and gasps for air as she sees something that hangs from the ceiling.

ROTT
Go back.

NURSE
Oh my God!

Rott is not aware of the overhead terror.  He just holds the gun in his hands, clumsy.

The nurse's legs give in, falling down near the door.

DANKA

Jumps from the ceiling down in front of Rott.

As Rott's mouth gets wide open, Danka takes out a kind of ROUND RAZOR with a sack at the middle and instead of sharp teeth, the razor bears out long needles.  He uses it on Rott's body stinging him one hundred times in about 2 seconds - the sack in the middle of the razor fills up with blood.

Rott falls down and retraces his steps down the corridor.

Danka lifts the nurse.

Rott, now without the gun, looks horrified and groans from the needles.

Danka hurries outside and near the locked door at the end of the corridor.  He flings the Nurse about like a toy, and throws her body against the door, and making it to blow off its hinges.  The door tag flies away landing near Rott.

It says:  "FRIDGE.  BLOOD CONTAINERS ROOM."

Rott stands up.  Two Guards appear at the mouth of the hallway, Rott makes them a sign to stay back.

					ROTT
			Don't come here.  Call 911.

Rott takes the gun from the floor, and looks at the draining guard as its life weaves him bye-bye.

Rott hurries to the fridge room.

INT.  FRIDGE ROOM - EARLY DAWN

Pitch black.  Only the HUM of the fridge containers.  Rott turns on the lights.  A corridor reveals to him.  Its wall are paved with blood containers.  And bag of blood.

Rott steps into the hallway, grasping the gun tight.  Because of the lights above, there are alternating pools of light and shadow in the hall.  Rott advances towards, his face coming in and out of darkness.  Each pool of light, Rott advances and behind him Danka looms. Rott senses something and turns back, FIRES.  The bullets hit one of the blood bags and blood spills out.

Danka pines Rott to a wall.  Rott cries out in fear... Danka grasps Rott's neck tight, lifting him and pressing him against the wall, producing a rain of rott mortar.  The whites of his eyes bleed red.

						DANKA
The dread you are feeling when society nurtures with repugnance for your kind.  A non believer. Your values are rotted.

Rott raises his gun and empties a clip into Danka.  Shot after shot as Danka gives away.

Rott gathers strength and hurries through the blood bags.  Hits them pretty hard as blood spills out.  He breathes hard, desperately looking for a way out.

Behind him the floor looks like a skating rink as FOUR GUARDS enter and slip on the blood.

Rott finds a door, opens it and reaches a foyer and, finally, outside on a back alley.  He rests against the wall, groaning and breathing hard.

EXT.  BACK ALLEY - EARLY DOWN

From inside SCREAMS hear.  The slaughter goes on.  Screams and groans that could wake the dead.  Probably, it has already woken them.

Rott crosses the street... and a car, HIS CAR, stops near him.

Door opens and Mina pulls him inside.  Danka appears...

					DANKA
				(inhuman pleasure in 
                  uttering these four 
                 letters)
			Mina.

Mina takes out a modified harpoon and shoots an thick steel arrow into Danka's head pinning him to the wall.

INT.  CAR - EARLY DOWN

The car speeds along the back alley.  Mina checks Rott for any wounds and sees the holes from the needles.  She keeps the wheel steady and tries to give something to Rott to ease his pain.

					ROTT
			No... get me the hell out of 
			here.

					MINA
			I'm trying... but you're in 
			serious condition.

					ROTT
			How did you track me down here?

					MINA
			I have my ways.  I knew you'll
			follow the lead.

WHAM!!!  Danka lands on the hood - Rott's eyes go wide as, isn't

This guy supposed to be dead, already? -

SMASH!! - Danka's skinned FIST shatters the windshield and GARBS

Rott by the neck -

Mina veers the car as Danka, crouched like a wounded animal on the hood, holds himself like a clawed hawk clutching its prey.

Rott's neck is about to give up when Mina hits the breaks.  Danka hits the asphalt and stops into a wall.  The back alley reaches its end.  Mina steps out of the car.  Takes out the harpoon.  And a metallic cubicle satchel.

					MINA
			You and your kind are bring on 
			the verge of collapse.

Mina opens the satchel to reveal an empty canister.  She approaches Danka who tries to get back his senses.  Draws the sounds closer and anticipates... sound of recharging... sound of liquid draining...  the feel of dawn...

Mina reloads the harpoon with a arrow that stretches into a long thin tube that its attached to the empty canister.

					MINA
			This is my greeting card, that 
			I to forgot send!

Mina shoots, the arrow hitting Danka hard.  She pushes a button and blood drains from Danka's body into the canister.

Danka's body snaps violently... until the last drop of blood its drained.

Danka's body just lies there lifeless.  Mina checks his jacket inner pocket and takes the metallic box, opens it and snatches the bat fetus.

Mina goes to a horrified Rott.

					MINA
			Now you believe me?

					ROTT
			Get this pain off me.

					MINA
			I will.

Mina packs her things.

					ROTT
			Don't leave me here.  Where you
			goin'?

					MINA
			To Romania.

					ROTT
			I want to come.  I want to get 
			to the bottom of this.

					MINA
			There is no bottom. Besides, 
			you're too weak.

Rott tries to get out of the car.  Slowly, he succeeds and rests against the hood.

					ROTT
			Just listen to me.

Mina stops and looks at him.

					MINA
			Go on.

					ROTT
			At the hospital the doctor told 
			me that my sister was missing an 
			important quantity of blood.

Mina listens, approaching Rott.

					ROTT
			She had the same needle holes I 
			have now. She's in danger. I know 
			this.

					MINA
			Your sister might be the key to 
			Danka's attacks.

					ROTT
			And I found at Danka's apartment a 
			card, an address of a medical 
			clinic in Bucharest.

Now he has Mina's full attention.

					MINA
			What clinic?

					ROTT
			I don't know, some clinic dealing 
			with organ transplants.

Mina takes Rott and puts him down.  Takes a bottle.  Inside a whitish fluid.  Rott looks at the bottle, a little mistrustful.

					MINA
			Don't worry, it's ointment.  It'll 
			heal your wounds in no time.

					ROTT
			I've got to help you.  It's the 
			first time when I have to take 
			care of my sister's life.  The 
			only time when I feel I'm useful 
			to someone, not a burden.

					MINA
			I'm not in the mood for confessions.

					ROTT
			I'll give you the address if you 
			promise me that you'll let me 
			help you.

Mina considers this for a moment.

					MINA
			Ok, mister Coffin.  But, when 
			it's about life and death you're 
			on your own.

					ROTT
			It will be the first time.

					MINA
			Now, let's go, your sister's health 
			recovery may depend on our moves.

Mina prepares a shot for him and administrates it to Rott.

					ROTT
			What your doin'...

					MINA
			Time's wasting.

Rott's words suspend into the ether and his vision sinks into a deep sleep.

Pitch black.  We pull back from Danka's lifeless eyes.  Now Mina and Rott are gone.  A single drop of blood makes its ways down from the head wound onto his chin... hangs there like hanging from a cliff... WE see it from below and... as a soft wind blows it falls... IT HITS OUR VISION WHICH

Turns into RED.... AND--

--AGAIN WE ARE INSIDE OF A SINGLE DROP OF BLOOD... A MAP OF BLOOD...

ALMOST THE SAME BLOOD PATTERN... ONLY THIS TIME BLOOD VESSELS BROKE AT A HIGHER RATE...  AND THE OVAL-SHAPE BLOOD CELLS ARE LATE TO COMPLETE THEIR MISSION... WE PULL BACK IN TIME... THROUGH SKIN TISSUES... AND THROUGH METAL... A LONG METAL... LIKE A...

A NAIL.

A RUST NAIL.  TROUGH WHICH A FINGER IS IMPALED.  THE PRIEST HANGS FROM THE UPPER LEVEL OF A HOUSE SHED ONLY BY HIS FINGER.  HIS SKIN GIVES

AND THE NAIL RIPS THE FINGER APART.  THE PRIEST'S BODY HITS THE GROUND...

A SOFT GROUND MADE OF PILES OF HAY.

From outside SIGNS of an UPRAISING.

EXT.  HOUSE SHED - NIGHT

Torches lit the horizon, and PEASANTS holding large forks crowd the barren lands.  The dirt is burned.  A title appears:

			SOMEWHERE IN ROMANIA, 
			DURING THE WALACHIAN REVOLUTION, 1835

The priest recovers, sounds of someone running on the shed's holed and dilapidated roof frighten him.  He holds tight a cross in his hand. A CROSS INSIDE OF A CIRCLE.  His hands bear marks of scratches and his face signs of weakness.  He fought hard and brave.  But his powers are weakening.

EXT.  HOUSE SHED, BATTLE GROUND - NIGHT

He heads outside and runs through mad peasants going to battle with their empty chests.  He reaches a small church that sits between an well and a derelict cemetery.

The doors are barricaded.  Through the empty patches between the boards, red eyes peer out at him, eyes that bleed hunt him.

The priest backs away, thinks fast and dives into the well.

INT.  WELL - NIGHT

The priest reaches the cold water and swims through an underground water tunnel.  The tunnel bifurcates, it looks more like a maze of underground tunnels, the priest, in need of air goes through the right tunnel and with his hands grasps some rust bars.

The grate reveals an opening and a wood ladder that goes up.  The priest opens the grate.  Hops up and climbs the ladder.

INT.  MORTUARY ROOM, CHURCH - NIGHT

A trap door into floor opens and the priest climbs up.  He stops to catch his breath.  He knows that below him fate awaits him.  Hums and Groans can be heard, but mixed with the outside revolution freedom VOICES and endless screams of death.

The FLOOR'S UNSTABLE BOARDS SQUEAL and FLY into the air.  The priest holds his cross ahead and prays.  He takes hold of a bottle of holy water spraying it below.

A hand, the color of ash, gets hold of the priest foot and drags him down onto the boards.

The priest's eyes see a young nun hidden in the confession room.  She just looks at him.  The priest curses her aloud before being dragged down below.

The nun's eyeS look so innocent.  At her neck a crosses dangles, a cross within a circle.

Suddenly fire starts to eat up the church from outside.

INT.  CONFESSION ROOM - NIGHT

Inside, the girl holds a bat fetus.  She take it and goes down the concrete stairs.

INT.  MAIN ROOM, CHURCH - NIGHT

The nun hands the bat fetus to a rotted hand.  A hand drained of its white pallor.  Another hand hold the cross within a circle in their hands.  The priest lies in a corner, still breathing.  He watched horrified as the young nun gave the fetus.

The dwelling silhouettes disappear as they torn apart the boards that barricade the church entrance.

The young nun comes over to the priest.  Despite of the curses, she helps the priest to exit the church as the fire reclaims it.

EXT.  CHURCH, FIELD - NIGHT

The nun helps the priest to the well then she gives up under the weight.

The priest looks at her, at her innocent eyes.  The wind blowing into her hair.  The stare lingers.

A sudden jolt.  The priest's eyes open wide as a drop of blood slides across the nun's neck and diving under her white garment.  Her head falls into the priest's lap.  A gap made from a rock or something provoked, her sudden death.  Bodies pile up over the well's mouth and onto the priest.  Hundreds of peasants falling under the enemy's blows.  Blood BURSTS and the wind spreads it anywhere.

The priest's eyes bear with tears.  A tear falls down from his cheek...  also a drop of blood falls down... the two of them meeting somewhere....

AS WE SEE FROM BELOW... a drop of tear and a drop of blood meeting, exchanging glances, one brings happiness or pain and the other only injuries and death... mixing together... HITTING US...

OUR VISION TURNS RED BUT SMEARED ACROSS WITH WHITE PATCHES... A COLORLESS LIQUID... that travels with the red cells... invades all their privacy...  mixing... the cells getting thicker... as WE PULL BACK... through tissues...  through white... through an ocular globe....  and out to reveal Rott with dry tears on his checks and asleep on the back seat of a car.

INT.  CAB, ROMANIA - DAY - PRESENT DAY

					MINA(o.s.)
			You cried in your sleep.

Rott awakes, rubbing his eyes, embarrassed.

					ROTT
			What?

Rott wipes his tears away.

					ROTT
			What have you given to me? My head 
			fells like weighting a tone.

					MINA
			Time to go.

Mina hands to the fat cab driver a tip and drags Rott outside.

EXT.  GARA DE NORD(NORTHWEST RAILWAY STATION) - DAY

A crowded place.

					ROTT
			How did we get here?  How did 
			you do?

					MINA
			I'm a strong girl.  You don't have 
			to know everything.

Rott tries to inhale some fresh air, but coughs right back.  A truck passed by and released a cloud of toxic smoke.

					MINA
			Get used to it.

Rott coughs hard.

					ROTT
			I've got to make a phone call.  
			I have to check with my sister.

Mina gives Rott a mobile phone.  Rott dials a number, but it is still numb.  Some wise guys eye Rott's cell phone.

One of them makes a sign to another guy who waits.

					ROTT
			Doctor Hamilton, is me Rott.  Yes, 
			I know. But I have to do something 	
			important.  Yeah.  She's fine.  		
			Thank God. Thank God Doc. Ok,
			I'll come back.

Rott closes the conversation but in fraction of seconds his mobile phone is snatched from his hands.

					ROTT
			What the hell'...

The guy runs with the phone.  Rott trails him, running after him.  The guy passes the phone onto another guy.

This guy runs inside of a subway station.

					ROTT
			Catch that guy... No!  That guy! 
			He stole my phone.

INTO THE SUBWAY STATION

Nobody moves a finger. Passing by as if nothing happens.

The guy jumps over the checking booths of the subway and runs towards
the platform. One lady tried to stop him, but no avail.

Rott does the same thing and he's almost on the platform when, at the last minute, the guy hurries into the subway and the doors close.  

Rott runs along the subway windows cursing.  Futile.  The subway vanishes into the black hole.

Rott catches his breath.  People are staring at him.  Rott stares at them.

EXT.  GARA DE NORD, SUBWAY STATION - DAY

Mina waits Rott at the mouth at the staircase.

					ROTT
			It's a jungle out here.  A minute 
			and you lose...

					MINA
			I have a connection here in 
			Bucharest, a street beggar, a kid, 
			named Buzila.

					ROOT
			Do you come here often?

					MINA
			I did.  That's how I met Buzila, 
			I worked as an assistant for a 
			Red Cross mission from England.

					ROTT
			You're from England?

					MINA
			Yeah, from a rural part. Beautiful 
			but chanceless.  We visited and 
			assisted a few orphanages in 
			Bucharest and in some forgotten
			parts of Transilvania.

Rott and Mina enter Gara de Nord precincts.

					ROTT
			Transilvania?  Dracula and stuff 
			like that?.

Mina nods, then looks for Buzila in the crowd.  She spots him near the entrance of MacDonalds.

					MINA
			He's here.  Come on.

Rott sees a poorly dressed twelve-years old kid, BUZILA.  His smile long gone, dread and an empty future defines him now.

					ROTT
			Hello Buzila.

Rott wants to shake hands with Buzila but the kid is too frightened to respond.  Instead he makes some signs to Mina.  Mina responds to him by making the same signs.

					MINA
			This how you say "hello".

Mina smiles.  Buzila agitates making signs to Mina, trying to tell her something.  They are communicating in the sign language.

					ROTT
			I'm sorry, I didn't know.

					MINA
			He says that it's ok. Any friend
			of mine is a friends of his. He 
			wants to eat a hamburger.

Rott smiles at Buzila.

EXT.  RAILWAY TRACKS - DAY

Buzila eats the hamburger with large bites and a hunger beyond Rott's imagination as he watches the kid.  Mina holds a few bags.

					ROTT
			Where did you learn to speak their 
			language?

					MINA
			At the orphanage.  These kids are 
			brilliant if you know them better. 
			His mother gave birth to him and 
			then abandoned him in a public 
			toilet. Drunk worker found him 
			and dropped him at an orphanage. 
			He never got a chance to meet 
			his father.

Rott shakes his head in disbelief, but remembers that the kid's fate is no puzzle to him.

					ROTT
			I never knew my mother.  She 
			died while giving birth to me.  
			And my father drank too much, 
			died from cirrhosis.  He always
			blamed me for my mother's death.

Mina looks at Rott, with compassion.  Buzila finishes the hamburger and dives into the bag of hot chips.

					ROTT(cont'd)
			When my sister protected me, 
			locking me inside her room, father 
			had an outburst and wanted to 
			teach me a lesson with his belt.  
			She stood up for me.

A train horns and the three of them wait for the trains to pass and then they cross the railway.

INT.  FOUR LEVEL HOUSE - DAY

A former hostel, now a derelict place.  Water floods the corridors.  People, barely dressed.  Rott looks at all this in dismay.

INT.  ONE ROOM FLAT - DAY

Low mattress pose as beds.  A fridge barely functioning, an old kitchen range on the floor and a rope full of washed clothes from which hang washed clothes crosses the room from one end to the other.

Rott looks at Mina who shares out breads and sweets.

INT.  ONE ROOM FLAT - AFTERNOON

					ROTT(cont'd)
			She's been like a mother and a 
			father to me. I own her so much.  
			I'd have never done something 
			on my own.

					MINA
			Now you've got the chance.

					ROTT
			But I'm still afraid.

					MINA
			You know what.  I'm also afraid.

Both smile.  Buzila enters into the room, almost running out of air.  Gives them a Bucharest street guide.  Buzila gestures something to Mina.

					MINA
			He says that he'll lead us to 
			that Carpatika medical clinic.  
			It is not far from where we are.

Buzila unfolds the mat and crosses his dirty finger across the map pointing out the street.

					MINA
			It's on General Jurca Anamariei 
			street. It's not far from where 
			we are.

					ROTT
				(lowers his voice)
			But do we a have weapons or 
			something?

					MINA
			Yes.  I've got my harpoon with me.

					ROTT
			Great.  And me?

					MINA
			You'll just have to deal without
			it.

Rott nods, taking it as it is.  Old pains start to get new ideas.  Rott rubs his ribs.  Gentle.

					MINA
			Still bothering? Who put the bullet 
			into your ribs?

					ROTT
			Some nut punk. I hesitate to 
			shoot first. He nailed me. Thank 
			God one of my mates shot him down.
			Howard.

					MINA
			How did you join the police, if 
			you're too scared to shoot a gun?

					ROTT
			Was my childhood's dream. Used to 
			play with Miranda bad cops, good 
			cops.  Well, now, I've got what I 
			wanted.

					MINA
			You need some space from your 
			sister.  To see what's out here 
			without anyone backing you up.

					ROTT
			Yeah.  But it seems I'm running 
			from one nightmare into another.

Mina and Rott exit the house.

EXT.  GEN. JURCA AMARIEI STREET - LATE AFTERNOON

Tall white fence.  So high that it might reach the stars.  A tag announces "CLINICA MEDICALA CARPATIKA".

Th whole place looks more like a fortress than a place you would come to heal your wounds.  A low hum hears from behind heavy metallic doors.

Buzila, Mina and Rott stand in front of a newspaper stand pretending to look over the headlines.

Buzila gestures to Mina, then he moves near an entrance of a building that has its courtyard fence glued to the inner fence of the clinic.

					MINA
			Wise kid.  Rott, look over there, 
			but try not to stare too much.

Rott looks where Mina pointed him, to see--

--that from the fence of the clinic a tilted roof grows.  But the catch is that the window located in the middle of the tilted roof is opened.

					ROTT
			I see.  Ok.

					MINA
			Are you going in?

Rott jumps over the short fence that protects the courtyard of the building.  A party headquarter left to decay.  Mina jumps too.

Mina gestures back to Buzila to wait them or to throw with something at them if danger lurks.  Buzila looks happy about his mission.

INT.  CARPATIKA MEDICAL CLINIC - LATE AFTERNOON

The opened window seen from below.  Rott's head appears.

From above we see a carpet covered with heaps of files from the empty shelves that paint the walls.

Looks like someone it's planning a change of location.

A fan on the ceiling hums and spins around at high speed.

Rott backs away.  A few seconds later and his legs are dangling inches from the spinning palettes of the fan.

He lets go and hits a pile of files.  Helps Mina to get down.  They look around the room.  Mina's eyes racing for answers.

Rott approaches the closed shutters.

Mina lifts some files and thumbs through them.

Rott raises slowly with his finger one of the shutters and peers outside. Four guys struggle with a container, trying to embark it
	on the truck.

					ROTT
			There're guys trying to escape 
			with something

					MINA (o.s.)
			I found something.  These are 
			files are various persons 
			profiles of their body, of their 
			blood.  These read like heavy 
			examinations.

Voices approaching this room come from the corridor outside.  Rott turns and shares a worried look with Mina.

At the same time the sound of small rock hits the roof.

Buzila's signal.  Something must've happened outside.

The door opens and TWO workers hurry in.  They stop as they see Mina reading a file aloud.

					MINA
			I hope I'm not too late for my 
			appointment?

Rott pushes the shelves onto the two worker sending them down.  Alarmed VOICES from outside hear.  They speak in Romanian.  (Subtitles)

					VOICE#1 (o.s.)
			Start the truck.  Go.

					VOICE#2 (o.s.)
			It's not loaded properly.

					VOICE#3 (o.s.)
			Go!  Go!

Mina looks at Rott, as the two worker groans in pain and attempt to recover.

					MINA
			We've got to see what's in that 
			truck.

Rott exits the room, hurries along a corridor.

The gate unlocks.

Mina follows Rott and tries to stop the forth worker from hitting Rott.  She succeeds.

EXT.  CARPATIKA COURTYARD/STREET - LATE AFTERNOON

Rott sees a worker getting behind the trucks wheel and starting up the engine.  Makes his move as Mina takes care of the impediments around.

Rott catches the left side door of the truck and goes inside.

The truck BURSTS onto the street and veers right as

INSIDE

The driver, a skinny and wearing moustached worker, holds the steering wheel tight.

					ROTT
			You're gonna stop this truck.

Oh!  Who am I talking to?  He doesn't know a word I'm saying.

Rott takes the steering wheel, tries to hit the breaks.

The worker bites his hand.  Groaning in pain, Rott

Pushes the driver into the door as--

OUTSIDE

--the truck does a violently version of the Swan ballet diving into the cars waiting for green at the stop.  The cars back away.  The force of the hit rebounds the truck into a row of parked motorcycles and onto an empty lane as--

INSIDE

--Rott punches the driver, and grasping the steering wheel.  For a few seconds as the driver recovers and blows him into the windshield.  Shards give up like a spider web as--

OUTSIDE

--the green is on.  A large group of pedestrians cross the street.  None of them seem to be aware of the present danger.  As--

INSIDE

--Rott blocks the driver's view steering the wheel and the driver steering the wheel from its driver seat.  Rott catches a glimpse of what's ahead, as shards slip inside its clothes.

Rott takes the hands from the steering wheel and punches the driver, hurting his hand.  Th driver veers the wheel at his left side polishing of its paint a bus waiting at the station and--

OUTSIDE

The pedestrians scream as they try to get out of death's way.  They see the truck veering to its right and lifting on two wheels...

A horrific shriek hears as the truck turns over and hits the pavement sliding across the main intersection.

The back doors of the truck open violently, the hinges shattering to their end, and blood bags sprawl across the pavement.  As the truck slides to an end, a trail of blood and chunks of meat poured from its back.  Body parts and patches of skin are covering the street.  The truck was like a small slaughter place.  A horrifying sight.

INSIDE THE TRUCK

Turned up-side down, Rott tries to push the right door window out so he can get himself out of there.  He does that as police ROARS in.  Alarms filling the raising hum of the pedestrians and the gathered people.

Rott is put down and officers cuff him.

INT.  POOR LIT CELL, POLICE PRECINCT - EARLY EVENING

Mina stands with her hands tight on the cell's bars.

Rott sits on a chair.  Both are sweaty and tired.

In the same cell, a group of stoned teens singing hip hop.  A teen takes the lead like some Romanian Eminem wanna be.  Rott is not comfortable with this situation.

The teen sings about drugs, dread of cops and probably his night terrors.

Rott stands and moves near Mina.

					ROTT
			I can't stand this.  

					MINA
			There's got to be a way out.

					ROTT
			By the way I never asked you. 
			Why are you trying to kill Danka?  
			What's at stake for you?

She raises her voice, trying to speak above the horrible music played in the cell.

					MINA
			Dumitriu recruited me from a small
			rural England town.  I helped him 
			bring down a vampire cell there. 
			He told me about the dark secret 
			and vowed to protect him. To help 
			him with my knowledge.  And now...
			I can't believe all of that was 
			useless.

Someone moves into the direction of their cell.  A glimpse of hope.

CONSTANTIN ROTARU, forty and bold.  Speaks in Romanian, addressing the hip-hop "community".  (Subtitles)

					CONSTANTIN
			Hai, gata cu Cantarea Romaniei!

Then, Constantin eyes the two of them, seeing in their eyes the glimpse of hope they're trying to get hold of.

He address them in English, not perfect but still.

					CONSTANTIN
			I have your ticket out of here.

Mina looks at him, intense, trying to guess his real intentions.

					MINA
			What'll be?

Constantin unlocks the cell's door.

					CONSTANTIN
			You where released into my custody.

					MINA
			Why this sudden interest in two 
			foreigners?

					CONSTANTIN
			You did a great job forging that 
			passports.  It took a while before 
			we noticed.

					ROTT
			Where are you taking us?  I need 
			a phone.  I have to make an 
			important call.

					CONSTANTIN
			You'll have one.

Constantin leads them into a room.

INT.  ROOM - NIGHT

Constantin signs them to sit.  Photos of missing people cover the entire wall near the door.

					MINA
			What do you want from us?

Constantin shows them a picture of Danka Mort.  Their face register the shock.

					CONSTANTIN
			So you know this guy?

					MINA
			Yes.  He's dead now.  I killed 
			him.

					ROTT
			He was in Chicago.  Trying to 
			kill my sister.

					CONSTANTIN
			Danka Mort is... was the most 
			dangerous serial killer Romania 
			has ever seen.  I've been on his 
			trail for a year and half now.

					ROTT
			The address of Carpatika was in
			Danka's rented apartment in Chicago.

					CONSTANTIN
			I had a hunch that catching Danka 
			I'll find a lead to this mysterious 
			disappearances.  Over one hundred 
			eighty people missing from the 
			beginning of this year.  It's 
			madness.

					MINA
			This is all we know.

	Rott shares a quick look with Mina.

					CONSTANTIN
			Why come here?

					MINA
			Looking for revenge.  Danka killed
			Mircea Dumitriu.  And besides I 
			think Danka wasn't working by 
			himself.

Constantin nods.

					ROTT
			I didn't find out what reason 
			might Danka have had to jeopardize 
			my sister's life.

					CONSTANTIN
			Let's see what you can gather.

INT.  POLICE CAR, NEAR CARPATIKA CLINIC - NIGHT

Mina sits on the back seat of the car.  Rott is in front.

They wait and they watch the officers doing their job, the
cleaning of clinic.

					ROTT
			Why didn't you say about...

					MINA
			It wasn't the time.  We have to 
			get rid of him.

					ROTT
			No.  I say let's better stay with 
			him. This country gives me enough 
			creeps.

Constantin hurries to his car and enters.  Huddles in and looks at an anxious Mina and Rott.

					CONSTANTIN
			We found a bag of blood and organs 
			tagged Danka Mort.  Tagged with 
			a recent date.

Mina and Rott think over this, a puzzle with no resolution.

					CONSTANTIN
			Danka went to Chicago to kill 
			Mircea Dumitriu and... why?

					MINA
			Danka also killed a Romanian 
			imigrant fellow who had just 
			donated an organ.

					CONSTANTIN
			The most disturbing piece we found 
			is that some of the recent missing 
			persons were there.  With their 
			bodies cut and their inner guts 
			cleared out. The basement of the
			clinic is just a horrific sight.

Mina thinks.  Her mind races for connections.  Rott's face looks puzzled.

					CONSTANTIN
			But we've got a missing link. 
			Danka Mort often traveled to a 
			small village located near Brasov.  
			The name of the village is Mort 
			that means...

					ROTT
			Dead.

Constantin shares a look with Rott.  Impressed.

					CONSTANTIN
			We also found a strange looking 
			harpoon....

Mina starts, Rott looks at her.  Constantin stares at both.

					CONSTANTIN
			We'll have to go to this village.

Mina nods she'll come.  Rott hesitates.

					ROTT
			Not without making a phone call....  
			a good night sleep.

					CONSTANTIN
			We'll leave tomorrow morning. 
			And remember: you're still under 
			my observation and still suspects.
			Let's go make that phone call.

INT.  PHONE BOOTH - NIGHT

Rott speaks on the phone.  He clutches in his other hand another two phone cards.

					ROTT
			... and she's gonna be fine?  Ok. 
			well give her as much blood as 
			she needs.  I'll tonight, maybe 
			she'll be able to chat with me.

Rott puts the receiver down.  Rests against the glass.

His look lost.  Blank.  Why am I here, at the end of the world?

A FIST HITS THE GLASS as Rott exits the phone booth.  An angry and drunk man enters the booth and settles his bedroom.

Rott enters a block-of-flats.

INT.  EMERGENCY WARD - CHICAGO - SAME NIGHT

Everybody is very agitated around an entrance into an emergency room.  Screams, shards, a hiss.

A NURSE comes out and looks for Hamilton.

Hamilton is outside on a corridor talking to a worried nurse.

					HAMILTON
			I don't know what to do.

The NURSE from the emergency room finds him.

					NURSE
			Doctor come.  Something terrible 
			happened.

Doctor Hamilton follows the nurse.

The two of them stop on the threshold of the room.

The whole room is covered in blood from the explosion of a blood bag used for transfusion.  The window is broken, shards everywhere.

					HAMILTON
				(utters slowly)
			Miranda... Miranda....

Hamilton braces for the worst as he comes near the window.  He looks down, five floors down, to see Miranda.  Dead.

INT.  APARTMENT - NIGHT

Rott enters a pitch black living room.  The door to the balcony is opened.  A shirtless Constantin smokes, resting against the banister.  Rott looks at him.  Constantin's eyes are visible through the dark.  Red rimmed.  Rott moves to the couch and lays down.

EXT.  ROAD - DAY

An ARO scurries across the empty road.

INSIDE

We see Mina sleeping on the back seat, at least she pretends to, Roth, checking a map and Constantin driving the car.

					CONSTANTIN
			Give me that map.  We have to 
			make a turn.

Rott gives him the map.  Like a vigilant cat, Mina opens her eyes.  Shadows shade the car and parts of the road as ominous mountain peaks hide the sun.

Mina looks at Roth and Constantin.  She doesn't trust Constantin.

					CONSTANTIN
			This Mort village is not even on 
			the map.  A lot of rural folklore 
			goes around regarding this village.

					ROTT
			Like what?

					CONSTANTIN
			Like animals that were found 
			bearing body parts from humans and 
			vice-versa.

Constantin laughs hard.  Rott doesn't get the joke as he gulps in disgust.

					ROTT
			Is that possible?

Constantin shrugs.

					CONSTANTIN
			Why don't you ask the hematologist 
			on the back seat of our car?

Constantin checks the rear view mirror, locking eyes with Mina.  Ferocious eyes versus deceptive eyes.

					MINA
			I don't have answers, now. I'm 
			looking for some.  Besides, I 
			deal with blood, not organs.

					CONSTANTIN
			There's more... it is said that 
			after the women from village gave 
			birth to babies born with a caul, 
			tail, or born out of wedlock or 
			the ones that...

Mina tries to listen to Constantin.

					CONSTANTIN (cont'd)
			...died before baptism, were 
			doomed to become vampires.  That 
			way boys were banished from their 
			homes.  If you go and visit the old
			shepherd establishments you'll 
			find warning signs that the boys, 
			now, turned into beasts the of nature 
			are still haunting the hills and  
			peaks surrounding the community they 
			were banished from.

					ROTT
			But all these are legends, aren't 
			they?

					CONSTANTIN
			Yes.  Don't you expect me to 
			believe in vampires, do you?

Rott shakes his head.  No.

					MINA
			Some legends may bear seeds of 
			truth in their roots.

Constantin winks at Rott, showing him his teeth.  Rott tries a faint smile.

The ARO speeds up.

EXT.  MOUNTAIN VALLEY - AFTERNOON

The Aro is parked near a rock bridge.  A puzzled Constantin works the car engine.  But to no avail.

					CONSTANTIN
			Slim chances.  It's broken!

Mina and Rott sit on the bridge banister.  Below angry water hits rocks and old tree roots.

Mina looks at the creepy woods ahead.  The road narrows and climbs the mountain until is eaten by thick woods.

Rott tastes dry mouth.

					ROTT
			Do you a have an extra bottle 
			of water?

					MINA
			No.  I drank mine hours ago.

Constantin shuts the hood of the car.

					CONSTANTIN
			We'll have to go on foot from here.

He opens the trunk and takes two flashlights.  Without being seen, he takes four extra clips and belts them.

					ROTT
			Oh, no.  Are you sure this is 
			the right way to go?

					CONSTANTIN
			According to that old lady the 
			village should be at a few miles 
			from the first rock bridge. And 
			we are at the first rock bridge.

Mina stands and starts to walk ahead.

					MINA
			We'd better hurry.  It'll get dark 
			soon.

					CONSTANTIN
			And what, are you afraid of the 
			dark?

Mina turns.  Stares at him.

					MINA
			You're not a cop.  I think you have 
			other interests besides finding 
			this Mort village.

Constantin moves towards her with firm steps.

					CONSTANTIN
			No, I'm not a cop.  I'm a, how 
			do you say, a special agent. 
			You have FBI, we have SRI.  
			I'm here to gather more 
			information about Danka Mort 
			and his life's wareabouts.

					MINA
			Such an interest in a dead man?

					CONSTANTIN
			We have our scores to settle.

Rott doesn't stand this anymore.

					ROTT
				(raising his voice)
			I'm tired of conversations. We're 
			in the middle of the Goddamned 
			woods... almost night... we need 
			to find shelter.

Rott walks away.  Mina is impressed with Rott's sudden burst.  Constantin resumes his walking, again he goes ahead with firm steps.

EXT.  MOUNTAIN PATH - LATE AFTERNOON

Strange.  Here's so quiet that you might think you're deaf.

Rott stops in front of a rust warning sign.  Mina and Constantin catch up with him.

					CONSTANTIN
			False alarm.  They post these 
			to scare away tourists.  I think.

					ROTT
			What does it say?

					CONSTANTIN
			Military facility.  No trespassing.  
			Follow the marked trail that leads 
			to a public cabin.

Mina walks ahead, ignoring Constantin's words.  She gets through barbed wire scattered across the narrow path.

					ROTT
			I suppose we have to go on to 
			the nowhere path.

					CONSTANTIN
			Smart guy.

They continue climbing the mountain.  From here only thick woods.

EXT.  NARROW PATH - LATER - EARLY EVENING

Low fog hides the dirt ground.  It's like walking through the clouds.

Rott groans of pain.  He rubs his ribs.  His legs almost give up.  Mina comes from behind.

					MINA
			Need help?

Rott nods.
		
					ROTT
			I'm not a sportive guy.  Couple 
			of swimming hours and that's it.

Constantin hurries and joins them.  Of lightning tore holes in the black skies as an angry cloudburst drench the surrealistic landscape.

Trees engulfed by fog.  As if the fog seems to follow the three travelers.  Their breaths form tiny clouds in the cold air. Little houses scattered along the dirt road appear.  Rott sighs, relieved.  Finally.  He stands.  

EXT.  MORT VILLAGE - EVENING

A tilted sign reveals huge black letters: MORT.  Low tree branches scratch the sign, making a very annoying high-pitched sound.

Houses seem unoccupied and in the final stages of decay.

Other are unpainted, neglected, forlorn.  The whole setting looks like the opening scene of a Grade B horror film from 1930s.

A FIGURE, dressed entirely in black, walks towards them.

Rott and Mina walk slowly.  Constantin tries to speak

As--

--Constantin approaches, flashes of lightning add an eerie effect to the figure's face that reveals to be of a WOMAN in her early sixties.

					CONSTANTIN
				(subtitled)
			Excuse me...

The woman lifts her face from the ground and looks at Constantin.  A blinding white colored face.  Her black eyes stare at Constantin.

					WOMAN
				(speaks very slowly)
			They've gone to bed.  They sleep.

					CONSTANTIN
			What?  Who sleeps?

The woman continues her walk passing by Roth and Mina.

Constantin looks ahead in the direction where the woman came from and sees more WOMEN coming along the main path of the village.

Rott and Mina join Constantin.  They look scared.

					MINA
			What was all about?

					CONSTANTIN
			Something about sleep.  This 
			looks like a funeral or somethin'.

					ROTT
			Let's find a shelter. The rain 
			will not stop soon.

They wade through the dirty path, now a real swamp.  The group of women, maybe twenty, is walking in silence, the rain doesn't seem to harm their slow march.  Constantin tries another approach.  (Subtitles)

					CONSTANTIN
			Danka?  I look for Danka.

					WOMAN
			They sleep.

Constantin looks ahead... where the path tilts and climbs to the doorstep of a small chapel.

					CONSTANTIN
				(his voice fights the rain)
			Let's go up there.

Mina surveys the surrounding and agrees with Constantin.

There's no other place to go but up to the chapel.  Rott, obviously exhausted, staggers towards Constantin.

Patches of light from Constantin's flashlight cut the darkness and rain.  Rott and Mina take hold of the second flashlight.  They reach the chapel.

From inside weird sounds. SQUEAKING and CREAKING.

Constantin waits for Mina and Rott before opening the chapel wooden doors.

INT.  CHAPEL - EVENING

Flashlights peer through the darkness... Constantin's eyes get glimpses of rows of coffins spread all over the floor of the chapel.  A wrinkled hand shoves the casket of the coffin over him.

Mina's eyes grow wide as patches of light from her flashlight reveals old men fitting into coffins and then drawing the caskets over them.

Coffins are their beds.  Caskets are their blankets.

THEY SLEEP!

A horrific sight as Constantin, Mina and Rott back away, descending the wooden stairs of the cahpel.

Rott's overcome by a great wave of sheer terror.

					ROTT
			What the hell is happening?

					MINA
			Run.

Suddenly, a flash of light in sky ahead.  The light draws nearer and a peculiar feeling overtakes Mina: a Kind of tingling sensation.  Her heart beats hard. Pumping floods of blood.

From the near houses and drawing closer, loud beeping sounds like Morse code.  Constantin stalls.  Terrifying HOWLING shatters the quiet place.

					CONSTANTIN
			Wolves.

A GLOVED HAND releases a wolf.

ANOTHER GLOVED HAND releases another wolf.

					MINA
			Run.

Mina and Rott head towards the left side of the church, and plunging into deep woods.  A foot chase ensues.

Constantin remains there trying to light or see where the loud beeping sounds are coming from.

A wolf appears into his narrow range of light.

Constantin locks eyes with the wolves hungry wide open ocular globes.

The wolf LEAPS.... The beeping sound drawing closer until... an army vehicle halts near Constantin.

Heavy boots walk on the dirt.  They almost stomp the dirt.  The MAN who wears them has a transmitter that emits the beeping sounds.  A strange way to communicate.

The man is tall.  Dressed in black camouflage.  Holds a strange gun.

The man pushes the trigger.  The gun charges a spike into Constantin's body.

EXT.  DEEPER WOODS - NIGHT

A half moon sails above, as Mina and Rott are running like hell, descending into a small valley.  The wood is so thick that somebody'd
have no space to run through large, high omnious trees.

The wolf is on their trail. Other two wolves join the main one.

Rott runs, branches block his view and he soon hits a skinny tree.  Tries to recover.  Mina catches up with him.

					ROTT
			Oh Dear lord... I'm not gonna 
			make it.

					MINA
			Get up.

Helped by Mina, Rott is able to continue the chase.

The roots of the trees are prominent like the ground spited them out.  Heavy roots stick up from the dirt like sharpen thorns and spread like real spider webs.  Mina

Entangles into one of these spider web and hits the ground.

Rott stops, his breath forms large clouds in the cold air.  Tries to help Mina, but...

... behind an old and large tree stands.  A deep oval-shaped hollow.  Inside movement.  A GNARLED HAND grabs Rott inside the hollow.  Then covers his mouth.

Rott shakes violently, trying to escape the grasp.  A HOARSELY AND COMMANDING VOICE's heard.

					HOARSELY VOICE
			You'll be safe.  I'll care for 
			your friend too.

Mina recovers.... looks for Roth... she stands.  A hook grabs her neck and also pulls her inside the hollow.

					HOARSELY VOICE
			No move.  They're here.

The gnarled hand throws a dead owl onto the ground outside.  We see through the view of the hollow how the wolves are sniffing and THRUST their teeth into the owl.

Loud beeping sound hears as two TALL AND LARGE MEN, dressed in black camouflage suit, stop.  Their strange guns ready.

Seconds of terror for Roth and Mina.

The men continue their search.  The wolves dive forward waving through trees.

INSIDE THE HOLLOW

					HOARSELY VOICE
			You fouls.  Almost paid my life 
			to save you.  Tourists?

The gnarled hand releases Rott's mouth.  Mina's free of the hook.

					ROTT
			No.  We saw old men sleeping in 
			caskets...

					MINA
			Who are you?

Mina jumps out from the hollow.

VOICU, a real Gandalf of this times, steps out from the hollow.  His keen eyes peer through darkness.

					VOICU
			Enemies gone for the moment.

Rott exits the hollow.

					ROTT
			Who are you old man?  And what 
			the hell is happening here?

Voicu looks at Mina and then at Rott, trying to guess each one's history.

					VOICU
			Follow me.  We need shelter.

EXT.  OLD CEMETERY - NIGHT

Voicu, followed by Mina and Rott move near a crypt.

					ROTT
			Not again!

					VOICU
			Help me push this tombstone away.

Rott shares a look with Mina who nods back at him.

The tombstone reveals a hole into the ground.  Voicu jumps down.  Mina follows him.

					VOICU
			Come.

Rott looks around, then at Voicu.

INT.  TUNNEL - NIGHT

The tunnel is lit by a number of torches.

					VOICU
			I lead the way.  Try to keep up 
			with me.

					MINA
			Who are these guys?  They hunted 
			us.  With wolves.

					VOICU
			Secret police.  Guard these lands. 
			Every country on this earth has 
			its own Area 51.  This's 
			Roumania's Area 51.

					ROTT
			Why?  What it is to hide?

					VOICU
			A vampire nation.

Rott sops.  Mina looks at him, she can understand more than him.  These notions are no strange to her.

					ROTT
			It can't be.

					VOICU
			Keep walking.

					ROTT
			Look, old man.  I'm tired of 
			running. For once I want to face 
			everything.

					VOICU
			The truth is ugly.

They keep walking through tunnel as the air becomes more rarefying.

					MINA
			We lost a so-called friend out 
			there.

Voicu doesn't answers.

EXT.  SHEEPFOLD, THE OTHER SIDE OF THE MOUNTAIN - NIGHT

The stairs reveal a sheep shelter.  Mina and Rott walk through asleep sheep.  Voicu shuts the door to the tunnel and follows them.

					ROTT
			Do you have water and something 
			to eat?

					VOICU
			A bit. In this parts of the 
			country water doesn't taste good.

Mina is interested in something else.

					MINA
			What about the vampire nation?  
			Is that an myth, too?

					VOICU
			No.  Everything is a diversion.  
			Like the devil.  His smartest 
			thing was to convince the world 
			it didn't exist.

Voicu brings Rott a pot with water.

					VOICU
			Just like vampires.  Convincing 
			the world that they are just a 
			work of fiction.

Voicu puts on the table cheese and bacon.

					VOICU
			Eat up.  Later, You'll have some 
			of the finest wine of this region.

Voicu looks at Mina.  Then at Rott who eats up with great hunger.

					VOICU
			What are you doing in these 
			Godforsaken parts of the world?

Mina stares at Voicu.

					MINA
			It's a long story.

					VOICU
			I'll not die too soon.

EXT.  MOUNTAINS - MORNING

The sun shines over cold peaks.  Warms up the lifeless trees.

INT/EXT.  SHEEPFOLD - MORNING

Rott awakes.  He's covered by a warm coat made of sheep wool.  He looks for Mina and Voicu but they aren't here.

					ROTT
			Mina...?  Old man?

Rott stands.  Staggers towards the door.  Opens it.  A green lawn stretches ahead.  Beautiful scenery.

Rott looks agitated.

EXT/INT.  CAVE - MORNING

At the mouth of the cave, Voicu talks to Mina.

					VOICU
			Mircea Dumitriu's death is a 
			great loss.  You're lucky you 
			found me. I'm going to tell you  
			some secrets about your Master and 
			I'm going to tell you about The 
			Order.

Mina becomes very interested in what Voicu has to say.

					VOICU
			What about Rott?

					MINA
			He cares so much about his sister. 
			She's all his strenght.  But she 
			was just a collateral damage.

					VOICU
			True.  I brought you here at this 
			cave to show you this last bastion 
			against the bloodsuckers. 

One of the walls that leads into the cave is hallmarked with a cross inside of a circle.

					VOICU
			At first, The Order fought against 
			these creatures. But then, in 
			hasty times, during Walhalian 
			upraising, The Order divided into 
			two factions. A nun betrayed and 
			from 	that moment one faction was 
			good, one evil. Of course, the
			latter become more powerful and 
			was helped by the inquisition. 
			During Ceausescu's regime, the 
			secret police kept alive The Order 
			and the vampires. The only ones who
			fought in the name of the true 
			Order were Dumitriu and me.

					MINA
			But what's happening now?

					VOICU
			You see...  A brilliant man like 
			Mircea Dumitriu foresaw that. Vampires 
			appeared as a result of virus spread by 
			bats, the Noctule Moroiterus. In one 
			thousand sixthy hundred, an invasion 
			of rabid bats terrified people.  Killing 
			their animals, poisoning the water 
			and turning men and women into living 
			blood hunters. But they didn't know 
			that the blood would mutate and 
			their balance would change. Only 
			Dumitriu discovered that over a 
			long period of time the virus 
			gestates and produces its own kind 
			of material that changes the blood map.

INT. SHEEPFOLD - DAY

Mina and Roth sit around a table.  Voicu tells them about the Order great victories and about nowdays vampires.

					MINA
			How about this Danka Mort?

					VOICU
			Actually Danka Mort is a serial-killer 
			that was fought to have been executed. 
			During Ceausescu's regime, Ramaru was 
			a notorious serial-killer so powerful 
			that the secret police decided to 
			keep him alive and eventually they 
			transformed Ramaru into a vampire.

					MINA
			We have to find our friend Constantin.

					ROTT
			I have to find an antidote for my sister.

					VOICU
			The only way is to penetrate The Order's 
			main location.

					MINA
			And how we gonna do that?

INT. SHED, NEAR THE SHEEPFOLD - DAY

Voicu reveals a whole arsenal of bows and arrows in form of crosses inside of a circle.  And a special one.

					VOICU
			Vampires can not be killed by striking 
			their hearts with a stick.  Ioanide 
			found that vampires's blood coagulates 
			and remains warm for a long period of 
			time. That's why so many people returned 
			from the dead to hunt for their relative's 
			blood.

Rott lifts a special harpoon.

					VOICU
			A weapon made by me.  Shoots with 
			needles that pump into the vampire's 
			blood a large quantity of holy water, 
			making them burning to ashes.

The harpoon it's attached to two small tanks.

					ROTT
			What are we waiting for?

					VOICU
			I know a way.  Just to evade the 
			secret police watching positions.

					MINA
			I'll take the bow and the cross.

					VOICU
			We'll ride on horses.

					ROTT
			What?  I never rode a horse...

					MINA
			He'll come with me.

Voicu smiles.  But a smile that masks a painful past.

					VOICU
			Let's ride then. 

EXT.  LAWN - AFTERNOON

Voicu rides a black horse.  Mina with Rott a white horse.  These were all the wild horses, but Voicu succeeded in training them.

					VOICU
			But first we have to do something.

EXT.  SMALL WOODEN CHURCH - AFTERNOON

Mina and Rott dismount the horse.  Voicu takes them in front of a skinny PRIEST.  Makes the horses to kneel.

The old priest moves between the horses, says a prayer and starts to grease them with holy water.

					ROTT
			What is happening?

					MINA
			I know this custom.  It's called 
			the christening the of horses.
			Protects against evil and brings 
			luck to their riders.

Voicu watches the ceremony, he has faith that his mission will succeed this time.

EXT.  FOREST - LATE AFTERNOON

Voicu rides in front, Mina and Rott try to catch up with him.

					VOICU
			Their hidden place is under that 
			mountain.  An old train tunnel 
			leads into the horrifying belly 
			of evil.

					MINA
			Tell me more about that Helman 
			Dietrich Raab.

Mina is very interested in that subject.  Rott holds her like holding for his life as the horse riding doesn't please him at all.

The sky darkens, signs of a coming storm alert the horses.  Voicu calms his horse.

					VOICU
			He was a German prince who came 
			to Transilvania in one thousand 
			six hundred to conclude a wine 
			export. But he came at the wrong 
			time.

INT.  ROYAL BEDROOM - NIGHT - 1600 - QUICK FLASHBACK

HELMAN DIETRICH RAAB, tall and skinny, long hair and very drunk, parties with THREE GIRLS on the bed.  The signs of a pillow fight are evident as white feathers are floating in the air.

Suddenly, the windows crack and blow to shards as bats enter the room.  Blind, rabid bats.

The girls scream in horror as their long hair is entangled by bats.  Helam falls down to the floor and crawls to the door.

					VOICU(v.O.)
			The plague blinded the bats but 
			gave them other abilities and a 
			hunger for blood.  So Helman was 
			bitten...

EXT.  COURTYARD, CASTLE - NIGHT

Soldiers and royalties running around.  A total chaos.

Helman emerges from the back entrance of the castle entrance.

A bat is attached to his neck and other are hurting his body.

EXT.  MOUNTAINS - NIGHT

Helman, now changed, his face wrinkled, his eyes red.

He hides within a forest.

Helman leaps and catches a sheep.  Devours it.

					VOICU(v.o.)
			Helman wondered alone... killing 
			animals, feeding with the new lust.
			He suffered and experienced the 
			changing into becoming a "moroi".
			A vampire.

EXT.  FOREST - LATE AFTERNOON - PRESENT DAY

Mina is very drawn by the story.

					VOICU
			After thirty years, Helman learned 
			how to control his lust. He decided, 
			as he was a wellknown German poet 
			and doctor, to write about the 
			experience and what happens to 
			the body. Once inside the plague  
			changes the antibodies and their 
			functions. My father told me 
			about the book. "De Masticatione 
			Mortuorum".

					MINA
			Do you know where is it now?

					VOICU
			I guess The Order has it.

					ROTH
			How did you learn to speak to so good 
			English?

					VOICU
			I was lucky.  A nazi officer taught 
			me while he was a prisoner during the 
			world-war-two. I've fought in the name 
			of the true Order since 1950.  My 
			father confessed to me that I descend 
			from the first ruler of the Order, 
			priest Ioanide.  

Shadows lengthen, the in grey-reddeing light.  Voicu glances behind... to see the SUN closing in on the horizon.

					VOICU
			Hurry up.

					MINA
				(To Rott)
			Hold on.

The three ride across a green valley and follow a path at the foot of the heavy afforested mountains.

EXT.  WAY-STATION - EARLY EVENING

The sun dips obscure and world goes dark.

A narrow road comes down the mountain, crosses the railway and plunges into a valley.  We see Voicu, Mina and Roth riding towards the station.

IRON WHEELS shriek onto rust rails... as A FREIGHT TRAIN makes its way towards the way-station.

					VOICU
			Beware.

LOADING DOCK, WAY-STATION - EARLY NIGHT

CROAKS superimpose the signal horn as the THIRTY-NINE TANK WAGONS stop at the red color and in front of primary loading dock.

Voicu dismounts from the horse.  His bow and arrows ready.  His old eyes, trained to spot this kind of special enemy, peer through the surroundings.

Rott and Mina step onto the derelict platform of the station.

Besides the steady, high-pitched HUM of the engine an eerily silence.

Voicu motions to Rott to stay quiet.  Mina surveys, gripping her bow.

Horses, tied to a wood iron rusted poll, become agitated.  Neigh.  Another neigh.  More violent.

					VOICU
			Stay away from the horses.

					MINA
			Why do they act like that?

Voicu scans the surrounding, sees no one.  But then notices a DROP OF BLOOD that trickles across the oval-shaped tank.  And frowns.

His gaze falls on a tank wagon and a realization washes over his face...

					VOICU
			Rott, stay on the platform...Mina 
			help me...

Voicu climbs on a tank wagon.  Although he's pretty old, his moves are smooth.  Mina follows Voicu and climbs on another tank wagon.

Voicu tries to open the lid of the tank.  He forces himself but no result.

					VOICU
			Rott give me a rock...

Roth steps from the platform.  Picks up a bigger rock from the  gravel pavement of the railway.  Throws it to Voicu.

Voicu smashes the lock of the lid lock and opens it.  A grisly 
sight. What liquid might be inside it, has a red hue to it.

Voicu gives Mina the rock and she opens the lid to reveal the same red hue.

Voicu gazes at the rest of the wagons.

					MINA (o.s.)
			Oh, Jesus!

Voicu looks at her.

MINA'S HAND

Its red.

					MINA
			It's blood.

					VOICU
			Must be hundreds of gallons of blood.

					ROTT
			We should leave, now.

The horses NEIGH hard and rip the ropes that tie them

To the rust poll.

Their neigh becomes even more restless as a shadow falls across the tank wagons moving at speed in excess of anything a human would ever be capable of.

And comes towards Mina.

Rott drains ghost-white.  His knees almost buckle.

					ROTT
			Oh Jesus!  Oh Jesus!  Got go now.

					VOICU
			No.  You stay with the train.

Voicu LOADS his bow and...

... the shadow is holding Mina by the neck in mid air.

Voicu shoots.

WHACK!  The arrow hits the shadow sending it backwards.

Mina falls on the wagon.

The train sets in motion... wheels catching up speed...

Voicu jumps down and runs for the horses that are still neighing and acting like rabid dogs.

					VOICU
			Get up and take care of Mina. 
			I'll go catch those horses.

Roth climbs one of the wagons and reaches Mina.  His gun ready.

Like an IRON GHOST the train speeds up.  Crows surveying from above, ear-shattering CROAKS.

EXT.  TRAIN - NIGHT (MOVING)

Rott checks her pulse.  She's still alive.

					ROTT
			Please, breath.

Sound of SCRATCHING against rust metal hears.  Rott spins

With his gun ready--

					ROTT
			I'm not gonna make it.  I'm not.  

Shadow falls over Rott who stops dead still at the sight.  Beastly purr and just barely visible in the black pitch, a pair of LONG BLOODY INCISORS.

Rott fires the gun.  THAWK!  The shadow's body is struck.

Rott holds tight the gun and goes to push the pumping phase.  But the shadow foresees this and starts moving backwards, jumping from wagon to wagon.  Poor Roth is pulled ahead.  He pushes the button.  The small tanks attached to his back are draining.

					ROTT
			I am gonna make it.  I am.

AGONIZING GROANS as the shadow probably fills with holy water.  Rott is dragged over a tank and then falls almost to touch the railway.  At this speed he would be

Slices of meat in seconds.

Rott pulls the gun, but the creature is more powerful.

Roth gets rid of the tanks in time as the gun flies from his hands along with the tanks into the forest near the train as the shadow makes a jump from the train getting hold of a tree.

Rott looks at it as the creature's body is torn by flames.  It's over.  The tree branches light also.

Rott recovers and reaches Mina.  He's more confident than ever.
	
					ROTT
			Mina...
					
Mina's eyes open.  She looks at Rott with admiration.

The wind blows harder as the train speeds up at a speed way beyond any ordinary train could go do.
					
					MINA
			Voicu thinks the train will lead into 
			the Order's lair.
						
Rott nods.  He keeps a waryied look on the shadows around the wagons The train crosses a bridge, a guard booth stands at the mouth of the bridge, and enters a long tunnel.

EXT.  MOUNTAIN - NIGHT

The tunnel enters the mountain.  Near the mountain is a lake.  At the end of the lake there are TWO WHITE ONE LEVEL BUILDINGS covered by thick woods.  The Mort village is ahead, like a gate to Area 51 of Romania.

EXT.  A FEW HILLS UP THE MOUNTAIN - NIGHT - SAME

Voicu rides the horse and stops.  Sees the train entering the tunnel.  His long white hair floats violently into the wind.

INT.  TUNNEL - NIGHT

The train is stopped.  The wagons are being emptied, blood drains through rubber pipes.  The same looking GUARDS as the ones in Mort village make their rounds near the train.

Obscure light shadows a platform that deepens into another tunnel, like a cave.

Mina lifts a couple of small rocks.  Motions to Rott to be ready.  She throws one rock, hitting one of the wagons rust tank.

The guards check the sound out.

Rott makes his move and vanishes into the dark belly of the tunnel.

Mina throws the rock into a guard's head.  She moves rapidly and punches the other guard.  Then she breaks the neck to other guard.  She takes hold of the strange gun shooting arrows.

INT.  TUNNEL - NIGHT

The area is claustrophobic, damp.  There are torn pieces of insulation hanging from the ceiling, saturated and dripping with blood.

Rott makes the sign of the cross and crouch-walks further in.

INT.  ANOTHER TUNNEL - NIGHT 

Further in.  Rubber pipes pinned to the wall stretch further as sounds of liquid, blood from the tank wagons, flows through them.

Mina walks slowly near the wall.  She senses something is wrong, picks up her pace.

INT. TUNNEL/CAVE - NIGHT

Rott reaches an oval-shaped room.  He steps forward but stops.  Drops of blood drip on his shoulder.  He backs away.  Gulps.

His eyes move on the ceiling of the room... where BAT FETUSES FLOAT INTO A YELLOWISH LIQUID INSIDE OF LARGE JARS.

Rott trudges along, saying a prayer.  He reaches a corridor caved into the heavy rock.  Goes through it.

A white painted corridor that leads him to a door.  A heavy steel door.  Locked.

					ROTT
			What now?
					
INT.  ANOTHER TUNNEL - NIGHT

Mina arrives at the mouth of a tunnel that slopes inward, forming a V-shaped channel where a trickle of water flows.  Something bobs in the water.

Mina nudges it with her foot and knocks it free.  It's a broken HUMAN SKULL which twirls around, then flows past her leg.

Suddenly she hears steps behind her.  She turns to see FOUR GUARDS hurrying to her.  She opens fire and runs through the tunnel.

One of the guards stops and charges a weapon.  Fires.  The weapon strikes a spider web electricity jolt that spreads across the ground of the floor.

Mina dives to the ground and rolls over hiding herself below a prominent rock.

She tries to shoot but the gun is empty.

The guard with the mighty weapon approaches.

Mina takes him by the legs and he's down.  Mina stands

And hits the guard but... to no avail as another GUARD, from behind, shoots her with the electric jolt.  She goes down in a fraction of second, shivering from the electricity traveling her body.

INT.  CORRIDOR, CAVE - NIGHT

Rott tries to open the door.  Suddenly the door unlocks and CREAKS open.  Rott enters...

A HIGH-TECH LABORATORY

Steel tables, microscopes, thousands of vials and thick glass cylindric shaped container filled with blood.

Other empty.  And other with wrinkled bodies.  Vampires in a dormant stance.

Rott surveys all this with terror in his eyes.  Not believing that a place like this could exist.  He turns and moves among the containers.

SOMEONE IN A WHITE ROBE APPROACHES HIM.

Rott hears the FOOTSTEPS growing in intensity and hides behind a container.

Inside the container, inside the yellow substance something moves.  Rott starts.  Turns. Whatever is inside it produces a strained, wettish sound.

It BURSTS into the glass, a vampire, half human, half bat, with a greasy wing.  Creepy as hell. He opens his mouth like a snake.

A HAND SITS ON ROTT'S SHOULDER.

Rott spins, terrified to see...

CONSTANTIN

Rott's eyes fix into a stunned stare.  Then move.  Lost.

Catching details.  The robe bears the sign of a cross inside of a circle.  His mouth barely utters...

					ROTT
			You tricked us...

Rott's head is bashed.  He collapses to the floor.

INT.  LABORATORY, CAVE COMPLEX - NIGHT

Rott and Mina are...

CRUCIFIED on crosses inside of a circle.

Before their eyes GUARDS stand and doctors swarming like a bee hive.

Constantin stands.  Behind him two THUGS, vampires.

But bad looking.

Constantin eyes Rott than Mina.

					CONSTANTIN
			Where is the other fighter?

No answer.  Rott shares a look with Mina.  But Mina hasn't eyes for him.  Why?

					MINA
			Constantin... I know that the Order has 
			the book.

					CONSTANTIN
			Yes, we do.

					MINA
			The sole purpose of my coming is to take 
			back that book. It's something I relinquish 
			for a long time.

Rott looks at Mina, he feels betrayed.

Mina looks at him.  Her eyes red-rimmed.  Her inner true-self reveals.  Her face twitches into a horrific stare.  Came here only for the book.

					MINA
			Do you think I came here for you? 
			Think I fought so hard just for your 
			sister's health?

INT.  MAIN TUNNEL - NIGHT

Same tunnel Mina came through.  The sharpen edge of the arrow STRIKES through the rubber pipe tearing it apart.  Blood BURSTS outside.  The whole pipe looks like an artesian well.

VOICU

Is here, his white hair is stained with blood.  He moves further in as the ground of cave floods with blood.

INT.  LABORATORY - NIGHT

Rott looks at her, still stunned.

					MINA
			After all you are the one who really 
			needs somebody to take care of you.
	
					ROTT
			Not anymore.

					CONSTANTIN
			I would like to see both of you 
			fighting but I don't have time.

					MINA
			What do  you want to do with me? 
			I'll take the book and leave you 
			alone.

					CONSTANTIN
			Thank you for spearing my life, but 
			I need answers.  You were the closest
			friend of Dumitriu on the American 
			soil.

					MINA
			Yes, but Voicu knows more about what 
			causes the mutation on vampires.  
			And why.

					ROTT
			Don't tell him.

Behind Constantin, GUARDS fall down like flies.  Voicu enters the laboratory caring a vampire's head.

					VOICU
			Keep your creatures away.

The two THUGS open their mouth, hissing their incisors.

Voicu throws the head away.  The doctors working there panic and spread away.

					CONSTANTIN
			Finally.

Voicu charges his bow and shoots.  One of the vampire thugs is pinned to a glass container which tears to shards.

The other thug leaps towards Voicu putting him down.

Voicu fights and stabs the creature with an arrow in chest.

					VOICU
			Your time is over.

					CONSTANTIN
			You know I'm the ruler of the new Order.

					VOICU
			Without finding a cure for vampires 
			you're dead.

Constantin laughs.

					CONSTANTIN
			In this bloody times human begins is not 
			valued as one, as a unique entity, but 
			as parts from a whole.

The stabbed thugs recover and dive for Voicu.

					ROTT
			Old man...

Voicu turns but the vampire thugs puts him down.

					CONSTANTIN
			People are waiting and dying every 
			fucking minute because they need a 
			transplant.

Voicu fights the vampire thug but grows tired.

					CONSTANTIN
			And organs from vampires are the key. 
			We have now over twenty one organs 
			from vampires attached to decent 
			citizens from Serbia, Albania, 
			Bulgaria, Serbia and Romania.  Third 
			world countires are opened in the 
			organ trade.  Nobody seems to control 
			this sectors.  Besides 

Rott tries to balance himself, to tilt the cross.  Mina tries to loosen the tight.

					CONSTANTIN (cont'd)
			We need a higher ground.  And what 
			patients desire most of the transplants. 
			Leukemia.  This is an illness that 
			serves our purposes.

Voicu fights the thug.

					VOICU
			The bat virus mutates at a higher rate.  
			It gives protection from the sun and 
			silver but at the same time grows and 
			changes all the entire blood map.

					CONSTANTIN
			What are you bubbling about?

Voicu leaps and strikes the vampire thug in the head, cutting it off with a large glass shard.  His face is full of blood.

					VOICU
			Mircea Dumitriu developed a way to fight 
			the changes, but now that Danka Mort 
			killed him.  Now the secret lies with 
			Dumitriu in the other world.

					CONSTANTIN
			We do know that we need white blood 
			cells to reestablish the pattern...

					VOICU
			But you don't know the gestate period.  
			Besides a vampire looses its lust for 
			blood and dies within 38 hours.

Constantin backs away, enraged.

					CONSTANTIN
			You are lying.

					VOICU
			No.  I'm not. You reproduce in vain 
			that bat fetus similar to the ones 
			that infested humans into vampires 
			hundred of years ago.  The fetus bears 
			the same characteristics as its father 
			and the same blood map.  Moreover its 
			body duplicates at a higher rate.

					CONSTANTIN
			I'm tired of all this.  You're just 
			jealous.  I found out that the German's 
			book contains cures for all diseases.  
			Mina was so kind to let me know.  
			You, old man..., you don't know how 
			to judge a human anymore.

Voicu looks at Mina who mutates into a vampire.

					VOICU
			No, I don't.  But this Order is closed.

Constantin climbs a ladder and looks at him.

					CONSTANTIN
			You are gonna believe an old foul saying 
			that there's an Order that deals with 
			vampires in the Middle of Romania?

Constantin unties Rott and Mina.

					CONSTANTIN
			A renegade.  A foul old man.  And an 
			innocent.  Three stances of society I
			hate and pity most.

Constantin vanishes calling for other thugs to come.

Mina looks at them.  With prowling eyes.

					VOICU
			Why do you renegade your inner self?

					MINA
			Being a vampire these days is very 
			hard.  I took Dumitriu's medication. 
			That protects me from feeding.

Voicu looks at Rott.

					VOICU
			Tell me, what is your sister's illness?

					ROTT
			A chronic phase of leukemia. Multiple 
			myeloma.

A worried Rott stares at Voicu, looks for an answer.

					VOICU
			That's why Danka attacked her.  She had 
			a high rate of plasma cell, a form of 
			white cells that produces 	antibodies.
			In multiple myeloma, plasma cells multiply 
			uncontrollably and make too much of a
			single type of immunoglobulin.  The 
			types that could stop the mutation.  
			Have to get out of here.

					MINA
			No, I have to take the book. 

					VOICU
			I can't let Constantin live.  You go 
			back to your sister.

					ROTT
			But I'm in the middle of a mountain 
			and this country is like a labyrinth.

					VOICU
			Wait us here, then.

Voicu and Mina go to solve their goals.

					ROTT
			Yes I know.  When it comes to life and 
			death I'm on my own.

INT. CAVE COMPLEX - NIGHT

Mina emerges into a round cave.  He looks for Constantin.

Out of nowhere, Constantin comes holding a book.

						CONSTANTIN
			Let's have a deal. If you can defeat 
			what I'm giving you, you take the book. 
			I praise stubborn people and by doing 
			so I offer them equal chances to get 
			what they want. After all a new age 
			is coming come.

Mina hisses at him.  It's a done deal.

						CONSTANTIN
			After all, you killed my best bloodhunter.

ILEANA, a curvaceous beauty with bee-stung lips that exudes a predatory sexuality, emerges from one of the entrances of the cave.

						ILEANA
			How should I say, to cut in blades, to 
			punch in fists or to bite in incisors?
					(Laughs)
			How do you prefer?

Two tugs appear behind Constantin, holding two arrows in form a of across inside of a circle.

						CONSTANTIN
			Give her an arrow.

Ileana throws Mina The Order's symbol.

						MINA
			Where's the book?

Ileana points to her chest.

						CONSTANTIN
			I let you feel how it is to be killed by 
			one of your own kind.

Constantin vanishes with his three THUGS.

The girls HISS one at each other.

Ileana attacks, kicking Mina.

Mina ducks beneath one of the Ileana's kicks, then traps Ileana's foot, giving it a savage twist.

CRACK!  She backhands Ileana with such a strong blow that it knocks her to hernees.

Then Ileana reaches for another arrow in form of a cross inside of a circle.  In a heartbeat, the arrow is out and against Mina's throat.  Just as Mina's arrow is against Ileana's.  It's a stalemate.

						MINA
			Give me the book and I'll let you live.

						ILEANA
			Your worst sin.  Giving up to early.
						
INT.  BUILDING, NEAR THE MOUNTAIN - DOWN

Voicu SLASHES through TWO GUARDS.  Constantin runs and hides into a laboratory.

Voicu walks along the corridor, checking every room out.

INT.  STERILITY ROOM, BUILDING - DOWN

Voicu opens the door and sees nobody.  As he turns to leave, a needle enters the skin of his neck.  Constantin clubs his legs and Voicu falls.

Voicu lets the bow fall down. Constantin, with the features of his face very tense, almost strangles Voicu.

Voicu takes his hand at his belt and takes out a knife.Stabs Constantin in the belly.  Constantin gives up. 

Voicu takes out the needle from his neck. Voicu STABS Constantin in the heart again and again.

Voicu falls back, wounded and on the verge of transformation.

INT.  CAVE COMPLEX - DAWN - SAME TIME

Mina hisses at Ileana. Ileana cuts her with the edge of her arrow.  Mina backs away with her head and cuts Ileana's arm with the arrow.

Ileana, hisses violently, opens her mouth hide revealing long needle sharpen incisors and leaps.

INT.  STERILITY ROOMS, BUILDING - DOWN - SAME TIME

Voicu rummage through the rooms looking for something.

He finds it.  Takes the gun with a tube attached to its end.  Shoots himself into the hand.  Starts.  His body shrivels.  He mutates.  Voicu pushes the button and blood starts to drain out of body.  He forces himself to stay on a chair, ties himself up.  The glass tanks start to fill up.

					VOICU
			You won't get through.  I'm stronger.
			I made peace with the darkness a long 
			time ago.

INT.  CAVE COMPLEX - DOWN - SAME TIME

Mina backs away falling down, her neck bleeds hard.

Ileana in mid-air.  A lightning charges her.  She falls down.  The jolt of electricity taking care of her for a while.

Rott moves near Mina taking her head in his hands.

Mina looks at him.

					MINA
				(a wry smile)
			After all, I think I'm the one who needs 
			somebody to look after.

					ROTT
			Hold on... You have to get out.

Mina nods that she can't.

					MINA
			I'm sorry for betraying you.  I cared 
			for you...

Mina signs to Rott to verify Ileans's chest.  Rott goes and rips Ileana's costume to reveal a book.  He takes it.  The book is very old.

					MINA
			Hold on to it as if your life depends 
			on it.

Rott goes to Mina.  Kisses her on the forehead and leaves taking with him the jolt gun.

INT.  STERILITY ROOM - DOWN

Voicu is dead.  The glass tanks are full of his blood.

INT.  CAVE COMPLEX, NEAR THE EXIT - DOWN

Rott walks, carefully and emerges to the train platform into the tunnel.  He breathes relieved.

SOUND OF SCRATCHES.

Rott spins.  Something LEAPS and SNATCHES HIM.

EXT.  MOUNTAIN - DAY - MUCH LATER

Everything is quiet.  All but the train that emerges from the tunnel.  Speeds up.

INT.  CAVE ROOM - MUCH LATER

A steel examination table gleams in the center.

Rott sits lifeless on the table.  Dressed.

Rott awakes, terrified, gasping for air.

His eyes, his ocular globes almost tear apart from the eyes peering through the surrounding.

INT.  CAVE COMPLEX - LATER

Rott rumbles like a lifeless meat.  Like a frenzy lunatic.

The place is deserted.

SOMEONE'S VISION: A DEMONIC VISAGE.  WALKS, MORE CRAWLS ON THE WALLS.  FOLLOWING SOMEONE.  HUNTING SOMEONE.  ROTT?

Rott stops dead still.  He knows something is behind him.

He sees the jolt gun inches from him.

Rott dives for it, turning to see... a grisly sight. A
FAMILIAR SIGHT.

THE FLESH IS PALE WHITE.  SO PALE IT'S TRANSLUCENT.  So devoid of pigment we can see the blue and purple veins beneath the surface.  Eyes are an unearthly cold blue/ grey and white.  Lips a deep ruby red.  This thing was once human, but now, now...

IT IS A VAMPIRE.  A TORTURED VAMPIRE.

Rott.  Frozen gaze.  A burst into tears.

THE VAMPIRE.  IT IS MIRANDA.  Rott's sister.  Rott's own blood.  She is one of the first results of what Constantin was talking. Rott screams "No".

Miranda hisses at him.

Rott's "No" becomes a GROAN and a SCREAM.  A HORRIFYING
SCREAM.

Miranda's mouth opens, INCISORS BIGGER THAN THOSE OF THE MOST VAMPIRES.  Danka transformed her into the most ferocious thing.

Rott takes the gun.  The jolt gun.  Miranda LUNGES at him.

BLAM!  BLAM!  BLAM!  Rott pounds her with three bullets.

Two in the head.  One in the heart.  Blood spatters.

She teeters and falls.

Rott CRAWLS over her.  He sees an arrow, grabs it.

Rott kisses his sister on the forehead.  He cries.  Then he strikes her neck.  STRIKE AFTER STRIKE.  Until her neck parts apart from her body.

Rott's face.  Darkens.  His eyes bear a horror that'll last a lifetime.

Rott is out of the cave.

The sun shines.

EXT. ROAD - DAY

Rott walks, lifeless like a zombie, stained with blood.

From time to time he makes a sign, so as a car, any car would pick him up.

A truck halts near him.

INT.  TRUCK - DAY

A WITTY, FAT TRUCK DRIVER looks at Rott.  He turns the music from the radio louder.  Thinks it'll cheer up Rott. The driver addresses Rott.  (Subtitles)

					FAT DRIVER
			What happened to you?

Rott is numb.  His eyes tell nothing.

					FAT DRIVER
			You’re not from around here!
			
The fat driver knows that something is wrong with the new passenger.  He sees a trail of blood on his shirt.

He tries to point to Rott that it's blood there.  That he bleeds.

					FAT DRIVER
			What happened to you?

Rott looks at him in terror, the driver withdraws his hand.

Rott takes away his shirt to reveal a cut into his skin, where his lungs are.  A long SCRATCH crosses his chest.

Rott frowns.

EXT.  TRUCK - DAY

The truck speeds up.

EXT.  CEMETERY, CHICAGO - DAY

Rott is in front of Miranda's grave.  Puts flowers at the cross.

His face rested.  His eyes gentle.

Rott holds something tight in his hand.

A CROSS INSIDE OF A CIRCLE.  THE ORDER'S SIGN.  THE TRUE ORDER'S SIGN.

Rott walks away from the grave.

FADE OUT: