Copyright 2003, 2009 by Ronald L. Ecker
All Right Reserved
FADE IN:
EXT. A NICE MANSION - SOMEWHERE IN U.S.A. - NIGHT
Dark but for moonlight.
INT. MANSION - NIGHT
Darkness downstairs. A ticking clock. A night-light burns in the
upstairs hallway.
INT. A BOY'S BEDROOM - NIGHT
Dark. Suddenly a vampire's head rears up, as if out of an unseen
coffin.
The face is grotesque, with sharp fangs and red eyes. And this kid's
only ten! He is DORIAN JARRETT.
INT. MASTER BEDROOM - NIGHT
Dark. SADIE JARRETT, in her 40's, wakes from a fitful sleep.
She's gaunt, sick-looking.
A BLACK HUMAN SHAPE stands silhouetted by the moonlit window.
It's too dark to tell which way the thing's facing.
Sadie finds no one beside her in bed. She looks weakly toward the shape
by the window. She fumbles for the bedside lamp.
SADIE
Willard?
The black shape turns from the window, as the lamp comes on.
It's only pajama-clad WILLARD JARRETT, 50, who's been staring
out the window, apparently in sleepless worry.
WILLARD
I'm here, darling.
Willard steps over to the bed.
SADIE
Oh Willard. You shouldn't worry so.
Willard sits down on the edge of the bed, takes Sadie's frail
hand in his.
WILLARD
How can I help it?
INT. SONYA'S BEDROOM - NIGHT
Dark, as SONYA JARRETT, 8, is asleep. The door quietly opens
from the lit hallway.
A SHADOW falls over her. Something hissing steals toward her.
INT. MASTER BEDROOM - NIGHT
Willard, very emotional, kisses Sadie's limp hand.
WILLARD
You and the kids, Sadie, you're all
that I have. All the rest means
nothing - nothing -
Sadie rolls her eyes, this is too much even for her, as
Willard kisses, caresses her hand.
WILLARD (cont'd)
- nothing, do you hear?
INT. SONYA'S BEDROOM - NIGHT
The shadow is right over Sonya. Another hiss, she awakes,
and looks up in horror.
Dorian, in black cape and top hat, face bestial as before, is
all set to get her.
Sonya screams bloody murder.
INT. MASTER BEDROOM - NIGHT
Willard and Sadie are alarmed by Sonya's screaming.
Willard discards Sadie's limp hand as he springs to his feet.
Her hand hits Sadie in the nose.
WILLARD
Sonya!
INT. SONYA'S BEDROOM - NIGHT
Rushing in, Willard turns on the light.
Sonya, in a rage, throws a pillow, then a rag doll at Dorian,
who's trying to explain.
DORIAN
Sonya -
SONYA
I hate you, Dorian!
WILLARD
Dorian, not again.
SONYA
I hate you!
WILLARD
Sonya, that's enough!
DORIAN
I was just playing with her, Daddy.
Willard snatches Dorian's top hat from his head.
WILLARD
Some play! Get back to your room.
And get out of that cape.
INT. HALLWAY - NIGHT
Dorian, taking off the cape, is on his way from Sonya's room
to his, Willard following.
WILLARD
I'm taking that cape away.
DORIAN
But Daddy -
WILLARD
You can have it Halloween and
that's it.
They stop as Willard takes the cape.
WILLARD (cont'd)
Dorian, this has to stop. You
can't . . .
Willard is distracted by Dorian's fangs.
WILLARD (cont'd)
Take out those teeth!
Dorian takes them out, Willard confiscating them.
WILLARD (cont'd)
Why can't you play Cops and Robbers,
or Cowboys and Indians?
DORIAN
What's wrong with Van Helsings and
Vampires?
WILLARD
I'll tell you what's wrong. You -
Willard is distracted by Dorian's red eyes.
WILLARD (cont'd)
Take out those contacts!
INT. MASTER BEDROOM - NIGHT
Bedridden Sadie is holding a handkerchief to her bloodied
nose. Willard returns, looking emotionally exhausted.
SADIE
Willard, what was it?
WILLARD
That little vampire we're raising,
that's what. He's been sleeping
in a crate! I don't know what -
He stops, seeing that Sadie is bleeding.
WILLARD (cont'd)
Oh Sadie. Another nosebleed,
darling?
Sadie sadly nods yes.
INT. DOCTOR RAY'S OFFICE - EXAMINATION ROOM - DAY
Dorian lies calmly on an examination table as blood is being extracted
from his arm. DOCTOR RAY, 35, steps over to check things.
DORIAN
Ever met a vampire, Doctor Ray?
RAY
Never have. What about the
headache? Is it gone?
DORIAN
Just about.
RAY'S NURSE, 30-ish, sits by a counter, looking on.
DORIAN (cont'd)
Do you know how to spot one, Doctor
Ray? At least a lot of the time.
RAY
A vampire?
Ray seems to give it serious thought, then,
RAY (cont'd)
The teeth.
DORIAN
Not only that. He'll have long
pointy ears . . .
The nurse has long straight hair, from which protrude rather
long ears.
DORIAN (cont'd)
And eyebrows so thick they meet
above his nose . . .
She also has rather thick eyebrows.
Her hands are folded in her lap, a thumb rubbing the opposite
palm.
DORIAN (cont'd)
And he'll have hair in the palms of
his hands.
Ray smiles at Dorian.
RAY
If I meet any hairy palms, I'll let
you know.
Ray gives him a wink and moves off.
Dorian looks at the nurse. Her eyes are fixed on the
container in which Dorian's blood is collecting.
OVERLAP SOUND:
WILLARD (V.O.)
The kid has this blood disease:
polycythemia vera . . .
In the nurse's eyes, as she watches Dorian's blood collect,
is an odd, faraway fascination.
WILLARD (V.O.) (cont'd)
It's sort of the opposite of
anemia . . .
Dorian stares quizzically at the nurse.
WILLARD (V.O.) (cont'd)
The body keeps producing too many
red cells . . .
The nurse snaps out of it under Dorian's stare. She turns
to busy herself.
WILLARD (V.O.) (cont'd)
Too much blood in the body . . .
Dorian keeps an eye on the nurse.
INT. PSYCHIATRIST'S OFFICE - DAY
Willard lies on a couch as he talks.
WILLARD (cont'd)
It's incurable. All they can do is
treat it, keep taking out blood.
What I fear is that this disease
has begun affecting his mind. This
obsession with vampires . . .
The psychiatrist is a weird-looking fellow named GROSS, 55.
He has thick bushy eyebrows and long, rather pointy ears.
WILLARD (cont'd)
It's gone beyond reason. I can't
reason with the boy. The doctor
says not to worry -
Gross is not even listening. He looks closely at something
he has found in his palm, and picks at it, idling his time.
WILLARD (cont'd)
- that it's natural, given his
disease, for Dorian to have more
than the average child's interest
in blood. That it's something the
kid will outgrow.
Willard sits up, turning anxiously to Gross.
WILLARD
Do you think he's right, Doc?
Gross, caught off guard, quickly lowers his palm.
WILLARD (cont'd)
It's just a boy's passing fancy?
He'll outgrow this thing about
vampires?
GROSS
I'm inclined to agree, Mister
Jarrett. Given time.
WILLARD
Well good for him, but what about
me? I'll be ready for the bughouse
by then.
Willard lies down again.
WILLARD (cont'd)
And his mother - the poor woman has
cancer as it is. How much more can
she take? Poor Sadie. I give her
all the affection I can. Believe
me I do.
Willard sits up again to make a point. Gross lowers his palm.
WILLARD (cont'd)
If you could kill a person with
love, she'd already be dead.
INT. A HOSPITAL ROOM - DAY
Sadie is dead. The attending PHYSICIAN gently closes Sadie's
eyes.
Willard, at the bedside, becomes ludicrously emotional as
only Willard can do.
INT. FUNERAL PARLOR - NIGHT
Sadie lies in an open coffin. A few feet away, FRIENDS and
RELATIVES speak quietly with Willard, Dorian, and Sonya.
Dorian walks over to the coffin.
He looks sadly at Sadie. After a moment, Dorian starts to
turn away, but Sadie (so Dorian imagines) grabs his arm.
She pulls him close to whisper,
SADIE
Don't let them get me, Dorian.
Don't let them get me.
Dorian lets out a wail of terror, and turns to flee. He runs
right into the arms of Willard.
WILLARD
Son, what is it?
Dorian looks toward the coffin. Sadie lies serenely in death
as before.
DORIAN
Sorry, Dad. I guess I got carried
away.
Willard sighs. One of the relatives, a middle-aged LADY,
comes forward.
WILLARD
(to the lady)
Carry him away.
The lady soothingly escorts Dorian off. Willard gives dead
Sadie a sad look of apology.
EXT. GRAVEYARD CEREMONY - DAY
The MINISTER intones, with sad but brave Dorian, tearful
Sonya, sobbing Willard, and RELATIVES seated at the
graveside.
Other MOURNERS stand about, the coffin set to be lowered.
MINISTER
Into thy hands, O Lord, we commend
thy servant Sadie. Acknowledge, we
humbly beseech thee . . .
Dorian (imagining again) looks up at Professor ABRAHAM VAN
HELSING, about 65, in Victorian clothes, who has appeared at
his side.
MINISTER (cont'd)
. . . a sheep of thine own fold.
DORIAN
(hushed, in wonder)
Professor Van Helsing.
MINISTER
May her soul . . .
Van Helsing, holding something in his hand out of view,
whispers to Dorian, with a Dutch accent,
VAN HELSING
You know what has to be done.
Van Helsing moves off toward the coffin. No one sees this,
of course, except Dorian.
MINISTER (cont'd)
. . . and all the souls of the
departed . . .
Van Helsing steps to the coffin, steels himself, hammer and
stake in hand.
MINISTER (cont'd)
. . . rest in peace. We therefore
commit her body to the ground . . .
Dorian watches wide-eyed, frozen.
MINISTER (cont'd)
. . . earth to earth, ashes to
ashes . . .
Van Helsing flings open the coffin lid.
At once Sadie in the coffin grabs Van Helsing by the wrist with
super-human strength. She yanks the stake from his hand.
During this,
MINISTER (cont'd)
. . . dust to dust; in sure and
certain hope . . .
Dorian watches as if in horror.
MINISTER (cont'd)
. . . of the resurrection . . .
Sadie, sitting up, clubs Van Helsing over the head with the
stake, Van Helsing falling to his knees by the coffin.
MINISTER (cont'd)
. . . to eternal life.
SADIE
(to Van Helsing)
I'm not a vampire, you idiot!
MINISTER
As it was in the beginning . . .
Sadie throws the stake at the fallen professor.
SADIE
(to Van Helsing)
Leave me alone!
Sadie lies back down and slams the lid shut.
MINISTER
. . . is now . . .
Dorian stares in seeming amazement at Van Helsing, sitting in
a confused stupor on the ground, a hand to his bleeding head.
MINISTER (cont'd)
. . . and ever shall be . . .
The service concludes as it began, no Van Helsing in view.
MINISTER (cont'd)
World without end. Amen.
EXT. THE JARRETT MANSION - REESTABLISHING - NIGHT
Two or three windows are lit. SUPERIMPOSE:
TWO MONTHS LATER
INT. A FAMILY ROOM - JARRETT MANSION - NIGHT
Dorian wears dark shades, apparently wanting to look spooky.
He lies on the floor with an oversized atlas, opened to a map
of Romania.
DORIAN
Daddy?
Willard sits reading a newspaper on the couch. Sonya is busy
at a computer.
WILLARD
Hmm?
Dorian removes his shades.
DORIAN
Are we still going to go on a trip,
now that Mom won't be going?
WILLARD
(reading)
We'll see, son. Where do you want
to go?
SONYA
Let's go to Rome, Daddy. To the
Coliseum.
DORIAN
He asked me, Sonya, not you.
(to Willard)
Transylvania.
WILLARD
Transylvania?
Dorian lugs the atlas to the couch, and sits down beside Willard.
DORIAN
It's part of Romania. Let me show
you on the map.
(pointing it out)
See? "Transylvania." It's the
homeland of Dracula.
Sonya slaps a hand to her forehead.
SONYA
I can't stand it. I can't.
WILLARD
Dorian, there was no Dracula.
DORIAN
There was too, Daddy. He wasn't
really a vampire - at least they
don't think so. His real name was
Vlad, Vlad Tepes. He was a
bloodthirsty prince. He'd put
people on stakes. They called him
Vlad the Impaler. And Dracula,
which means devil. And he had a
real castle, just like those there
today.
WILLARD
Romania is verboten. Capeesh? You
want to see a castle, we'll go to,
uh - Disney World. I'm sure
there's a Castleland there and -
Willard stops - he sees that Dorian is about to cry.
WILLARD (cont'd)
Okay, maybe it's a good idea. I'm
going to take you to Romania and
prove to you there's no such thing -
and there's never been such a thing
- as a vampire.
Dorian is delighted.
DORIAN
And I'll prove there is!
WILLARD
Wait till I tell my psychiatrist.
DORIAN
What?
WILLARD
I have to go to Romania to look for
vampires. He'll laugh me out of
the office.
EXT. BUCHAREST, ROMANIA - DAY
ESTABLISHING SHOT. SUPERIMPOSE:
BUCHAREST, ROMANIA
INT. TAXI - DAY
Sonya, Dorian, and Willard are in the back seat, Sonya
sulking.
SONYA
We could have gone to London or
Rome or the River Forever. But no,
we have to go look for Dracula.
WILLARD
No, darling, you're misstating our
purpose. There's no Dracula to
look for.
DORIAN
We're looking for vampires and I'm
gonna find one.
SONYA
Good. I hope he sucks your blood
all out.
The DRIVER, 35, lean and beady-eyed, listens to all this with
veiled interest.
WILLARD
Okay, that's enough. Knock off
that kind of talk. Capeesh?
Dorian looks wonderingly at Sonya.
DORIAN
"The River Forever"? What's that?
WILLARD
I think she means the French
Riviera.
(to Sonya)
Don't you, darling?
Sonya sticks her nose in the air. She's not telling.
EXT. A BUCHAREST HOTEL - DAY
Willard hands the taxi driver his money. A PORTER goes
in with the luggage.
DRIVER
I thank you.
Willard heads for the entrance with Sonya.
Dorian looks around. The driver watches him. Dorian
starts toward the entrance.
DRIVER (cont'd)
Little man . . .
Dorian stops and turns.
DRIVER (cont'd)
You wish to see castle like in
Dracula book? Go to Brasov. From
there to Bran Castle.
Willard, holding Sonya's hand, calls from the hotel entrance,
WILLARD
Dorian!
DORIAN
That's in Transylvania? Bran
Castle?
DRIVER
Of course. They say Vlad Tepes
himself used to stay there.
SONYA
Dorian!
DORIAN
Thanks for the info.
Dorian turns to go.
DRIVER
Little man . . .
Dorian stops and turns again.
DRIVER (cont'd)
If you go to Bran Castle, return to
Brasov before dark.
The driver turns to go, leaving Dorian wide-eyed, looking
eager to get there.
INT. THE HOTEL - FRONT DESK - DAY
American LYLE GREENWOOD, 25, signs in. He has an eye for
the pretty Romanian DESK CLERK, late 20's. A few GUESTS
move about in b.g.
LYLE
You speak pretty good English?
DESK CLERK
I speak English.
LYLE
Tell me, how do you say "What time
do you get off work" in Romanian?
DESK CLERK
(in Romanian)
What time do you get off work.
LYLE
And the answer is?
DESK CLERK
(speaks in Romanian)
LYLE
And what is the exact translation
of that?
DESK CLERK
"Get lost."
Lyle notices that Dorian is standing beside him.
LYLE
(to desk clerk)
Oh, were you talking to him?
DESK CLERK
No, I was talking to you, sir. The
translation you wanted.
LYLE
(to Dorian)
Are you with me?
Dorian shakes his head "no."
DESK CLERK
(to Dorian)
May I help you?
DORIAN
Can you tell me how to get to
Brasov and Bran Castle?
DESK CLERK
You can go by bus, train, or car to
Brasov. From there, a bus leaves
every half hour for Bran Castle. Here
is a brochure in English.
She hands the brochure to Dorian.
DORIAN
Thank you.
Dorian heads for the elevator. Lyle eyes the clerk again.
LYLE
Tell me this. Where does a single
young man like myself go in
Bucharest to have a good time?
DESK CLERK
I wouldn't know, sir. I'm not a
single young man. Here is your
key, sir. Room Two-Twenty-Three.
Lyle takes the key. He starts to go, then,
LYLE
Can I have one of those Bran Castle
brochures?
EXT. A TOUR BUS - DAY
The bus (an older model) moves along a scenic Transylvanian
road.
INT. THE BUS - DAY
Full of TOURISTS. Dorian is excited, Willard and Sonya show
considerably less interest.
Sitting by a window, Dorian turns to look at other passengers
behind him. He notes pretty American KATY HARRELL, about 25,
enjoying the view and talking in Romanian with a passenger
beside her.
Dorian now sees Lyle, sitting a couple of rows behind Katy
and admiring her, Katy unaware.
Lyle notes Dorian staring at him. Lyle pretends to dig a
booger from his nose, roll it up, and flip it at Dorian.
Dorian turns forward again in his seat.
EXT. MOUNTAIN ROAD - DAY
The tour bus continues on its way.
EXT. BRAN CASTLE - DAY
Standing majestic, with its towers and turrets, in a mountain
fastness.
EXT. ROAD - DAY
The tour bus approaches the castle.
INT./EXT. DORIAN’S BUS WINDOW - DAY
From his window, Dorian sees PEASANT WOMAN #1, in black,
standing by the road ahead. As the bus passes her, she crosses
herself - and looks right at Dorian.
Dorian looks a bit spooked.
EXT. FRONT OF CASTLE - DAY
The tour bus pulls up and stops.
EXT. FRONT OF CASTLE - DAY (MOMENTS LATER)
Tourists get off the bus. Some go immediately to look
at sweaters, Dracula T-shirts, and other items being
hawked at a little market run by PEASANT WOMEN.
Dorian, off the bus, looks up at the castle with awe. Something
grabs his attention.
A WOMAN stands at an upper window, looking down - apparently
at Dorian. She is pale, dressed in black. (She's the
CARETAKER.)
Sonya joins Dorian, still staring up toward the window. The other
tourists shop at the market or walk toward the castle.
DORIAN
Look at that woman.
Dorian quickly glances around.
DORIAN (cont'd)
Where's Daddy? I want him to see
her.
SONYA
Who? I don't see any woman.
Dorian looks up again at the window. No one is there.
DORIAN
She was right there in that window.
SONYA
Oh, come on, Dorian. You're going
to start seeing vampires
everywhere, right?
Sonya moves off. Dorian steps over to look at the market
items. A T-shirt being held up for his view reads "I Love
Dracula," with a red heart in place of the word love.
Dorian looks at PEASANT WOMAN #2, who is holding up the
T-shirt for him. She stares at him coldly with dark, piercing eyes.
Dorian moves to PEASANT WOMAN #3, who holds up a sweater.
She too stares coldly, spookily at Dorian. All the other
peasant women smile at the tourists.
Dorian quickly moves away from the market. Now he watches as
Lyle moves toward Katy, who stands studying the castle and
writing notes on a pad.
Lyle stops by Katy. Dorian listens nearby.
LYLE
Some castle, eh?
KATY
Sure is. It's going to be in my
dissertation.
LYLE
Yeah? What's it on?
KATY
Medieval castles, like this one.
LYLE
Lucky for me! Look, my name's
Lyle. Lyle Greenwood. And you're - ?
KATY
Katy Harrell.
LYLE
Katy, I'm here for a little research
of my own. And you're just the
expert I need.
KATY
Oh, I wouldn't say that.
LYLE
No, believe me, you're just what
I've been praying for. Mind if I
tag along with you on the tour?
KATY
Not at all.
They move toward the castle, Lyle eyeing her.
LYLE
Boy, this is my lucky day.
Dorian watches Lyle and Katy.
WILLARD
Dorian!
Willard and Sonya wait ahead for Dorian to join them.
WILLARD (cont'd)
Don't wander off. Capeesh? We
don't want Vlad Tepes to get you.
Dorian looks back at the market, where a few tourists still
linger. Peasant Women #2 and #3 both stare at him.
Dorian looks spooked again as he heads toward the castle.
INT. THE CASTLE - MAIN HALL - DAY
The tourists mill about, waiting for their tour. Dorian, standing
with Willard and Katy, notes Lyle and Katy chatting together
across the room.
Dorian wanders toward Lyle and Katy. He abruptly stops,
as he see someone stare at him.
It's a MAN, 50-ish, seemingly alone among the tourists,
wearing a bowler hat. Perhaps more unsettling for Dorian
than the stare are the man's telltale eyebrows and ears.
Dorian averts his eyes as he moves again toward Lyle and
Katy. When Dorian looks again, the man has vanished.
Not a sign of him in the tourist-filled room.
Stopping to wait near Lyle and Katy, Dorian eavesdrops.
LYLE
You see, I have this theory -
which I hope to prove - that Count
Dracula really existed.
Katy gives Lyle a skeptical look.
LYLE (cont'd)
I don't mean Vlad Tepes, the impale
people guy. We know he was real.
I mean Dracula the count, from Bram
Stoker's novel.
KATY
Dracula the vampire.
LYLE
The same.
KATY
Lyle, really.
LYLE
Yes really. I'm going to write a
book. I've got it all figured out.
The caretaker, whom Dorian saw looking at him from a window,
addresses the tourists.
CARETAKER
Welcome! Welcome, everyone, to
Bran Castle.
Still in black, she has thick eyebrows and rather long ears.
Dorian hears Lyle whisper to Katy,
LYLE
Tsch. She's made up like a vampire.
CARETAKER
My husband and I are the caretakers
here. He is ill today and unable
to join us. Ioan will be your
guide for the day.
She has gestured toward IOAN, 55, a kind-looking gentleman
who nods a courteous greeting to the tourists.
CARETAKER (cont'd)
He speaks English, French, and
Romanian. He will answer all
questions. Now I bid you enjoy
your stay at Bran Castle.
Her eyes fall on Dorian, who stares at her.
IOAN
You will come this way, please.
The caretaker watches Dorian, who keeps glancing back toward
her, as Dorian moves with the other tourists, Ioan leading them
off down a corridor.
IOAN (cont'd)
Bran Castle, dating back to the
fourteenth century, has been home
to many Transylvanian nobles . . .
Dorian now walks backwards, staring at the caretaker who
stands calmly staring back at him.
IOAN (cont'd)
(fading down the corridor)
Even the famous Vlad Tepes once
stayed here.
Dorian backs right into Lyle, who has stopped with Katy to
look at a wall painting in the corridor.
Lyle turns and looks down at Dorian.
LYLE
What are you, some kind of curse?
Lyle sees Dorian stare again at the caretaker, who still stands
alone in the main hall, watching Dorian.
LYLE (cont'd)
(to Dorian)
Don't you know that it's impolite
to stare?
Dorian heads on down the corridor after the other tourists.
Lyle turns again to Katy, who still looks at the painting.
There is a fluttering sound from the main hall. Lyle looks.
There is no one there. Katy notes Lyle's odd expression.
KATY
What is it?
LYLE
That caretaker . . .
KATY
What about her?
LYLE
She pretended to fly away.
EXT. COURTYARD - DAY
Ioan leads the tourists through the castle's interior courtyard.
He stops and turns at a door.
IOAN
Through this door we shall return
to the main hall of the castle.
Then we shall -
KATY
Excuse me . . .
Katy and Lyle step forward, with Dorian staying close behind
them. Katy gestures across the courtyard.
KATY (cont'd)
That side of the castle over there -
aren't you going to show that as
well?
IOAN
No, madam. That part of the castle
is under renovation. It is closed
to the public.
Ioan opens the door and enters. The tourists follow.
INT. A CORRIDOR - DAY
Willard smiles back at Dorian and Sonya as they move along
with the others.
WILLARD
I haven't noticed one vampire yet.
Have either of you?
DORIAN
I wouldn't count out the caretaker.
WILLARD
Tsch. She's a dog-and-pony show.
The group continues moving. Dorian now deliberately lags,
glancing back down the corridor.
EXT. COURTYARD - DAY
The door from the corridor opens, and Dorian appears, looking
out across the courtyard.
He sees Lyle and Katy on the other side of the courtyard.
The couple is apparently trying to decide whether or where
to enter the forbidden side of the castle.
Dorian watches Lyle and Katy enter one of the doors.
INT. THE MAIN HALL - DAY
Entering with the other tourists, Willard finds that Dorian is
no longer with Sonya.
WILLARD
Where's Dorian?
SONYA
I don't know. Maybe the vampires
got him.
INT. A GALLERY - DAY
Lyle and Katy walk through an ornate gallery, admiring
paintings and statues.
The gallery door quietly opens, and Dorian looks in.
Dorian sees Lyle and Katy disappear around the corner of a
corridor at the gallery's far end.
Dorian starts to follow them. He stops as he hears the
door mysteriously close itself behind him.
Dorian hurries back to the door. It won't open. Turning,
Dorian looks down the gallery.
DORIAN
Hey! Wait!
His voice resounds in the stillness. He runs the length of
the gallery.
INT. CORRIDOR - DAY
Dorian rounds the corner, and stops to look. Not a soul to
be seen. The passage seems cold and foreboding.
He walks along the passage. Something catches his eye,
startling him to a halt.
It's a portrait on the wall - the rather unsettling portrait
of Vlad Tepes, the bejeweled, mustachioed Wallachian prince
with the large evil eyes, which seem to glare at Dorian.
Dorian backs away, turns as he's moving, and walks right into
a suit of armor standing by the wall.
The armor topples, crashing to the floor with a horrendous,
echoing clatter.
This spooks Dorian even more, he goes running down the
passage.
Vlad in the portrait almost seems to be watching with evil
amusement, Dorian's footsteps running away, the armor still
rolling around.
INT. A CORRIDOR - DAY
Dorian desperately tries one door, then another. All are
locked. Dorian stops, looking scared and frustrated.
DORIAN
Where are you?! Where did you go?!
Only silence. Dorian can see little or nothing through the
corridor's high, small windows.
Dorian's about to cry - then he notes that a door is standing
slightly ajar.
Dorian goes over, listens at the door, then cautiously opens
it wider.
INT. A STUDY - DAY
Dorian pokes his head in. No one's there. He comes in and
looks around.
It's a nice little study, with oak table and chair. Dorian
hurries over to the regular-sized window.
EXT. WINDOW - DAY
Dorian leans out, looks around.
The castle's moat is many yards below. The window faces
woods, with mountains beyond. Not a person in sight.
Dorian yells from the window,
DORIAN
Help!! Help meeee!!
A wind now mysteriously arises, gently blowing Dorian's hair.
INT. STUDY - DAY
The door slams shut as if blown by the wind from the window.
The wind dies, as if mission accomplished.
Dorian doesn't know what to think. Then his eyes widen, as
Dorian sees a MIST, smokelike, seeping in under the door.
The mist is sparkling and swirling.
Dorian watches in terror as the mist keeps seeping in,
rising, not filling the room but staying right by the door.
It's gathering, boiling up into some kind of form.
Dorian turns, yells with all his soul out the window,
DORIAN
HELLLLLLLP!!
Dorian turns again. His terror turns to awe now, pure
wonder, at what he sees.
At the door stands a sinister-looking MAN. About 40, he
wears a black, high-collared cloak and slouch hat, and a ring
with a bright red ruby. He's pale, with thick eyebrows and
long pointy ears.
Dorian and the man gaze at each other.
DORIAN (cont'd)
That was you - coming in under
the door.
The man speaks with a Hungarian accent, like Bela Lugosi's.
MAN
Pretty neat trick, eh?
The man steps forward. Dorian moves to the side, circling
around, trying to get to the door.
DORIAN
No! Get away! Don't touch me!
The man watches, amused, makes no move to stop him, as Dorian
gets to the door.
Dorian struggles with the worn-looking door latch. The door
won't open. During this,
MAN
How often your parents must have
warned you: "Never wander off
alone."
Dorian, giving up on the latch, puts his back to the door,
wondering desperately what to try next.
The man's eyes widen. He sees Dorian's finger, cut, dripping
blood.
Dorian looks down at his wound, glances quizzically at the
latch (a loose screw did the cutting, most likely), and looks
down at bright drops of blood on the wooden floor at his feet.
The man grabs Dorian by the wrist, Dorian almost screams,
then stifles it - the man only presses Dorian's cut with a
handkerchief.
The man gestures for Dorian to take the handkerchief, which
Dorian does, keeping it pressed to the wound.
Clearly rattled, the man turns, steps away.
MAN (cont'd)
Take care. In such an old
castle . . .
The man stops by the table and turns. He seems pretty much
calm again.
MAN (cont'd)
. . . it is easy to do oneself
harm.
Dorian, holding his wound, stares at the man.
DORIAN
Who are you?
MAN
Call me Vlad.
Vlad sits down, very gracefully, by the table.
DORIAN
Vlad Tepes?
VLAD
No. Vlad short for Vladimir.
I am Vladimir Blasko. And you
are Dorian.
Dorian cautiously walks over. He studies Vlad's features.
DORIAN
You're a vampire.
Vlad smiles cagily.
VLAD
What makes you so sure?
DORIAN
Well, you have thick bushy eyebrows,
that almost meet above your nose . . .
Vlad's smile disappears. He seems sensitive about his
eyebrows.
DORIAN (cont'd)
And you have such long pointy
ears . . .
Vlad also seems sensitive about his ears.
DORIAN (cont'd)
And you have hair in the palms of
your hands . . .
Vlad looks fed up.
DORIAN (cont'd)
And then there's your breath.
VLAD
Okay! I'm a vampire!
Vlad looks at Dorian's hand.
VLAD (cont'd)
How is the hand? Let me see.
Dorian lets Vlad take hold of his wrist and look at the
finger. Then we see why Vlad does this.
It's the ruby - the bright red ruby in Vlad's ring. The
sparkling red stone has caught Dorian's eyes, and holds them.
VLAD (cont'd)
Look deep . . . deep . . . I
must take you to them. They are
waiting.
The red ruby looks liquid inside, something swirling, its red
glow lighting his face as Dorian gazes into the ring.
DORIAN
(dreamily)
Who are "they"? . . . Where are we?
The ruby's RED SWIRL expands now, spreading out, filling
the SCREEN.
VLAD
You have come to the Vampire
Vortex.
BRIGHT RED FILLS THE SCREEN.
INT. THE CASTLE - AN APARTMENT - DAY
A bright red wall hanging, almost covering the height and width of
one wall, is filled with satanic designs.
Dorian, awaking, sits up on a couch. He glances around in
confusion. Seeing no one, he stares at the wall hanging.
On another wall Dorian sees a mounted deer's head, its dark
eyes staring at him. On the floor he sees a bear rug, its
teeth bared toward him.
BOGDAN (O.S.)
Boo!
Startled, Dorian turns and looks. Behind the couch stands
BOGDAN, 40-ish, a suave, well-tailored American.
Bogdan chuckles as he walks to the front of the couch, Dorian
rising.
BOGDAN (cont'd)
Sorry. Did I startle you? I like
to see children startled. Adults
too, for that matter.
One wouldn't take Bogdan for a vampire right off. But there
is definitely something sinister about his appearance. It
must be the eyes.
Dorian stares at Bogdan from the couch.
DORIAN
Who are you?
BOGDAN
I am Bogdan. Grand Boyar of
Walpurgisnacht.
DORIAN
Walpurgisnacht?
BOGDAN
It's the name of our order.
Dorian is startled again,
YOLANDA (O.S.)
Murtala!
From the door comes YOLANDA, 30, a swarthy, sexy Peruvian
in a red, low-cut dress.
YOLANDA (cont'd)
He is awake.
Following her over is MURTALA, 45, a Nigerian with a real
pearly smile. He wears a traditional cap and robe.
Yolanda leans down to smile brightly at Dorian.
YOLANDA (cont'd)
Hola, chiquito. I am Yolanda.
Yolanda admires his complexion.
YOLANDA (cont'd)
Que rosado.
BOGDAN
Isn't she something, Dorian? When
you are older, you will appreciate
such finer things in -
Bogdan stops and puts a hand to his lips.
BOGDAN (cont'd)
I almost said "life."
Dorian looks scared and confused.
DORIAN
Are we still in the castle?
YOLANDA
Yes. In a very special part.
DORIAN
What are we here for?
MURTALA
For annual convention.
BOGDAN
Number fifty.
Dorian looks over their faces with dread.
DORIAN
A vampire convention?
Their smug looks say it's so.
MURTALA
And you are special guest.
DORIAN
How did you know I was coming?
BOGDAN
We didn't. That is, not exactly.
YOLANDA
You had to come sooner or later.
BOGDAN
When we heard it was sooner - this
very year - we had to move the
date.
DORIAN
Just for me? . . . Well, look,
uh . . .
Dorian backs away toward the door.
DORIAN (cont'd)
I don't wanna be a vampire. I
never have. I just played like
I did. You know? It was all
a big game. I guess you guys
thought I was serious.
Dorian turns, only to find that his way to the corridor is
blocked by vampiric THUG #1, a mean-looking brute in black
with an ugly scar on his forehead.
YOLANDA
Tomorrow evening you will join us.
At la fiesta.
Yolanda runs her fingers along Dorian's neck.
YOLANDA (cont'd)
La Fiesta de Sangre.
Yolanda moves with Murtala toward the door, while Bogdan
stops by Dorian.
BOGDAN
Until then, this apartment is
yours. But don't try to leave it.
Dorian looks at Thug #1, gets the drift.
BOGDAN (cont'd)
He likes to scare children too.
Bogdan starts toward the door, Thug #1 going out behind
Yolanda and Murtala.
BOGDAN (cont'd)
To try to escape would be useless.
DORIAN
Wait - Bogdan.
Bogdan stops and turns.
DORIAN (cont'd)
Where's my dad? And Sonya?
BOGDAN
Wherever you left them. They can't
find you here. It's the Vortex.
Bogdan proceeds toward the door, Dorian following.
DORIAN
What's that mean, anyway?
Bogdan stops at the door and looks at Dorian.
BOGDAN
Don't try to leave this apartment.
Capeesh?
Bogdan starts to leave.
DORIAN
Hey, wait a minute - Bogdan!
BOGDAN
Yes?
DORIAN
What made you say that?
BOGDAN
I told you. To try to escape would
be useless. And dangerous.
DORIAN
No. Why did you say "Capeesh"?
BOGDAN
I didn't.
DORIAN
You did.
BOGDAN
What kind of word is it?
DORIAN
It's Italian.
BOGDAN
I don't know Italian.
DORIAN
It means "do you understand."
BOGDAN
Well I certainly don't.
Bogdan again starts to leave.
DORIAN
Bogdan!
BOGDAN
Yes?
DORIAN
"La Fiesta de Sangre." What does
that mean?
BOGDAN
"Feast of Blood." Right after
sundown tomorrow. Guess who's
bringing the blood.
DORIAN
That means me, doesn't it.
BOGDAN
Every feast must have its fatted
calf.
Bogdan leaves, closing the door. Dorian listens to the
rattle of the key that locks him in.
Go to Part 2Back to beginning of script