Halloween: The Series.
     Episode 3.21: Blood Lust Part One.

Open on churned up mud, the moisture clogging it up and rain hitting it with a splash. A commotion is heard in the distance, people shouting and yelling and the occasional cry of pain. A foot tramples into the mud as we pan up over a medieval landscape. We’re in GERMANY, an undisclosed time period. It’s night and amongst the rain the peasants are up in arms!

We take in the scene. A vast castle sits upon the mountain side looking sound over the towns below. Mobs rampage through baring torches of flame and hay stacks are alight. We see elite soldiers fighting to the death as a great REVOLUTION takes place. 

We pan around to see a DARK, GOTHIC COACH drawn by jet black steeds covered in golden armour. The expense of the piece contrasts with the obvious poverty around it. The coach driver, a middle aged man with greying hair, halts as a MOB blocks his path. Subtitles reveal what they are saying.

DRIVER: <Aside by order of the Countess Isabella Kremmler.>

The mob ignore him, instead, brandish weapons such as torches, clubs and pitchforks, they surge forward at the carriage. The Driver goes to make the steeds move but, swamped, they cannot. A rock flies from the angry mob, knocking him down off his perch. He hits the mud, out cold. 

PEASANT: <Burn the bitch!>

They ignite the coach as we pan up to the castle… suddenly we rapidly zoom in, covering miles in seconds.

We reach a balcony where, cloak billowing in the wind, we see MANFRED VON GUILE watching the anarchy. His face is one of a disappointed sadness and yet his eyes contain the hint of a burning anger. We pan around to his view: a great kingdom in flames. From behind him comes his personal servant, REMBRANT, a 40 year old dressed in a formal suit and carrying a slip of paper. Without turning to face the arrival Manfred speaks.

MANFRED: You come with more ill news Rembrant.

REMBRANT: I am sorry my Lord. It is as you expected, revolution has spread across our lands. 

MANFRED: The peasants are spurred and aided by the foreigners. They hear talk of “democracy” and of living without fear.

He says “democracy” with bitter hatred and turns to his servant.

MANFRED: The rebellion is too large, I would be foolish to believe it could be crushed.

REMBRANT: Sir, the castle guards are prepared and the revolution has still yet to breach our walls.

Manfred smiles faintly.

MANFRED: Such faith Rembrant. But no, I am a realist. Our time is nearly up here, already the other noble houses have fallen , burnt to ashes. 

He approaches the man and smiles.

MANFRED: However I shall not burn with them. I must go on, to plan, to eventually rebuild what tonight is destroying.

REMBRANT: Of course, sir.

Manfred places an arm on the shoulder of his servant who seems taken back but quickly regains his composure. Obviously it is not expected that a Lord of the land would touch one who is, in the end, a slave.

MANFRED: I shall need allies. Some have already fled, some seeking refuge in the mountains. But most are too proud or too stupid and they are dying. I need people I can count on. 

REMBRANT: Sir?

Manfred looks down, smiling. He brings his face up suddenly, his eyes a blood red and his fangs bared.

MANFRED: We shall go on.

He grabs the man and sinks his fangs into his neck. He pulls Rembrant close, the man closes his eyes not in pain of fear, but in contentment. Below we hear the revolution drawing ever closer.

Fade to black.

     The Halloween Theme begins to play as we rise up over Haddonfield. The title card appears reading:

HALLOWEEN: the series
     
     The music becomes a far more rock and roll version of the theme tune and various images from seasons one and two flash up. The cast characters are named as:
Paul Rudd as TOMMY DOYLE
Carrie-Anne Moss as DEBRA LOOMIS
Johnny Depp as LONNIE ELAMB
Rebecca Gayheart as HELEN JACOBS
with 
Colin Baker as ADAM TRAVERS.

Fade in on a vast Banquet Hall. Decorated in the height of luxury, gold’s, reds, emerald greens! A vats table is spread out, laid with food that could feed an army. Sat at one end is Manfred Von Guile, either side of him two other Vampires. One is PETIER VON GUILE, the other we recognise as LAMHIA (3.11 / 3.13). All the other seats are empty. Manfred sips his wine before addressing them.

MANFRED: Plans are in motion my friends. A carriage awaits us atop the mountainside, we will be taken north where a ship will carry us further afield until we can assess the situation.

LAMHIA: Are we all that remain?

MANFRED: The aristocracy has either fled or been killed. Some still fight but to no avail.

PETIER: Surely we should flee now?

MANFRED: We set out in half an hour my cousin. But first, let us revel in what we are losing, remember this place so that we know what we strive to achieve one again. We must never become complacent in an existence less than this…

Suddenly there is a cry from beyond the double doors at the rooms end and the screams of death. Petier bolts up from his seat.

PETIER: They can’t have breached the castle yet, we would of heard!

Suddenly something slams against the great oak doors and a voice is heard.

VOICE: He’s in there, I know it!

Manfred almost smirks, he knows the voice.

MANFRED: It’s not an army.

The doors smash open and seven men enter. Six are dressed in light chainmail armour and ragged clothing, three carry long wooden pikes and three, burning torches. The seventh steps forward, he wears a long flowing coat and boots over his smart uniform. This is WITCH HUNTER SAMUEL BRADLEY.

SAMUEL: Manfred von Guile. And Petier von Guile alongside the enchanting Lamhia. Quite a catch.

MANFRED: Samuel Bradley, I should have guessed you and your men would have found a way in. This revolution, of course, gave you the perfect cover.

PETIER: Who is this man?

MANFRED: Samuel Bradley, English witch hunter. Considered quite mad, claimed ruling families in Germany were Vampires. 

Manfred grins, revealing his fangs.

SAMUEL: It’s over Manfred. The rest of my men are raising the gates, letting the revolution in. There is no where left to run.

Manfred’s anger increases. He hisses, his eyes going blood red. The other two follow suite, preparing to fight for there freedom. Samuel and his followers start approaching, moving each side of the great table. As Hunter#1 gets near to her, Lamhia suddenly screams out and leaps forward, ripping the pike from his grip and leaping at him, her nails clawing at his eyes. He yells in agony as everyone jumps into action!
      Petier is stabbed in the chest by a pike thrust by two Hunters but if doesn’t slow him, he grabs it and snaps it away. He launches himself forward and knocks one away and grabs the other one around the neck. There is a loud crack and the man drops to the floor dead.
     Samuel ignores the others, his target is Manfred himself.  The Lord is backing away defensively but his poise never anything but that of a cat about to pounce.

SAMUEL: This is the end of your days demon.

Manfred looks set to pounce but, surprisingly, Samuel lunges forward. Manfred is caught off guard and the two of them tumble backwards through the room and out onto a balcony over looking the burning empire. Manfred slams against the balcony wall and hisses angrily. He swipes at Samuel who leaps back and uncorks a bottle with a cross stuck to the side.

SAMUEL: The Lord protect me.

He throws it in Manfred’s face causing the vampire to scream and become disorientated, the power of Samuel’s faith over powering him.
     Inside we see Lamhia throw a man against a wall and, looking down a corridor and hearing the sound of the revolution approaching, she flees. Pieter isn’t so lucky, surrounded by the remaining soldiers he is grabbed from both sides, crosses held to him by those who believe. A stake is raised and brought towards him and we close up on a mallet crashing down and his screams.
      Outside on the balcony Manfred and Samuel continue to struggle. Samuel produces a sword from his side and pierces Manfred with it. The vampire is pained but not stopped. His nails scratch across Samuel’s face, drawing blood.

MANFRED: You cannot destroy that which is eternal!

However Manfred foreseen Samuel’s determination and skills, the man rushes around the vampire, a chain in his hand, he creates a loop and quickly restricts Manfred’s arms. He pushes the vampire back and brings a stake to his heart. His face determined he hammer sit into the creatures chest. However, he barely gets it in before Manfred’s strength shatters the chains. Manfred grabs the shocked man by the neck and heaves him up over the balcony’s edge. Samuel grabs hold by one hand as he hangs over a hundred mile drop, mallet in the other hand. Manfred stands over him smiling evilly.

MANFRED: A bold effort but doomed to failure.

He grabs Samuel’s arm and hoists him out over the drop. Samuel looks down in terror before turning back to the undead aristocrat.

SAMUEL: We go together.

He swings the mallet hard at the stake still protruding from Manfred’s chest. It strikes and Manfred’s expression turns to one of utter shock. His face grey’s and cracks, his body becomes tiff and brittle. Samuel hammers one last time as the hand what holds him up shatters into dust trying support the mans weight. We watch in slow motion as Samuel, mallet in hand (think Die Hard), falls towards the rocks below. Above Manfred, collapses, his body breaking down into dust, his eyes getting one last look of terror before melting in their sockets. Soon there is only dust and a regal suit to suggest he was ever there.

Time lapse: The battle is over, the castle is being ransacked by jubilant revolutionaries and the last of the aristocracy of the night have gone. We see a figure, shrouded in a hooded cloak, walk out onto the balcony where Manfred’s ashes lie. He lifts his hood to reveal Rembrant, now a Vampire Thrall. He lifts up a small vial and pulls the cork out the end.

REMBRANT: You can rely on me, my Lord.

He leans down and begins to scoop up the ashes, taking care to get all he can. He replaces the cork and pockets it before turning and heading off the balcony. He stops and takes one look back, at the end of an Empire, and a single tear begins to form in his eye.

Fade to black.

“Haddonfield, 1992: October 29th”

Fade in on the Elamb Residence where we see Debra’s jeep and Adam’s van parked outside. 
     Inside we see Adam, Debra and Lonnie sat, surrounded by piles upon piles of books including, of course, Bram Stoker’s Dracula. In fact it soon becomes clear that vampires and the undead are the common theme amongst everything that’s laid out. Debra is laid out on the sofa with Lonnie sat cross-legged on the floor in front of her. Adam sits leaning against the other chair, the two of them on his left.
     After a moment or two Helen enters carrying a tray of mugs, obvious fuel for the research occurring in the building. 

HELEN: Alright guys, take five.

ADAM: Oh lovely.

She looks around at the chaos, still holding the tray.

HELEN: Umm… guys, kind of need some room.

LONNIE: Oh yeah, shit, sorry.

He sweeps a pile of books onto the floor leaving a clear space on the table.

ADAM: Lonnie!

Lonnie does an apologetic smile as Helen sets the tray down. She starts handing the mugs around.

HELEN: Coffee, two sugars for Lonnie, cream and one sugar Debra, Lady Grey…

ADAM (interrupting): I asked for Earl Grey…

Off her look he quickly shuts up and takes the mug. She smiles warmly.

HELEN: Earl Grey for Adam and Hot chocolate for Tommy. Umm… where is Tommy?

She sits down with her drink on the arm of Adam’s chair.

DEBRA: He went back to Mrs Blankenship’s, he thinks he might of left a couple of books there.

LONNIE: As if we didn’t have enough already. 

ADAM: Tommy’s confirmed the Thorn won’t be appearing, true, but he’s equally certain that whatever our undead friends are planning, it will take place this Halloween.

LONNIE: But why is he so certain? I mean, talk about coincidence.

ADAM: He seems to think it’s more than coincidence. 

LONNIE: Then what?

ADAM: I have no idea, he could still be wrong.

DEBRA: But knowing our luck he isn’t.

Blankenship House, Tommy’s Room: Tommy is piling up books onto his side board from a chest under his desk. He looks up at a news paper clipping, a sketch of Michael Myers staring at him with black eyes.

TOMMY: You aren’t the only darkness that walks this earth.

He lifts up a volume entitled “Incantations for the Dead” and stares at the skull embossed on the cover.

TOMMY: But you’ve cursed this town.

He places the book on top the other four. He grabs a bag and scoops them up into it before heading to the door. He swings it open to face Mrs Blankenship! He’s obviously startled.

TOMMY: Oh, Mrs Blankenship, didn’t realise you were there.

BLANKENSHIP: Sorry dear, my fault.

She glance sin the bag at the books and frowns.

BLANKENSHIP: I was just letting you know we’re getting a new guest next week. 

TOMMY: Alright, thank you. 

He heads off as Mrs Blankenship smiles after him.

Warehouse, edge of Haddonfield: A large delivery lorry is seen driving towards a vast warehouse, the sun beaming down it. For October it’s a surprisingly bright day. He pulls up outside the metal grate that acts as an entrance and the driver jumps out. About 40 and over-weight he chomps on a cigar and holds a clip-board in his greasy fingers.

DRIVER: Hey, anyone ‘ere?

He looks around, the area is deserted, the warehouse seemingly sealed. He looks down at his notes.

DRIVER: Yuh, right address.

He walks around to the back of his lorry and takes a key out, he turns the lock and slides the shutter of the lorry up. He stares inside at his cargo…amongst a ton of crates sits a large wooden chest, big enough to house a man, held shut with chains. The driver looks back around.

DRIVER: Shit…

He bellows out.

DRIVER: Anyone ‘ere? I got a crate for ya!

He shrugs and places the clip-board down on the lorry’s edge and pulls himself up into the back. He approaches the chest slowly, with slight uncertainty.

DRIVER: Dunno why I gotta deliver all the freak crap.

He reaches a grubby hand out and takes hold of the chains. He pulls at them, they’re tightly wrapped around. He looks around and spots a pair of metal Cutters. He seems to have a crisis of choice but soon his brain decides curiosity should be satisfied. He picks them up and approaches the chest… a noise distracts him. He turns to the entrance to the lorry’s trailer and notices the clip-board is missing.

DRIVER: Hey! 

He rushes over to the edge of the sorry and jumps down, still holding the metal cutters, now more as a weapon.

DRIVER: Who the hell’s there?

He looks around but can’t see anyone. He looks around both sides of the lorry but still nothing.

DRIVER: I don’t have to put up with this shit.

He flicks the remains of his cigar away and places the metal cutters in the lorry. 

DRIVER: That’s it! I’m out’a here.

Suddenly he’s falling forward as SOMETHING under the lorry grabs his legs. He smacks against the concrete, blood pouring from his nose and lips, and he’s dragged backwards as we zoom out. Either side of the lorry we see GHOULS (see Episode 3.12) emerging as the Driver’s cries of pain go dead. Another Ghoul jumps down from the roof of the vehicle. As more emerge we finally see SIX of the pasty, white skinned creatures; they clamber into the back of the lorry and moments later emerge carrying the chest. The metal grate of the warehouse slides upwards and, once it’s high enough, the Ghouls rush in carrying the chest. In slides down behind them.

Interior, Warehouse: The warehouse is almost pitch black save for an illuminating spotlight and a few candles around the edges. The Ghouls place it down upright, like a mummy’s sarcophagus. 

GHOUL #1: Key.

It’s voice gurgles as Ghoul #2 brings forward a key and unlocks the chains encompassing the chest. As the others pull them off Ghoul #1 retrieves another key and unlocks the chest. Out of the shadows behind him steps HEINRICH REYNARD.

HEINRICH: Open it.

The Ghouls swing open the chest sending dust up into the air. Led in the crate, arms folded across his chest and dressed in a suit is REMBRANT. Slowly he opens his crusty eyes revealing the tell-tell bloodshot visage of a vampire.

HEINRICH: Rembrant von Guile, I welcome you. Try not to move, it is still daylight outside and you must sleep. But before you do, do you have the Focus?

Rembrant’s head moves slowly in a nod, one arm extending to point down at his feet where a tied package lies.

HEINRICH: Excellent. Take it.

Ghoul #1 scuttles forward and picks the package away.

HEINRICH: Close him up, we must take him to our base of operations.

Two more Ghoul’s seal up the chest as Heinrich turns, a sinister smile on his face.

HEINRICH: One by one the old Lords come to Haddonfield. Soon the Raising shall occur and the world itself shall tremble.

Elamb Residence, Spare Bedroom: We see Josh Jamison sat on his bed, holding a book. There’s a knock on the door.

JOSH: Yeah?

Lonnie opens the door and comes in.

LONNIE: You up to anything?

JOSH: Relaxing.

Lonnie wanders over.

LONNIE: Is that a school book? Jeez, I thought you knew better than that.

Josh chuckles and holds it up to show the title, “Nazi Germany & The Jews”. Lonnie raises an eyebrow.

JOSH: Sue lent it to me. It’s messed up, that people could do that…

LONNIE: We’re a fucked up race. Look Josh, the guys asked me to ask you if you’d give us a hand. We’re researching our undead friends, tons on info but nothing specific yet on Manfred or Heinrich.

JOSH: Sure, whatever you need.

Living Room: Adam is now sat in the chair sipping tea and scribbling notes onto a pad. Debra is sat on the sofa next to Helen looking over several pictures depicting various creatures of the night. Adam looks up.

ADAM: As far I can tell the majority of texts list fire as the only true way of killing vampires. That and sunlight. 

HELEN: What about crosses?

ADAM: If you remember back when we met them in that house (ep3.13) that didn’t work. It seems any religious symbol can work as long as the person has faith in it. Quite fascinating really.

Lonnie enters followed by Josh.

LONNIE: Got another set of hands, found him stuck in Berlin.

Debra smiles at Lonnie as Helen moves to let him sit next to her. As she moves over she notices Adam’s expression… lost in thought.

HELEN: What is it?

ADAM (not quite there): Berlin…

LONNIE: Hey, I was kidding!

Adam suddenly looks around at them all.

ADAM: No, Berlin 1944! The picture!

LONNIE: Ok, Adam’s finally flipped.

DEBRA: What do you mean Adam?

ADAM: Remember back when we faced Heinrich and those skeletons he raised…

We flash back to Episode 3.13:
Tower Manor, Living Room: Adam stands at the edge of a large chalk circle. Garry looks down in disgust… the circle is filled with bones, surrounded by candles and mystical symbols scratched into the wooden flooring.

GARRY: What the fuck?

Adam turns to look at a small table on which sits what can only be described as a “shrine”. Candles sit in at each corner and a purple cloth covers the surface. Incense burns down and in the centre is a black and white photograph of a young women smiling. Adam slowly picks it up and turns it over, reading what’s scribbled on the back.

ADAM: Berlin, 1944

Back in the Living Room:

ADAM: When Heinrich ran out he stopped to take that picture with him. It means something.

DEBRA: It’s definitely worth checking out.

She turns to Lonnie.

DEBRA: Fancy a trip to the Library?

LONNIE: Sure… except shouldn’t Adam go seeing as he saw the picture?

ADAM: He was a point.

DEBRA: You sure Lonnie?

LONNIE: I’ll be fine.

He gives her a kiss on the cheek and Adam gets up along with Debra who addresses Lonnie, Josh and Helen.

DEBRA: You three stay here, carry on the research and wait for Tommy. We’ll head over to the Library and see if we can dig up anything in the war records.

As they head out Debra grabs a pocket knife off the side of a cabinet and slips it into her jacket.

Haddonfield Police Station: Deputy Robbie Redman is sat at his desk filling out a number of forms. Suddenly there is several cries and an angry voice yelling. 

ROBBIE: What the hell…

He jumps up and heads out to the front desk where we see two cops holding a cloaked figure. As Robbie approaches the man turns around and we get a good look at him… and he looks a lot like Samuel Bradley! He’s a lot more clean shaven with a short cropped hair cut, dyed a jet black with streaks of blue. He wears black jeans, trainers, a long black shirt over the which is his contrasting cloak. He tries pushing a cop off him who responds by drawing his gun. Robbie rushes up.

ROBBIE: Hey, chill with the gun.

COP #1: He won’t hand the weapons over sir.

ROBBIE: Weapons…

The man turns to reveal knives, guns and stakes sewn into sections on the inside of his cloak. The man shrugs.

ROBBIE: Holy shit, what is this. Who the hell are you?

MAN: The names Summer Bradley.

CODY (VO): Pretty name.

Hey turn to see Cody walking in towards them.

CODY: This is my last month here in Haddonfield, I don’t need this.

COP #1: We picked him up after someone phoned in a tip, said he was armed and acting suspicious.

ROBBIE: Where did you find him?

COP #1: The old Tower Farm area.

SUMMER: I was looking for Tower Manor. 

CODY: You were looking for trouble carrying that lot. Now are you going to hand over the weapons peacefully or are we going to have to use force?

Cody and Summer lock eyes. Summer sighs and un-straps his cloak, handing it to Cop #2 who carries it off. Cop #1 puts his gun away and goes to search Summer. However Summer grabs the cops arm.

ROBBIE: Hey! Let go, we need to search you.

SUMMER: Look, I’m here to help. 

CODY: Sure you are. Look, Robbie, can you deal with this?

ROBBIE: Sure.

Cody nods and heads back to his office. Cop #1 searches Summer, finding a stake tied to the mans leg along with a dagger. He removes them both.

COP #1: What kind of shit is this?

ROBBIE: Put it with the rest.

SUMMER: Listen to me, you need to let me go, you need to give me back my equipment and let me go. You’re all in danger.

ROBBIE: How about you come with me over into that room over there and we talk about it? Just the two of us, deal?

SUMMER: Fine. But let it be on your head.

Elamb Residence, Evening: It’s now dark out, night having come quickly as winter approaches. We find Tommy Doyle now with the others, slumped over books, all of them exhausted. Helen looks at her watch.

HELEN: Shouldn’t those pizza’s be here by now?

LONNIE: They’ll come.

Tommy looks up from his book.

TOMMY: We have more important things to worry about than pizza. 

LONNIE: Nothing is more important than pizza.

JOSH: Sex?

LONNIE: Well, ok, there is that.

Tommy slams his book shut in frustration.

TOMMY: Useless! This is all useless! We have all the knowledge we could ever need about vampires and the undead but nothing tells’ us about these people, about what this Raising that keeps getting mentioned is!

The door bells rings. Josh leaps up.

JOSH: Got it.

Josh goes around to the door and opens it to the PIZZA GIRL. 

PIZZA GIRL: Hi, got three pizzas here for Lonnie Elamb.

JOSH: Yeah, this is the place. 

Josh hands over the money and takes the pizza off her.

JOSH: Should be the right amount.

PIZZA GIRL: Ta.

JOSH: Night.

He shuts the door and dives amongst the others.

Outside the Pizza Girl turns away and heads down to her bike at the end of the drive. She clamber son and starts riding off…. As she gets a few metres from the house she notices a figure step out ahead of her. She stops.

PIZZA GIRL: Whose there?

No reply.

PIZZA GIRL: Is that you Daniel? If it is this isn’t funny.

Still nothing. She begins to get nervous. She gets off her bike and turns it around. She looks back to see the figure is gone. She smiles nervously and turns back ahead… to see STIG facing her. She goes to scream but he covers her mouth.

STIG: Don’t want to wake up the neighbourhood do you?

Her eyes widen in fear as he grins revealing sharp teeth. Suddenly she brings her knee up into his groin, knocking him back and releasing her. She turns to run… only to be grabbed by two GHOULS. She looks at there horrifying visage and screams… however she only manages it once before Stig brings a knife into her gut. She collapses to the floor.

STIG: I only wanted a bite to eat.

Suddenly a BLACK VAN comes around the corner, heading towards them. Seeing it, Stig and the Ghouls quickly vanish into the shadows.

Elamb Residence: Moments later the front door bursts open and Tommy and Helen rush out, attracted by the scream. Lonnie and Josh follow, Josh holding a piece of pizza and chewing franticly. Tommy looks three houses down to where the body of the Pizza Girl lies, the black van parked next to it. He sees a figure standing over her and they all rush forward. Tommy runs up, grabs the startled figure and spins him around.

TOMMY: Murderer!

He stops and they look in shock at WILLOW COCHRAN. Suddenly the back doors of the van fly open and THREE Thorn Cultists jump out brandishing guns. Tommy spins around and, in one swift motion, produces a knife at Willow’s throat.

TOMMY: Don’t move a muscle or I’ll slit your boss’s throat!

CULTIST #1: Touch him and your friends die.

JOSH: Everybody calm down!

They stare down at each other, both sides tensed and ready to strike.

WILLOW: There is no need for this.

TOMMY: Why did you kill the girl?

WILLOW: I didn’t. We aren’t here to cause trouble, we’re here to help.

LONNIE: Why do I not believe that.

Willow looks at Cultist #1.

WILLOW: Put your weapons away. 

CULTIST #1: But sir…

WILLOW: Andreas I am giving you an order.

The Cultists put there weapons away. Tommy looks confused.

TOMMY: What is this?

WILLOW: We need to talk. I’ve put my trust in you, now trust me.

Tommy looks at Lonnie.

LONNIE: Your call. I do have my twins on me.

Tommy nods and pushes Willow over to his men. Andreas catches him. The two sides turn and face each other, Josh’s resentment very visible.

TOMMY: Well?

WILLOW: We didn’t kill her. 

TOMMY: Then who did?

ANDREAS: I saw him. Slim, young and blonde curls…

LONNIE: Stig.

WILLOW: One of the vampires?

TOMMY: What do you know about that?

WILLOW: It’s why were here…

The screen fades to black and a caption appears: “Two days Earlier, Unknown Location”.

We fade in on a labyrinth of corridors and piping. Steam whistles from loose vents and blue light intersperses with red candle glow. We see a Thorn Cultist walking towards a metal gateway. As he approaches it the gate slides back and he steps into a dark, bare room. 

The camera pans to the corner of the room where, sat and motionless, is Michael Myers. The room is bear except for the stone slab / bed on which he sits and a tray on the floor containing bloodied remains of some creature… it looks as if it’s been eaten. The Cultist slowly edges towards the tray, his eyes constantly darting to the Shape. He leans down and picks up the tray and turns to leave. He seems to sense something and turns back… to find himself face-to-mask with Michael.

CULTIST #2: Michael…

Michael’s arm fly’s up and smashes the tray from the scared cultist’s hands. He backs right up next to the gate as the Shape stands watching. The Shape heads forward to the terrified Cultist and picks him up easily. He tosses him aside, angrily as the gate opens and Michael steps through. He heads down the corridor as the bruised man watches after him.
     As the Shape nears the end Willow, in Man in Black gear, steps out in front of him flanked by Andreas and Cultist #3.

WILLOW: Michael, wait. It isn’t time, Thorn isn’t out.

The Shape stands still, his breath heavy, angry even. As Willow watches him he seems to sense something, as if he can feel the source of Michael’s current rage.

ANDREAS: What is it sir?

WILLOW: Haddonfield. Michael’s home will be desecrated. 

The Shape goes to head forward but Willow holds up his hands.

WILLOW: Let us deal with it Michael. Haddonfield believes you dead, we shouldn’t risk them thinking anything else. I will consult Thorn, find out the cause of the disturbance and go there myself and stop it. Allow me to do this.

Suddenly Michael’s arm fly’s forward and grabs Willow by the throat. He pulls the man towards himself to stare deep into the black eyes of pure evil. Willow’s expression is firm and determined. Michael tilts his head before letting go of Willow and turning and heading back to his room. Willow breathes in relief and turns to Andreas.

WILLOW: Gather the cult. We have to find out what it is that Michael senses. If we fail him you know the consequences. 

We fade back to the present where Tommy looks slightly unimpressed.

TOMMY: So, Michael’s having bad dreams and you came to sort it out. What’s that got to do with vampires?

WILLOW: You fool, stop letting your feelings about us cloud your judgement. It’s the vampires that are causing the disturbance.  When we consulted Thorn we discovered why they came to Haddonfield.

HELEN: Why’s that?

WILLOW: Power. Whatever it is they plan to do will take a large amount of dark energy. They needed a location, an epicentre of evil, where the very ground itself was infused with energy.

LONNIE: Just tell us where.

Tommy nods, he can guess.

TOMMY: The Myers House.

WILLOW: Exactly. Ever since Michael killed his sister and began his journey with us the dark power of Thorn has been infused there. It’s grown, it’s energy spreading through Illinois…

TOMMY: All the strange occurrences in the area are a result of that one night. Like the aftershocks of an earthquake. That’s why things come to Haddonfield…. It’s why Manfred is here.

WILLOW: Exactly. He will try and harness that energy for whatever it is he plans. And the night on which the energy is at its peak…

TOMMY: …is Halloween.

Tommy looks at the others the back at Willow.

TOMMY: Alright, so you’ve come here to help us because it serves your cause. Now what?

WILLOW: Thorn can’t be seen to be active in public, every time we do we risk exposure. We will do nothing, I’ve given you that information and I’m giving you this…

He nods and Andreas produces a old leather bound book from the back of the van. He passes it to Tommy who takes it.

WILLOW: … the rest is up to you. If you fail we’ll be forced to show our hand but until then, we’ll leave it in your capable hands.

LONNIE: You think we’ll just except that!?

He steps forward but Tommy holds an arm across him.

TOMMY: Not now. He’s obviously thought this through. We don’t have time to deal with them, we have to stop Manfred. This book will help?

WILLOW: It should. 

He indicates to the body.

WILLOW: We’ll make sure it isn’t discovered yet. A body this close to Halloween would cause panic. Rest assured it will be treated according to your customs and we will arrange for it to be found some time later. I never thought I’d say this but good luck Tommy.

Tommy looks down at the girl sadly.

TOMMY: I guess it’s for the best.

The Cultists load the body into the back of the van and Willow clambers in. They start the engine and drive off. The others look at each other.

JOSH: We shouldn’t trust them!

TOMMY: Manfred is as much there enemy as he is ours. They’ve given us more information than we managed to find all day, we just have to use it. Come on, let’s head inside and hope no one called the police.

HELEN: People in this town tend to mind there own business this time of year.

As they head back Lonnie and Josh drop back a few paces and talk.

LONNIE: I know it’s hard, they killed my sister as well.

JOSH: I don’t know how Tommy can take it…

LONNIE: He sees the bigger picture. Relax, those bastards will get what’s coming to them eventually. 

Haddonfield Library, War records section: Adam is sat surrounded by old books and news paper clippings. Debra is seen in the background looking at an old book. Adam talks loudly so she can hear.

ADAM: It’s amazing the level of detail in these records. How come a town like this has such an extensive collection of material relating to the war?

DEBRA (not looking up): Haddonfield High specialises in history. Not only that but a wealthy historian moved here back in the seventies, retired here. When he died all this stuff was given to the library. He was British actually.

ADAM: Not surprising, these clippings seem to come from all across the globe. We’ve got an original copy of Mein Kampf, English rations  books, immigrant det…. Immigrant details…

His eyes look down at a list of names… four up from the bottom he sees the name “Reynard”. His finger scrolls along the line to the country of origin… Germany. He checks the date on the document and sees the year “1935”. He talks quietly and to himself.

ADAM: Oh god…

He flicks through to another pile and finds a corresponding document labelled “Reynard”… He reads a line out.

ADAM: …and eight year old son Heinrich Reynard. Jewish origin, left Germany to avoid anti-Semitic laws they feared would come about as result of the Nazi Party coming to power.

He quickly puts all the relevant pieces together into a pile and gets up to turn to Debra… only to find himself facing MANFRED VON GUILE.

MANFRED: Hello Mr Travers, find anything interesting?

ADAM: N…not yet.

He backs away, “accidentally” knocking several records to the floor, and comes to a stop against a filing cabinet.

MANFRED: It seems you’re out of time.

ADAM: Debra!

Manfred chuckles.

MANFRED: Don’t worry about her, she’s perfectly fine. Aren’t you?

Adam looks in horror as Debra appears from around a corner, her eyes redder than usual.

ADAM: Debra… ?

DEBRA: Adam.

Her voice is flat with little emotion. Her clothes are also different, gone is her high necked coat and now we see two puncture holes on her throat. Adam’s eyes widen as two GHOULS follow up behind her. They go either side and grasp hold of him.

ADAM: Let go of me at once!

MANFRED: Oh please, you’re an intelligent man, please don’t make such idiotic requests. It ill suits you.

As the Ghouls hold Adam tightly Manfred turns to Debra, his eyes blood red and gazing deep into hers.

MANFRED: My dear Debra, tell me what you wish.

Debra smiles, her face relaxed and full of love.

DEBRA: I want your embrace my Lord. I want your kiss.

Manfred smiles and bares his fangs.

ADAM: No! Debra!

Manfred draws her close and, as Adam watches helplessly, he slowly sinks his teeth into her throat. She moans in pleasure as blood runs down her neck and stains her top. Manfred’s other arm is held around her as she moans again, in orgasmic delight. We close up on Adam’s horrified look at this unnatural union.

Fade to Black.

Elamb Residence, “October 30th”: The scene is a comical one, almost as if it’s the aftermath of a kids sleepover with the addition of books. Lonnie is spread-eagled on the floor, pizza box on his lap, half eaten pizza in his right hand. An open book lie son his chest. Josh is led on the sofa, an empty coffee mug on its side on the floor next to him. Helen is curled up in the chair, her hair covering her face. We pan around to see Tommy hunched over a book at the coffee table, head in hands… and snoring. A clock sits on the table ticking quietly… before bursting into life, a high pitched ring filling the air.

Lonnie leaps up.

LONNIE: Shit!

Pizza flies across the room and hits Helen’s chair, sticking a moment before flopping to the floor. Josh sits up blinking as Tommy grabs the clock and switches the alarm off.

LONNIE: Damn it, what’s the time Tommy?

Tommy rubs his eyes and looks at the clock.

TOMMY: 10:00AM. We’ve been asleep five hours.

JOSH: Just glad I got the day off work today.

Helen stirs and slowly sits up. Tommy turns to her and she smiles warmly.

HELEN: Morning Tommy. And everyone else.

Tommy is already up, organising books and removing a pizza crust off an old and probably not invaluable book.

TOMMY: Alright guys, we’ve wasted enough time already. We need to get back to work.

LONNIE: Jesus, what’s with the slave driving.

TOMMY: Tomorrow is Halloween and whatever happens will go down then. 

LONNIE: Yeah, I know. But I don’t do a thing until I get coffee.

Tommy smirks and nods.

TOMMY: Fine, coffee all round.

As he heads off Helen smiles and chuckles as she notices the state of Tommy’s hair. Lonnie leans across the table and lifts up the book that Tommy was hunched over, it is the one Willow gave them. He opens it to reveal it is written entirely in symbols. He flicks through a few pages to an engraving and pauses.

LONNIE: Whoa.

The engraving is of a creature, perhaps a vampire, stood atop a mountain, above him the sky is filled with a whirlpool of darkness, white at the images edges but swirling up an epicentre above his head of total blackness. At the foot of the mountain is a massive landscape where arms stick from the ground and creatures seem to have dug there way to the surface in their thousands. At the pages bottom lies a caption in the strange alphabet under which someone has scribbled, in pencil, “The Raising”.

LONNIE: Oh shit.

Haddonfield Morgue: The halls are dark, the windows covered with black drapes. A body lies on a slab covered with a sheet, more we assume lie within the alcoves set into one side of the room. We hear the tapping noise of wood on metal, as if someone was walking with a stick. The camera pans and we see Heinrich Reynard stood in the morgue room, smiling.

HEINRICH: Excellent.

Suddenly the door opens behind him and a doctor walks in, he stops shocked.

DOCTOR: Hey, you’re not supposed to be in here!

He approaches Heinrich and sets an arm on him. Heinrich spins on his heels and grabs the Doctor by his throat. He mutters words in the dark language of necromancy as he lifts the terrified man up onto his tiptoes. The doctor starts to gag, his face wrinkling and growing older as energy pours into Heinrich’s hand and up his body. We realise the Doctor is rapidly ageing and, as he does, Heinrich is getting slightly, but noticeably, less aged. Eventually the Doctor’s bones crack and he’s aged to death at which point Heinrich lets go, a satisfied look on his face.
     He then turns his attention back to the corpse and his eyes turn a jet of pour black. He reaches into his cloak and takes a small vial of blue liquid out, he shatters it on the floor and the room fills with an unnatural blue-tinted smoke. He tilts his head back and a long chant in the dark language leaves his lips as easily as tendrils of dark energy leave his body and disperse into a darker mist…The room seems to shake, a powerful light flickers on and off as his words get louder and more profound. He reaches a climax and his head shoots down to stare straight ahead as a scream like that of lost souls is heard. The mist slowly abates as we pan to the corpse. Slowly but surely it begins to move… and arm reaches up and removes the sheet revealing a horribly burnt visage. There is a banging from the alcoves as the bodies within come to life. He then turns back behind him where, lass vestiges of flesh falling off, the Doctor’s Skeleton tears itself up from the floor.

HEINRICH: The time draws near.

Elamb Residence: Everyone is sat around drinking coffee, Tommy sits looking at the engraving Lonnie found. Lonnie himself is seen hanging up the phone looking worried.

LONNIE: The librarian said they weren’t there this morning.

HELEN: You think something might of happened to them?

Lonnie looks harshly downwards.

LONNIE: It better not have.

Tommy looks up.

TOMMY: Give them another hour to check in, if they don’t we’ll go look for them. 

JOSH: That book telling you anything?

Tommy looks down at the symbols. Three symbols together followed by five. He looks at the text on the page next to it, he sees the same three grouped together. He flicks through a few pages, the final symbol of them all only seems to appear at the end of “words”.

TOMMY: Of course, it’s so obvious. 

LONNIE: What?

TOMMY: It isn’t proper pictorial writing, it’s easier to translate than that. Those first three symbols are actually the letters of “The”.

LONNIE: That doesn’t work though, “Raising” is missing two symbols.

TOMMY: That’s what I thought but no. See, it’s not a direct translation into English, obviously it’s too old for that. But it is very similar. The final symbol represents the “ing”, the other four each represent a letter. See the second, the “a” appears on its own a number of times. It probably won’t be this simple for the main text but it gives me something to go in translating this passage. I just need to try and identify each symbol and any variations with English.

HELEN: Don’t know if it’ll help but I’m quite good at word puzzles.

TOMMY: It will help. If we get started on that then…

The phone starts to ring. Lonnie turns and swipes it up.

LONNIE: Hello.

We now inter-cut with DEBRA, close up on her not revealing her location but showing her very pale complexion! 

DEBRA: Lonnie.

LONNIE: Debra! We’ve been worried, where are you? We tried the library and you weren’t there.

DEBRA: I know, I’m sorry. Something came up.

LONNIE: What? Where are you, is Adam there?

DEBRA: He’s here.

We briefly cut to Adam, chained to a chair and unconscious.

DEBRA: At the library we found some texts we had to cross-reference with a private collector. We’ve found some important stuff.

LONNIE: Great, anything about Manfred or Heinrich?

DEBRA: It’s best you see for yourselves.

LONNIE: Sure, so you coming right back?

DEBRA: Actually some of these documents are very fragile. I think it’s best if you come and meet us here. What’s the time?

LONNIE: About 12:15, why?

DEBRA: Well, we’ve still got a few things to organise. If you want to help Tommy there get everything together you could bring all your information here around, say, five and we can see how it all fits.

LONNIE: Sure, just glad everything is fine. We were getting worried. So what’s the address?

We are on Lonnie’s end of the line as she gives it and so we don’t hear what she says. We then continue to cut back and forth.

DEBRA: See you later Lonnie.

LONNIE: Love you.

DEBRA: Love you too.

Debra hangs up as we cut back to Lonnie who turns back to the rest of the gang.

JOSH: Debra and Adam?

LONNIE: They found some stuff out, asked us to meet them there later once we got all our shit in order.

He looks around at the chaos before him.

LONNIE: We’re gonna be busy…

Outskirts of Haddonfield: We see an army jeep pulling by a small woodland area, a man in military uniform driving. In the back stands GENERAL CONTNER (black male, 47) and SERGEANT JIM NOXON(white male, 26). The General puts a pair of binoculars to his eyes and looks down at Haddonfield.

NOXON: Anything, General, sir.

CONTNER: Calm before the storm Noxon, calm before the storm.

Noxon looks concerned.

NOXON: With all due respect sir, are you sure you want to do this?

CONTNER: My entire base was killed Sergeant. Not by enemy fire, not by some freak accident. My entire base was killed by fucking zombies.*
*see HTS Episode 3.10

Noxon nods his understanding.

CONTNER: The government may have tried to cover it up, blown the whole area to pieces but did they even bother to think about us? The survivors? No, just sweep it under the carpet and forget. Well, I’m, not having it. 

NOXON: No, sir.

CONTNER: We’re going back to base camp. This evening we head into town and find the bastards responsible.

He reaches into his pocket and takes out a surveillance photo showing Manfred Von Guile.

CONTNER: It’s time for revenge.

Elamb Residence, Exterior, 4: 45PM: We see Tommy, Helen, Josh and Lonnie leaving. Tommy carries a bag containing the book and seems frustrated.

TOMMY: I need more time. We’ve almost got the system worked out.

LONNIE: You can work the rest out once we meet Debra.

As they start to clamber in Tommy’s vehicle we see a cop car pull up and Robbie step out. Tommy and Lonnie greet him.

LONNIE: What’s up deputy?

ROBBIE: I need to see Tommy.

TOMMY: What is it?

ROBBIE: We got some guy down at the station you have to meet.

TOMMY: I’m kind of busy…

ROBBIE: I think you’ll be interested. The guys talking some crazy shit, vampires, zombies, forces of darkness…

Tommy and Lonnie exchange a look. He seems to think it over before turning to Lonnie.

TOMMY: Go ahead, I’ll catch you up.

LONNIE: You sure?

TOMMY: Yeah. This could be important. I’ve got the address, I’ll meet you there.

He hands Lonnie his keys and turns to Robbie.

TOMMY: Alright, so what’s up with this guy?

ROBBIE: I’ll tell you on the way.

We suddenly cut to a very different location, a place we don’t recognise: A urban nightmare, a squalid, neighbourhood where trash and shit line the streets.  Wherever we are, it isn’t Haddonfield.
     The camera pans around to show Helen walking down the streets! She stops and looks up at a tall, decrepit building, her view going to a certain window on the top floor.
     Interior, room: An attempt of normality, torn, worn carpets stained with everything you could imagine, a cracked TV, pictures at angles on the walls. We see Helen walk through this place, she looks down at a newspaper and sees a year… 1946. She looks back up at a door leading into another room… the only other one. She approaches it and enters.
     Helen POV- A double bed, filthy and disgusting take sup most of the room, a mattress lies by its side. We blink and suddenly there are TWO figures on the bed.
     We see Helen approach them, two adults looking very ill. The males legs are weak, maybe even useless. The woman’s face it pale and by her bed sits a bottle of tablets. Helen hears a noise and turns to see a figure behind her, dressed in ragged clothes, filthy, under-nourished and about 19 years of age.

19-YEAR-OLD: Mutter? Father?

His accent is rather German though corrupted by American through years of living there. He steps forward and we realise he seems familiar… could this be Heinrich Reynard??? He rushes forward to them, checking the pulse… not a good outcome. He looks in shock, unable to accept what’s happened.

HEINRICH: No…

He staggers back into the wall, his face devastated. The screen goes bright white and we find ourselves back in the main room, Helen watching Heinrich packing items away. He lifts up the Photo we saw in the present and suddenly we realise it’s of his mother. He puts it to his lips and kisses it.

HEINRICH: I’ll find a way to bring you back, I promise. I’ll find a way to hold off death, I’ll search for the answer and I won’t stop living until I find it. America was meant to be the land of freedom and riches but that’s a lie. It only offers death. But I’ll prevent it, I’ll live forever and you’ll be there with me.

Heinrich looks up and then turns and stares directly at Helen!

HEINRICH: And you and your friends shall not stand in my way!

Helen bolts up awake in the back of the vehicle, finding Josh sat next to her looking concerned.

JOSH: Are you alright?

HELEN: I…

She realises they aren’t moving.

HELEN: We’ve arrived?

LONNIE: You slept the whole journey. You probably needed it too.

HELEN: Why are we just sat here?

Lonnie looks out the window into the blackness of the night.

LONNIE: Something’s not right. The address Debra gave is that old mansion over there.

We points across at a familiar site… Manfred’s Haddonfield lair! Suddenly the car begins to rock… The three of them look around nervously.

JOSH: That’s not good.

Suddenly the doors each side are ripped open and arms reach in and drag Josh and Helen out! Panicking, Lonnie grabs his guns and bursts out the car to find himself facing TWO GHOULS. They launch at him and he shoots them point-blank between the eyes. The creatures collapse backwards to the ground, dead. He turns to see Helen being throttled by another one. He goes to shoot when suddenly he’s grabbed from behind and thrown to the floor. He looks up to see Stig, eyes blood red and face filled with hatred.

STIG: Got our message Lonnie.

LONNIE: What the fuck have you done to Debra?

STIG: Me? Nothing at all… nothing at all.

From the shadows behind him Debra emerges. She’s dressed in a long red dress that goes to the floor, a tight binding corset and a leather jacket over the top of it. Her black hair is cut short and her eyes match Stig’s. Lonnie’s face is painted with shock and horror.

LONNIE: Debra…

She stands next to Stig and smiles, baring her fangs.

DEBRA: You look like you’ve seen a ghost Lonnie.

He stumbles up, appalled, his words stammered…

LONNIE: Oh God… Debra. How… many times did they.. bite…

Stig smirks.

STIG: Did your homework I see. Debra here’s only been bitten three times, not quite the fall vampire yet.

DEBRA: But once I kill you and prove myself Manfred will bless me with a final bite and a chance to share in the power.

LONNIE: Debra, listen to me, you don’t know what your doing!

DEBRA: Oh but I do.

STIG: You killed Lamhia, you bastard. Now it’s time for revenge.

Lonnie grabs his gun and shoots at Stig who, though obviously not killed, is pained. Debra surges forward, Lonnie points the gun but can’t bring himself to fire. She grabs his arm and twists the weapon from him. He has no choice but to defend himself as she goes to grab his throat. He blocks her hand and punches her straight in the jaw, a pained expression on his face. Debra grins.

DEBRA: Shame you were never this rough in bed, I might not of strayed into Manfred’s arms if you’d satisfied me.

He goes to hit her again but she parries the blow and brings her foot up into his groin. Lonnie collapses backwards to the floor as Debra towers over him, the vampire virus burning in her veins. Josh runs into frame, ploughing into Debra and knocking her to the floor! She hisses in spite and throws him off her… about ten metres down the street.
     Lonnie turns to see Helen backed against a wall, surrounded by three Ghouls who advance on her slowly.

HELEN: Lonnie!

Lonnie looks down and finds his two guns and runs to Helen’s aid. He aims one and blasts TWO of the ghouls before the gun clicks… out of ammo. He goes to shoot the other one when he senses something behind him and spins on his heels to face Stig.

STIG: Debra can take care of the kid, I have a personal score to settle here.

LONNIE: Mad that I burnt up your undead girlfriend? If she made you a vampire doesn’t that make her your mother cause, if so, that’s fucked up.

Stig hisses and draws his knife from his coat and in a sudden movement swipes it at Lonnie’s throat. Lonnie lifts his arm it in defence and the knife cuts a gash across it. He then quickly brings his other arm up and knocks the knife from Stig’s grip. He turns and runs towards the vehicle, clambering up on top of it as Stig chases. We also see Helen dodge the Ghoul’s attack and rush towards the knife that clatters to the floor some feet away. 
     We cut to Josh who is running towards one of the old, boarded off houses, Debra in hot pursuit. He leaps a small fence and rushes up to the boarded up front door… he slams into it with all his might and the rotten wood quickly gives way and he falls inside. He clambers up as Debra is at his heels.

DEBRA: Run, Josh, run. Don’t want to end up as dead as your sister.

He heads towards the stairs and rushes up, one gives way beneath his feet and he stumbles. Debra reaches the bottom of the steps and head sup after him as Josh regains his balance and heads on. 

We cut to see Helen slide to the floor and grab the knife as the Ghoul leaps onto her back. She yells in agony as it grabs her hair and pulls her head back.

GHOUL: Death… yes, death!

Helen manages to roll, unbalancing the ghoul. She brings the knife up into its chest and tears it downwards, disembowelling the creature. It’s innards pour out over her chest and Helen keeps stabbing, until the creature falls from its perch on her, her breathing  heavy, her eyes wide and manic.

We cut back to Lonnie who stands on the roof of the vehicle as Stig circles around, stopping him from moving.

STIG: Can’t stay up there forever.

LONNIE: I can manage another twelve hours or so.

Stig smiles mockingly.

STIG: I got a few tricks up my sleeve yet Lonnie, stuff that I learnt from Lamhia.

He clenches his fist together and, as his eyes go jet black, a blue energy erupts into his palm. Sparks of energy dance to the floor around him, a supernatural flame burning.

LONNIE: Wow, nice party piece.

After a few words of the dark tongue the energy forms into a “skull” visage and Stig throws this as a projectile. Lonnie dives down onto the bonnet, the blast barely missing him and striking the edge of the Mansion some distance away and blasting concrete apart.

STIG: If only you were still the Lonnie I knew. I might of convinced them to let me turn you, to let you share in the power.

He moves around where Lonnie is clambering up and grabs the young man by the throat.

STIG: Isn’t it ironic that the very bitch who tamed you is now with us and has, I have to say, much more style than you ever showed.

HELEN (VO): Stig!

He turns to see Helen standing right next to him.

HELEN: You talk to much.

She jams the already blooded knife straight into his right eye. The vampire screams in pain and stumbles back. Helen runs to Lonnie and helps him up, they rush around and scramble into the car. As they do Stig leaps onto the bonnet, he snarls angrily as he pulls the knife from his eye socket… the useless eye skewered on it.

HELEN: Lonnie, drive!

LONNIE: I’m trying!

He fumbles with the keys and manages to get them in as Stig starts cutting marks across the windscreen. The vehicle springs into life. 

LONNIE: Yeah!

Stig smashes his fist at the windscreen and, with the weakness caused by the knife marks, it shatters entirely. Lonnie slams the vehicle into reverse causing Stig to drop the knife and cling on for dear life.

STIG: Bad move.

Lonnie suddenly realises… but it’s too late. The vehicle smashes into the wall of the building behind them, the vehicle having parked in a bay facing out into the road. Lonnie’s head hits the wheel leaving a large bruise but, luckily, not much more damage. Helen seems to have smelt something… something strong.

HELEN: Lonnie…

She looks down at her hands, they are covered in petrol! She blinks and the petrol has gone. Stig stands on the bonnet, his eyes black and blue flame forming in his hand.

HELEN: Lonnie, gas!

Lonnie looks at her panicked face and registers the information… he grabs Stig’s legs and pulls the vampire INTO the vehicle, Stig’s back smacking against the bonnet. Lonnie and Helen quickly clamber out and run as Stig tries  to clamber up, one of sparks of energy jumps downwards.
     Slow motion as Lonnie and Helen dive to the floor as Tommy’s vehicle is consumed in a huge explosion, Stig along with it.

Old Building: We see Josh creeping through the decrepit mess that was once someone’s home. He looks about the darkness, nothing. He steps forward the floor beneath him creaks, he looks down at the damp rotted wood.

JOSH: Shit.

He hears a noise behind him and spins round. Nothing but a rat.

He turns back… to find Debra face to face with him, fangs bared.

DEBRA: Boo.

She grabs him, tilts his head back and bites deep into his neck! Josh screams as her fangs sink in and we see a dribble of blood runs down and stain his clothes.

Out of shear desperation he stamps on the floor and the whole thing gives way. He and Debra collapse to the floor below amongst timber and debris. We see her head strike the floor hard, knocking her out cold. Josh groans amongst the dust and picks himself up; he’s bruised but unharmed, neck wound aside.

The door at the far wall bursts open and Helen and Lonnie rush in. Lonnie looks down at the unconscious Debra, her vampiric features gone but the red of Josh’s blood still on her lips.

Without saying anything he creeps forward and leans down to her.

We see Helen tear a piece of fabric off her shirt and apply it to Josh’s neck.

Lonnie holds Debra’s head in his arms and stares at her, silent and solemn. 

Superimpose: “TO BE CONTINUED…”

Fade to Black.

Season Three
Episode 21
Blood Lust Part One
By Scarecrow
Script Editor: Screamer009
Creative Consultant: Robbie.red666
Production Advisor: MysterioMan007