EPISODE I: BEGINNING
Aldora, Wallachia 1824
EXT. Forest, Dark rainy night
The dark forboding forest is riddled with old knarled trees, branches reaching down, roots reaching up. It rains heavily, the full moon struggles behind the clouds, but most light comes in quick flashes of lightning.
A woman runs alone through the mud, miraculously navigating her way in the darkness, she's running for her life and more.
She's not really alone, she holds a small infant. The baby is quiet, undisturbed by the frantic situation. The mother is hysterical, but holding together for the sake of the baby. Eerie piano-like woman's laughter comes from all directions, the source visible in the flashes, constantly shifting impossible distances. A pale deathly white woman in a red dress twirling and dancing in the rain. She's beautiful and terrifying.
The woman running with the baby suddenly breaks through the trees into a small town.
EXT. Aldora, Night
A large town for the area, stone buildings cobbled on top of each other up to three levels. Sprawling makeshift wooden staircases and ladders are slapped up and down everywhere. Cobblestone streets grid throughout, with wide avenues and small alleys between some of the buildings. It's mostly visible in flashes of lightening, there are still dim street lamps lit, though most have been compromised by the wind and rain.
The woman continues to run, quickly darting down an alley way to avoid detection. As she runs she looks back, watching the alley opening, dreading the thought of her pursuer's silhouette appearing. Suddenly she bumps hard into someone standing in her way, but he does not budge, and quickly grabs her.
It is a tall man, in a large dark cloak. We can't see him well. He's little more than a silhouette. He's holding her firmly by the arm. She looks up at him, and tries to pull away, but can't. Without a word he grabs for the baby with his other hand.
EXT. Aldora, NIGHT
In one of the town streets a man in a long coat is walking frantically, searching for someone, gazing down every alley as he does. We can't get a great look at him either. Suddenly there is a loud shrill scream.
The man starts running, sprinting in the direction of the scream.
EXT. Aldora alley way, Night
The woman is struggling against the hooded man's grip. He now holds the baby in his right arm. From behind we see the vampiress from the forest sneaking up on the woman. After another few moments of struggle the man pushes her arm back and let's go. She begins to fall back, and the baby slips out of her arms, now held firmly in his. She reaches out, to brace for impact, but to her surprise she is quickly caught, in the vampire's surprisingly iron gripped hands.
EXT. Aldora avenue, Night
The man in the long coat is quickly scanning all the nearby alleys, trying to find the source of the scream, when he hears another, this one just a guttural, wordless shriek. But he hears where it directly came from.
EXT. Aldora alley, Night
The coated man bolts into the alley, just in time to see the woman dropped to the ground dead.
Man in coat: No!
The hooded man turns around, the baby in hand, looks directly at him for just a moment, then vanishes. The man rushes at the female vampire, tackling her to the ground quickly. He pins her down with one knee and very quickly pulls out a small test tube like vial. The woman struggles up, her strength pushing him back dramatically.
Quickly he pulls his arm far back over his head and comes down with lightning speed, smashing his armored elbow down into her forehead, slamming her head down to the street. He pops the cork of the vial, puts his thumb over the top, and drips it onto the woman. She screams in agony as the holy water burns her skin.
Man: (screaming) Where did he go?!
She only laughs. He becomes enraged, smashing her head with his elbow another four or five times, striking her forehead, her mouth, her eyes, nose, making a bloody mess.
Man: (screaming) Where did he take the baby?! Who is he?!
Vampiress: (gargled through blood and broken teeth, but still giggling) To make into one of us.
She says nothing more, just laughs, and coughs up blood and teeth. He's now fuming, stares down at her for a moment, then turns the holy water vial all the way over, pouring a large stream of it directly onto her face.
Almost instantly he's rocketed into the wall, but it doesn't matter now. The vampire woman is whaling and writhing on her feet, her hands clutch her face, which is erupting in blue flame. She quickly pulls them back down, they have smaller burning blue flames of their own. Her beautiful face is destroyed. The skin has been burned off in several places with deep burns down through her facial muscles, some bone exposed.
The man, is up again, but obviously hurt. He pulls a knife out and stabs hard into the flailing vampire's ribs, nicking her heart. But before he can strike a fatal blow he is bashed into the wall again. The vampire leaps onto the up onto the far wall, crawling up rapidly like a spider. She is quickly over the roof and gone.
The man struggles to his feet, holding his ribs, in obvious pain. He coughs a few times.
Man: (quietly and out of breath) Damn it...
He turns to the wall, lifting his arm up to his head to support him. He looks down, to the body of the woman who'd been running through the forest with the baby. He leans against the wall, after a few seconds he punches it hard.
Man: Damn it!
FADE TO BLACK
EXT. Castlevania, Night
We see the ancient, giant, gothic castle on a small cliff surrounded by wilderness, large mountain peaks visible not far off. The black tower of the throne room looms against the beaming full Moon situated just behind it. (This is not setting the live action, it is a backdrop for Albus's v.o.)
Albus: (voice over) Returning to life time and again since the ancient middle ages, the evil lord Dracula has constantly attempted to wipe humanity from the Earth.
An old, tattered and browned map comes up, it is Wallachia, showing a dark blotch, like ink spilling on a dot marked "Castlevania", and spreading over the entire map. Very visceral, thick ink spilling over everything.
Zoom into map. The ink morphs into a silhouetted, shadow-like animation on the same browned paper backdrop, slightly transparent, skeletons, ogres, demons and what have you are marching through town streets, the town is in flames. People are running, trying to escape but being cut down.
Albus: (voice over) His armies have several times pillaged the countryside of Wallachia, and at least once much further out into Europe.
(continuing animation) A Belmont steps into the scene. He is tall, his long hair is held back by a bandanna, he wears a thick chest piece, a hide tunic with an iron crest, and thick fur boots. He is lined with daggers, and a few axes. He pulls his whip and strikes, bones and black "blood" splash up in its wake.
Albus: (voice over) However, every time Dracula returned from the dead, and his armies rose, he was quietly destroyed by the sons of house Belmont, wielding the ancient whip.
We then see a moving painting animation, Simon Belmont from behind, in the air, slowly moving to the left, his whip extending in front of him, moving right. Opposite of him, facing the camera is an equally painted Dracula, slowly moving to the right.
Albus: (voice over) Through their great efforts and sacrifice humanity avoided the darkness, securing prosperity.
This is live action, we see a large urban village, with a big stone statue of a very similar looking Belmont, holding the whip in his left hand. Time lapse shot of people walking past it. Continuation of v.o. background.
Albus: (voice over) But in the early 19th century something happened, and the Belmont clan disappeared, slipped into myth.
We see a hazy image of a man in blue, kneeling before some kind of altar in a dark stone room.
Albus: (voice over) No one knows what truly happened to them.
We see Bishops walking and discussing in a cathedral, politicians and royals arguing in secret backrooms.
Albus: (voice over) Those in positions of power eventually made a conscious effort to discover a new way of countering the dark lord.
We see a man in his late 30's-early 40's with two small children, a brown-haired boy, and a long black-haired girl. The three of them are together manipulating energy, or fire, or lifting objects telepathically... something like this.
Albus: (voice over) Our organization, Ecclesia, was born then as one of those counter measures.
We see a montage of scientists experimenting in a lab, soldiers practicing combat, engineers developing devices, magic users of various types, anything else that might work. They are in various levels of work and funding, as well as levels of frustration, showing some close down.
Albus: (voice over) Many organizations were established with the same goal, working to achieve it in as many different ways as imaginable. They conducted their studies and research diligently, but each dissolved, or was cannibalized as they failed to produce satisfactory results.
We see an old man in a robe, a book hovering in front of him, strange symbols hovering around above them.
Albus: (voice over) But that was when Barlow, the leader of Ecclesia, had a break through that truly gave us an edge, and the possibility of standing against Dracula...
CUT TO BLACK
EXT. Sadam woods, border of Wallachia, Mid-day
1846, 22 years later
A skinny mule pulls a rickety wooden cart down an old dirt road in a medium thick forest. A tan man in a round hat sits on the front behind the mule, his legs hanging down between the harness beams, He holds the reigns. In the actual bed of the cart a very young man sits on top of a wooden chest, with another its equal opposite of it, and a small but full cloth bag sitting between his legs. It is quite cramped. He is nose deep in a medical text book.
After a while he closes the book, and opens the trunk adjacent to him. He places the book neatly on top of another, looks at the two letters sitting on top of the stack in the center. He's read them multiple times.
We see the letters, the first welcoming him as a member of the Agora Organization at Cordova University. He seems sad but pleased. He puts it under the 2nd letter, which informs him that the Agora organization has been dissolved, but that some of its top Scientists had been absorbed into their own branch of the Ecclesia organization, and that he is now expected at their headquarters.
He puts both down,and closes the trunk. He is obviously tired.
EXT, Jova, afternoon
The cart pulls into the small town of Jova. It's a nice village-like quiet settlement, with stacked blocky buildings, many small houses and a central square. The cart pulls through until it comes up to a covered bench, where a girl in her late teens-early 20s sits waiting. She has short dark brown hair, and light blue eyes. She has one large trunk, and a large cloth bag. She's reading a book. The cart stops, and the mule groans loudly, startling both the boy in the cart and the girl on the bench. The driver pats the mule, and says something in Romanian. He turns to the boy.
Cart Driver: This is it.
He stands up, seemingly waiting for the driver to take his luggage, or at least assist. It becomes clear after an awkward moment that neither will be offered. Abraham slings his small bag over his shoulder and then tries to lift one of his trunks with one arm on each end. He pulls hard but it just slides a little on the cart. He then places both arms on one side and begins to drag it across the cart bed.
The girl closes her book and stands.
Carrie: Do you need some help?
The boy stops and looks at her and pauses for just a moment too long. He is obviously somewhat surprised.
Abraham: Um, yes... Yes that would be wonderful.
She smiles, and walks to the back of the cart as Abraham pulls the trunk, grabbing the other end as it slides off.
Abraham: Let's place it over beside the bench, and the other atop it.
Carrie: Sounds good.
The pleasant smile never leaves her face. She has a very warm and caring presence, a sort of motherliness. They place the trunk down as indicated, and the 2nd on top of it, as soon as they finish the driver leaves without a word, back the way he'd come.
Abraham, noticeably taxed by the task, sits on the bench rather lazily and exhales. He seems a bit awkward.
Carrie: So, you've come to join Ecclesia as well I take it?
She sits next to Abraham. He seems slightly surprised.
Abraham: Why yes. I was supposed to go to the Agora organization of Cordova University, but they closed, now they want me at Ecclesia it seems.
Carrie: Hmmm. I was an Ecclesia recruit from the beginning. What did the Agora organization do?
Abraham: Well, I don't really know too much. It was a scientific research organization working on top secret projects in Wallachia. You see I am something of a prodigy physician. I was to apprentice in their medical program.
Carrie: Yes well many things have been changing around here lately. Ecclesia is sort of a jack of all trades now, but it started in sorcery research.
Abraham shifts and sits up straight, he seems to feel sick, and looks it. He starts to panic.
Abraham: Oh no, no. Have I fallen for a ruse? A scam? I've given no money, and mind me woman, I won't.
His panic turns to something like anger, but Carrie laughs, her smile is beautiful. Abraham, though still quite doubting of sorcery, shows obvious signs of regret at his outburst.
Carrie: My young sir I assure you that you haven't been rused. I can tell that you aren't from around here, but neither is English your first language. I assume you don't speak any Vlach tongues, or Romanian?
Abraham: No... No I learned English in primary school, but I do speak fluent German, and French, I dabble in Latin and have just begun studying Spanish. And of course perfect Dutch, I'm Dutch, from the Netherlands.
Carrie: Must have been a long journey.
Abraham: Yes, over fifteen hundred miles. Some of it was by train though. I admit I did not sleep well at all the last night.
He finally leans back again, relaxing. Carrie has a way of making people relaxed, literally.
Carrie: Well I was luckier I guess, I'm from this village. I slept in my own bed last night. I packed only this morning.
Abraham looks directly at her, for just over a moment, then shakes his head.
Abraham: I'm so sorry, I've been up all night, and far away from home, and I've not been myself... Worse yet I've been rude and talked much without asking about you or even introducing myself.
He extends his arm, and she graciously takes it, he bows by her hand.
Abraham: I am Abraham Van Helsing. I studied medicine at Cambridge, graduating just a few months ago at only 17.
Carrie: Very pleased to meet you Abraham. I am Carrie Fernandez, and I guess you would say I'm something of a witch.
Abraham's recently regained composure shatters, and he recoils. It's just a moment and he quickly somewhat regains himself.
Abraham: A what? My lady such things don't exist, and even if they did you are a beautiful young girl, witches are supposed to be gnarled old hags.
Carrie amazingly keeps her warm composure.
Carrie: I thank you for the compliment, but I assure you Abraham, not all witches are gnarled and old. Perhaps one day, but are not all who live long lives? I trust you'll soon shed any previous notions you might have about the supernatural.
The two sit for an unspecified amount of time, until about twenty minutes before sunset when a large jet black, polished, ornate gothic 6 horse(also black) carriage with three men sitting atop comes trotting into town from the opposite end, though it is visible down the long dirt road. The sight of such a dramatic, and imposing carriage, mixed with Carrie's somewhat imposing words makes Abraham a bit nervous, like a child about to enter a Halloween haunted house.
As the carriage comes closer more detail can be seen. It is beautifully crafted, with twirled and pointed pillars, ornate flowery and arched embroidery lining its edges. One man holds the reigns of the horses, and the other two both hold firearms, one a shotgun the other a rifle. This makes Abraham even more nervous, giving him a deep sinking feeling in his stomach.
Abraham: Why are those men armed?
Carrie: We're going deep into Wallachia, Abraham. You're about to learn what's happening here, what's being hidden from the rest of the world.
Abraham doesn't reply, but his uneasiness is beginning to give way to terror. The carriage pulls up next to them and stops. The two armed men place their guns down on top of the carriage and hop down.
Wilbur: (gravelly and intimidating) Are you Abraham Van Helsing and Carrie Fernandez?
Abraham just stares, stunned.
Carrie: Yes we are. Can you help us with our luggage please?
Wilbur: Of course, love, it's part of our job.
INT. Carriage, sunset
The carriage is even nicer from within, with soft velvet couch interior, and a small dimly lit lamp hanging from the ceiling. It begins to move just a few moments after the two have gotten in, and it's moving fast. The speed only adds to Abraham's growing fear.
Carrie seems slightly amused, but not in a spiteful way. Abraham looks out the small window, and for a moment as they cross a field he can see the golden sunset, and the dark clouds billowing in the distance, where they're heading.
Carrie: Just get some sleep, we're likely to ride until the early morning.
Abraham looks at her, an exhausted glaze comes over his eyes, as he seems to remember how tired he is.
Abraham: That sounds like a wonderful idea.
He closes his eyes, we see it this from his perspective.
FADE TO BLACK
INT. Carriage, Night
Still dark, we hear a loud deep howl, distinctly different from that of a normal wolf. From Abraham's perspective, suddenly his eyes open. The carriage looks much the same as it did before, due to the lamp.
Abraham grabs the arm rest to his right, tightly. His face gives away his horror, Carrie jumps as well, but from Abraham's reaction not the howl itself.
Abraham: (terrified and shouting) What in God's name was that?!
Carrie sighs with slight annoyance.
Carrie: You scared me!
She sits back and folds her arms, seeming just a little angry, but more like a mother angry at a child.
Abraham is on the border of hyperventilating, when two more of the strange howls break the air, much closer.
Abraham: (near panic) What is that?
Carrie: Sounds like a werewolf. Well, werewolves.
We hear a rifle blast. Abraham screams. Another rifle blast.
Carrie: Yes, definitely werewolves. Don't worry, I'm sure those men can handle it. Werewolves aren't so dangerous as they used to be. They're just fast brown bears that need a silver bullet.
Abraham stares at her in disbelief and horror. He goes to the window, and strains to see. From his perspective we see that it is now dark, and raining, greatly obscuring his line of sight. A hazy mass comes galloping into view, but is indistinct and obscured. Another rifle blast and the mass darts closer to the window and lets out a terrible bark deeper, louder, and angrier than any wolf, thudding the carriage as it does. Abraham leaps back shrieking bumping his head on the ceiling, landing on the other side of the bench.
Another shot and a loud whimper, like a wolf cry mixed with a human scream.
Carrie: I told you, those men can take care of it. Calm down, that's why they're here. Ecclesia would not risk losing new recruits en route.
Abraham stares back at her, panting slowly, brow furrowed with worry and disbelief.
Abraham: (gasping and quick) So werewolves are real?!
Carrie: Werewolves are real.
Abraham keeps the same look of worried disbelief. But continues.
Abraham: (same frantic tone) What else is real?
Carrie laughs, she loves a little fun with outsiders.
Carrie: Witches for one. Sorcery, sea creatures, Gorgons, almost everything really. Most of it has either gone extinct, or is extremely rare. Which is the case for most life really.
A sharp cry stops her, like a mix of a giant hawk and a woman screaming.
Carrie: Harpies are real too, but I think that's why they brought the shot gun.
A shotgun blast, and a thud against the carriage roof, Abraham jumps again, but does not scream like a girl this time. Carrie smiles and laughs.
Carrie: Told you.
Abraham: So... my secret project, it... it involves monsters?
Carrie: Well, if you're heading to Ecclesia I'd assume so. What is it that you specialize in?
Abraham: Obscure diseases.
Abraham spends the rest of the ride wide awake, straining to see out the window, terrified.
EXT. Ecclesia ruvas forest, very early morning
It's pouring rain, thunder and lightning boom and flash with regularity. The carriage pulls up to a large old building. It looks like a Cathedral, from which it was repurposed, with barracks and other buildings patched onto it.
INT. Carriage, Night
The doors pull open suddenly and Abraham, still awake but exhausted, jumps back. It's Wilbur, standing in the pouring rain.
Wilbur: Sorry kids, but you gotta get a little wet. Just run on inside and we'll bring in your things.
EXT. Ecclesia Ruver Forest, 3:31 AM
Carrie and Abraham run together through the rain to an open door. Through the rain it looks like just a bright blur, with a figure standing in the center.
INT. Ecclesia library, night
Renon is standing in the library entrance. A brightly lit entry hall with a fountain and rounded stairs going up its side to the second floor, behind the fountain is a large suit of armor holding a zweihander pointed down. Renon is a man of average height wearing a dark green bowler hat, dark spectacles, a nice pressed dark green suit, and dark green-accented leather shoes. He has a little bit of stubble on his face, barely noticeable.
Renon: Hello, welcome to Ecclesia. My name is Renon, I am the head servant.
Carrie shakes his hand and smiles, if she's tired she doesn't show it. Abraham, being inside a large building, finally begins to regain himself.
Renon: Carrie Fernandez.
Renon bows and kisses her hand. Then turns to Abraham.
Renon: And Abraham Van Helsing. We've been expecting both of you. It's very late, let's get the two of you to bed and you'll get the tour in the morning. We'll have Wilbur and Chick bring in your belongings.
Both of them nod graciously.
EXT. Ecclesia, late morning
It's light out, but foggy, and cloudy. Rendering the entire area a hazy gray white.
Albus, a young man in his early-mid 20's with short brown hair and brown eyes comes riding up the dirt road on a brown and white horse. He wears tight blue denim trousers, and a long sleeve white shirt with folded back sleeves under a dark brown leather vest, and dark brown boots.
He rides up to Ecclesia, we see it fully day lit for the first time. It's cross shaped, as any cathedral. Each side is three stories tall, with the central tower extending up an additional two. There's also a two story house-like barracks connected to the left wing.
We see Albus on his horse from behind looking up at the building. Then close up to his belt line on the left, where a small sack and a strange spiked spherical cage hang.
INT. Ecclesia sorcery hall, late morning
Albus is walking with Barlowe, a middle aged man with medium length white hair, he is dressed in long flowing blue and gold robes. They are in the sorcery hall, a large room with marble floors, several podiums, half empty book cases dotting the walls, other magic artifacts dispersed throughout. The walls are a dark dim orange gold with portraits of people of various ages. The windows are surrounded by flamboyant embroidery.
Barlowe: You've done very well Albus.
Albus: Thank you, master. So is this it? Have we completed the mission?
Albus: Well when will we finish then? I'm ready now.
Barlowe: Patience, Albus. We will perform the ritual tomorrow morning, I can see that you've been up for multiple days on this task. You need to rest.
Albus: Master that's absurd. We have everything we need, let us waste no time.
Barlowe turns to him and stares at him hard, an disapproving look upon his face.
Albus backs down.
Albus: I'm sorry master.
Barlowe steps toward him, and his expression breaks into a caring smile. He swipes some dirt and mess off of Albus's shoulders. It looks like Albus had had some trouble retrieving what he had.
Barlowe: This will be no easy ritual, it will tax your body and soul to the uttermost. If you are not in top physical condition you will likely not survive it.
Albus: Yes master, you're right.
Barlowe pats his hand on Albus's shoulder, and the two continue walking.
Barlowe: This is everything we've worked for Albus, everything since I first brought you in.
INT. Ecclesia barracks, Carrie's room, late morning
Carrie wakes up later than normal, after sleeping for about 7 hours. Her room is small, with a twin sized bed, a small desk, a stool, and one dresser. Light shines into her window, and she looks at her luggage, which sits adjacent to the bed. She gets up, clothed in a very fine nightgown provided to her the night before. She stretches, walks over to the trunk, opens it, kneels down and rifles through a few books, trinkets and other items, finally pulling out a wooden picture frame.
We see a close up of the picture. It's a very simple black and white photo. It shows a very young Carrie, maybe 4 or 5 years old. In the picture she is sitting in the lap of a woman who looks much like she does now, it's her mother. They both look very happy. Carrie places the picture on the desk, and moves it around a little, to find the right spot.
INT. EcclesiA entry hall, mid day
In the entry hall Abraham is already standing alone by the door. Carrie walks in and over to him.
Carrie: How did you sleep?
Abraham: Actually quite well. As soon as we got into the building... I don't know, I just felt much safer. Probably the stone walls and barred windows.
Carrie: Or maybe the fact this whole institution is filled with people capable of protecting you?
Abraham smiles and chuckles a little, just a tad smugly.
Abraham: I was thinking a lot about last night, and really nothing extraordinary happened. Just a series of events seemingly tailor made to scare me to death.
Carrie's face gives disbelief, and her posture changes to match.
Carrie: So being chased down by werewolves and harpies isn't extraordinary to you? Could've fooled me by your reaction.
Abraham's barely smug smirk, gives way to the smuggest grin.
Abraham: Well... let's look at what happened, as well as your claims. We heard deep loud howls, and strange screeches. Our carriage obviously interacting with large animals of some type. You mentioned things like werewolves, harpies, fish men... all animal monsters.
Carrie: But monsters.
Abraham: Well... I don't think so.
Carrie seems shocked at the statement.
Carrie: Not monsters?
Abraham: No, you see, I'm a prodigy in rare diseases, not just in humans. I think what we have here is some type of unknown giantism manifesting itself cross species. Could give you extremely large wolves and bears, buzzards and hawks, fish and snakes. It's not odd that a woman from around here wouldn't understand such things.
Carrie's jaw drops, her brow furrows. She is angry and obviously so, for the first time
Abraham hears what he has said and gasps.
Abraham: My goodness! I'm sorry, that didn't come out right. I don't think women are stupid, or unworthy of education... it's just that in this part of the world you're still...
Carrie's anger fades, but only into a sternness.
Carrie: I understand, and you're correct in most cases here.
She shifts her posture, still obviously displeased.
Carrie: And how do you explain witchcraft, sorcery? There are other creatures I did not mention who cannot be mistaken for big animals.
Abraham: Well, I haven't experienced any evidence for that.
Carrie smiles, and raises her right hand.
Carrie: Fair enough.
She walks over to the fountain a few feet away. Looks at Abraham and reaches down into the water without breaking eye contact. She stands up, with a handful of water. There is suddenly a puffing of cold foggy mist from her hand. She tosses the water up, and it freezes, and floats above her finger as tiny icicles.
Abraham is stunned, speechless, his resolve and smugness are instantly destroyed. After a moment, the icicles fall to the floor and shatter.
Renon: Hello, I trust you've slept well.
Renon comes walking into the entryway. Breaking off any line of questioning Abraham might have wanted to get into.
Carrie: Very well, both of us.
Carrie turns to Abraham, who is still in shock, and smiles wide.
Renon: Excellent. Now allow me to show you around.
Carrie grabs Abraham's arm like a lady being escorted by a gentleman. She looks at him and smiles.
Carrie: Shall we go Mr. Van Helsing.
Abraham is still speechless and shocked. They begin walking behind Renon.
INT. Ecclesia library, day
The library is a bit worn looking and large, about thirty yards wide, and fifty long. It has a second floor about a third the size with the central section opened to the bottom. There are several staircases, and ladders for reaching high stacks. Book cases line every wall and form rows extending out over most of the floor, lanterns of various shapes and sizes dot all throughout, but most light in the day comes from four large window on the 2nd floor. In the center of the first floor is an old large man with a great bushy gray beard.
The three walk to the center, where the old man is sitting.
Renon: This is our master librarian, we have a card catalog of all the books here, but it would be easier just to ask him, he has every book here memorized, as well as their place.
The sight of such a library brings Abraham back into his element.
Abraham: Such a vast collection... where did they come from? ... I mean this was a cathedral yes? Did they empty a library here?
The master librarian laughs a high pitched almost musical laugh.
Master Librarian: Yes it would seem so, young master Van Helsing. This is my own private collection, with significant contributions from other members of the organization. There's another level in the attic, for the more ancient and delicate books, and scrolls.
Abraham: And what languages? Romanian?
Master Librarian: Mmm.. some, but many are English, German, French. Some Arabic. Up stairs we've got Greek, Latin, Hebrew, Aramaic, and even a few texts from the Orient.
Abraham's eyes light up. And he extends a hand to the master librarian, who takes it and shakes graciously.
Abraham: I can assure you, sir, you will be seeing a lot of me.
Master Librarian: Well I look forward to it young man. We have good sections on every subject imaginable, and a substantial collection on history and the occult. We also have many recent scientific papers provided by the science staff.
Abraham is conflicted, the excitement of the scientific papers clashes with the reminder of what world he may find himself in, but he has books, and he decides here that if these occult things are real, he will use the resources available to learn everything he can about them. Carrie doesn't say much, just nods and smiles appropriately, seeming almost distracted.
Master Librarian: Well either of you are welcome here any time, but I imagine they will keep the two of you rather busy.
Abraham perks up again, he's starting to feel rather comfortable with Carrie.
Abraham: This is where I'll be spending most of my time.
Carrie smiles, and takes his arm as before.
Carrie: You seem to take to new things rather quickly Mr. Van Helsing.
INT. Ecclesia, Shanoa's quarters, day
Shanoa, a very light skinned elegantly beautiful young woman, with long thick black hair, and dark almost black eyes. She is fully dressed, in a long deep purple dress, with black gems lining certain areas, she is staring into a body sized mirror. She stares for a moment at her reflection, with a look of competing concern and bravado.
INT. Ecclesia hall, day
Shanoa is walking down the hall, coming to a diagonally slanted wall with a large iron door. She knocks, and after a few moments it opens, and a very fit tall man in his early forties is standing in the door way. He has dark gray hair, and is wearing a large dark blue dogi, and light tan short pants. Shanoa bows her head.
Shanoa: Master Cornell, may I come in?
Cornell smiles warmly.
Cornell: Of course.
He steps to the side and motions inward. Shanoa walks into the room.
INT. Ecclesia, Corell's quarters, day
A large room with several lit lamps, but no windows. The walls are stone, and there is few pieces of furniture. At the center of the far wall from the door, is a double sized bed, with a large wooden closet.
Shanoa: It must get so dark in here when the lamps are out.
She looks at him, but responds to herself before he can with a chuckle.
Shanoa: But you can see perfectly well in the dark when you want to, so what's it matter?
Cornell: You know everyone else here calls me professor, maybe Sir, or even just Cornell, you know... my name.
Shanoa: Well most of the people here don't know and respect you as well as I do.
She smiles cutely. And he laughs a little in return.
Cornell: Well yes, Master is a fine title. But I would prefer if you called me Cornell, as you know.
Shanoa: Of course. Just as you know how much I like to tease you about it, Cornell.
Her smile takes on a more genuine appeal, and she let's down any defenses she may normally walk with.
Cornell: So what brings you to my chamber today?
Her face gives away concern.
Shanoa: I'm to receive Dominus, today. The ritual is scheduled for dusk. Renon's only just told me.
Cornell: I wasn't aware.
Cornell keeps his composure, but is very slightly noticeably troubled. He walks to her, placing a comforting hand on her shoulder.
Cornell: It's sooner than I imagined, but you are ready. We've long since agreed on that, me and master Barlowe. How do you feel about it?
Shanoa exhales deeply, she obviously feels worried, apprehensive, but also obviously very comfortable with Cornell.
Shanoa: I'm not sure. I mean master Barlowe assures me I can handle it, that only I can handle it. I'm still not quite sure why.
Cornell: We are all different, in many ways. You are more different than most. I've never met anyone with such an ability to harness spiritual energy.
Shanoa cocks her head back a little, and smiles at him sarcastically.
Shanoa: You mean dark energy. I think I'm years passed dressing it up.
Cornell speaks directly.
Cornell: Yes, you have an astounding tolerance for dark energy. Most people would succumb and be overtaken long before being able to wield anything. You have a unique strength.
Shanoa seems encouraged, but still worried. She doesn't meet his eye.
Shanoa: If I was born a few centuries earlier I would've been a devil forgemaster, one of Dracula's generals. Albus and little Drolta too. Why are we like this? I mean why are some of us made so seemingly predisposed to evil?
Cornell sighs and rubs his chin. He dives into his thoughts, ones he has had many times before, and explains the conclusions he's come to.
Cornell: I know well what you mean, and have long contemplated on my own similar inner conflict. Perhaps it is to test the morality of the group, rather than the individual. And luckily, born today the group has proven worthy of shaping the seemingly wicked into a sword of light.
We get the idea that Shanoa relates to Cornell on a deep level, a sort of father figure who understands her in ways few can, but we don't know the full extent of why yet.
Shanoa: Thank you, Cornell.
She smiles, seemingly comforted.
Cornell: Did you hear that Albus has returned?
Shanoa's demeanor instantly changes to pleased surprise.
Shanoa: No! No I hadn't. He's early. When did he arrive? Where is he?
Cornell: He just returned this morning while you were still asleep, I think he rode through the night, he's still resting I believe. Master Barlowe has ordered that no one disturb him.
Shanoa frowns, obviously disappointed.
Shanoa: I wish they'd have woken me. I hope I can see him before tonight. I've missed him so much.
Cornell: I'm sure he knows that, and that you two will be back to your normal routine in no time.
INT. Ecclesia hall, day
Renon is walking down the hall with a recently fed Abraham and Carrie behind him. Shanoa comes walking the other way. He seems surprised and a little troubled to see her.
Renon: Ah, Shanoa, you should be resting.
Renon sounds kind but firm.
Shanoa: I was just speaking with master Cornell.
Renon: Alright, well I'd like you to meet two of our new recruits, Abraham Van Helsing for our science wing, and Carrie Fernandez who will be working with you and master Barlow.
Shanoa: It's a pleasure to meet you.
Shanoa doesn't meet anyone's eyes and just walks on to her destination.
Renon turns to Abraham and Carrie.
Renon: Shanoa is our prime sorcery student. She studies privately with master Barlowe. And Cornell is a special colleague of his, as well as our instructor of hand to hand self defense. Now let's continue, the science labs are just ahead.
He turns and motions down the hall.
INT. Ecclesia bio labs, day
The three walk into a large room sectioned off by make shift walls that do not reach the high ceiling and vary in height. There are several book cases filled to various levels. Renon turns to Abraham.
Renon: This is where you will spend most of your time. You will be working under Dr. Moritz Caligari.
Rather creepily right at that moment, a man steps out quickly. He is older, at least in his 50s, in a large top hat and small spectacles. He is dressed in a nice suit that struggles to hold around his rather impressive girth.
Dr. Caligari: Yes, I am Dr. Caligari.
He has a thick German accent. He walks right up into Abraham's face.
Dr. Caligari: And you must be Abraham Van Helsing.
He squints, and stares hard into his face judgmentally, seemingly examining. Abraham seems less surprised than you might expect.
Abraham: Yes sir, Dr. Caligari, I look forward to working under you.
Dr. Caligari: Well young master Van Helsing, I imagine you shouldn't. You will do the most difficult work of your life here, and a lot of it. I doubt you'll have any time for anything besides work, meals, and sleep, and not always the last two.
Abraham: Yes sir, none too different than the University. I look forward to all you have to teach me.
Dr. Caligari finally relents, sort of. A quick flush of loud aggressively happy laughs ring everyone's eardrums.
Dr. Caligari: You've had German professors before, boy?
Abraham: Yes sir, many.
Dr. Caligari: Good! Well, I will see you again tomorrow.
Dr. Caligari turns to Renon.
Dr. Caligari: Always a pleasure, Renon.
Renon bows and Dr. Caligari returns to his area to continue his work.
Renon: Their are several other respected doctors we have working here with us, who I'm sure you'll come to know well in time.
Renon smiles and bows.
Renon: And I believe that finishes up our tour.
Carrie seems upset for just a moment, then regains herself.
Carrie: And the sorcery tower?
Renon: I'm afraid we only enter their when ordered by master Barlow. You will see it tomorrow. There is also a Chapel in the north wing, if you are interested.
Carrie is clearly very displeased at this news. She attempts not to show it, like she wants to hide it. That becomes easier when someone else comes out.
Dr. Glendon: And don't forget the garden, Renon.
A younger man, late 20's-early30s walks into view from behind another of the make shift walls. He has short well combed brown hair, is wearing a long brown over coat, with nice dark green slacks, and leather shoes. He extends a hand to Abraham and smiles.
Dr. Glendon: I'm Dr. Wilfred Glendon, resident botanist. I'm heading out to the garden to collect some samples. It's quite lovely and I would like some company.
Abraham shakes happily. His mouth opens wide as he remembers something.
Abraham: Dr. Wilfred Glendon.. I've read your papers on obscure native herbal remedies.
EXT. Ecclesia garden, day
A large open garden cradled by the labs, barracks, and library, with various types of flora. It;s separated into two distinct sections one of fruits, vegetables, and common herbs, separated by paths. The other section is filled with strange rare herbs and flowers, and some of the most exotic and eccentric looking plants imaginable.
There is a young woman with light brown hair, and a short light yellow summer dress, and wearing a blue pendant on a golden chain around her neck. She is walking down one of the paths by some flowers, holding a basket of fruit. She's about 15-16. A few feet away from where she walks, roughly keeping pace with her, is a black cat with bright green eyes, and walking a little further off, nose to the ground, is a very large brown furry dog.
Carrie seems particularly distracted. Her mind is very much elsewhere.
As the three of them walk into the garden. The dog looks up and gets riled, letting out a deep thunderous bark. Abraham freezes, he's never seen such a dog. It begins a full sprint at them, sensing his fear, and having never seen him before, the dog's protective demeanor prompts it to a show of strength.
The dog sprints at him, growling, and Abraham screams.
The dog stops short of him, and barks angrily. Carrie, Dr. Glendon, and the girl all turn to see Abraham somewhat close to being mauled. He is frozen. The young woman calls out at the dog authoritatively.
Ada: Larry! No! Get back here!
The dog instantly turns and heads back towards her. Abraham is still frozen in terror. Dr. Glendon calms him.
Dr. Glendon: That's Larry. He's just a dog, a big one. Now that Ada's scolded him for it, he'll never bother you again.
His tone gets rather serious, as does his facial expression.
Dr. Glendon: But I understand why a new comer here may be jumpy. When I first got here... There is real evil here.
The young woman walks over to Abraham. She has a kindness about her. She's smiling. The cat keeps pace with her. Larry walks slowly behind her, his head down in shame.
Ada: Are you alright?
She places a hand on Abraham's face, examining. He's a little taken aback by this, but not at all displeased.
Abraham: I'm... yes... yes I'm fine... thank you.
Ada: Larry's just very protective of me, of all of us really. Now that he knows you he'll be protective of you too. In this place that's important.
She pets the dog thoughtfully on the head, picks up the cat.
Ada: I'm glad you're ok. We've got to go. It was nice meeting you.
She nods to Dr. Glendon and Carrie with a smile, then turns and leaves.
Dr. Glendon: That was Ada, she's Cornell's daughter. The cat belongs to Hugh, one of our resident vampire hunters.
It keeps on coming back to that, the monsters. Abraham's expression becomes serious and worrisome.
Abraham: Vampires too... This place... I guess that's what you mean about real evil.
Dr. Glendon furrows his brow and sighs. He turns and looks up at the old chipped brick walls of the barracks, patches of green growth going up and down it, and up to the white gray covered sky.
Dr. Glendon: The people outside this region have no idea, but we are fighting Armageddon here.
Abraham jerks back, eyes bulging.
Abraham: Armageddon? What's happening here? How can this all be kept so secret?
Dr. Glendon: I'm going to be straight with you like they weren't with me when I got here.
Dr. Glendon turns to Abraham, Carrie is standing quietly, listening. Abraham looks rather afraid again.
Dr. Glendon: Come with me.
He turns and walks to a small sectioned off area of the garden, where some truly exotic plants are mixed with some that look completely normal. Dr. Glendon walks down a row of the eccentric plants to a very strange flower-like plant, about the size of a cantaloupe though not so perfectly round. It's shiny black like an insect's exoskeleton, it has several dark red veins of various sizes growing up the plant from a small light blue ring at the base of the flower. He kneels next to it, and looks back to Abraham and Carrie.
Dr. Glendon: Have you ever seen this flower before?
Abraham: No, I think I would have remembered it.
Dr. Glendon smiles a bit.
Dr. Glendon: Yes, I didn't think so. This very strange flower is actually one of the rarest plants on earth. Have you any idea why that is?
Abraham: Well it could be several things. It's probably not related to the climate or soil contents, as this area is unexceptional in those ways, unless you are giving it something. Maybe it comes from a small isolated region? Maybe it is just a very old and almost extinct species.
Dr. Glendon: You're well educated Mr. Van Helsing, but equal parts right and wrong.
Dr. Glendon motions his arm for the two to come closer.
Dr. Glendon: It is as ancient as it is rare. In fact the only confirmed previous case of its existence was in a special monastery in Crete, over four thousand years ago.
Dr. Glendon pulls a small scalpel from his coat.
Dr. Glendon: I found this specimen on a small Mediterranean island where the native population still speaks a latin dialect. Their entire culture was devoted to preserving them, planting all around the outside of their villages to keep away Striges and Empusas. Given how rare the flower is, and the proximity, it is likely this specimen is directly descended from those on Crete.
Abraham: Striges and Empusas? Parasites?
Dr. Glendon: Monsters, blood drinkers.
Dr. Glendon hands Abraham the scalpel.
Dr. Glendon: Go ahead and make a small incision anywhere on the bulb.
Abraham looks down and slowly does as told. As the blade cuts through the flesh-like black outer skin, dark blood drips from the incision. Abraham pulls back, startled.
Abraham: Is that...?
Dr. Glendon: Blood. Yes it is.
Abraham pulls back more, scrunching his face in confusion and fear. Dr. Glendon takes back the scalpel.
Dr. Glendon: That ancient Greek monastery was a sanctuary for vampires that wanted to live in peace away from the temptation of mankind. They had to water it with their own blood... among other things. And those islanders, they had to go to much further means to keep them alive.
Abraham: So what do you give it?
Dr. Glendon: Nothing. This is the only place on Earth I know of where it can grow so freely. And every plant in this row is about as rare and hard to keep growing.
Abraham: So what's so special about this place?
Dr. Glendon: Well honestly... as far as I can tell... t's evil.
Dr. Glendon shrugs, then motions all around.
Dr. Glendon: The soil, the air, the essence, so much evil has lived and died in this place. It's poisoned. It's like a conduit to all the dark things of all the worlds.
He strokes his chin as his expression grows somewhat worried.
Dr. Glendon: Here is what no one told me before or even early after I got here. This place is truly evil. We're fighting against the apocalypse. All of us gathered from around the world, the best combination of people possible to face it, and they won't let any of us quit.
Abraham doesn't say a word, but he looks very worried and lost.
Carrie, who has been utterly silent since the revelation that they would not be seeing the sorcery tower, stares off into space, clearly lost in thought. Something is bothering her greatly.
INT. Ecclesia Shanoa's quarters, sunset
Shanoa is staring out her large window. It's almost dusk, and from her window, she sees a bit of the sky, and color from the sun unobstructed from the clouds. She now wears a much more ornate ceremonial dress, open at the shoulders and back revealing the strange tattoo-like symbols on her skin.
She looks down into the thick forest. We see from her perspective, she is gazing along the trees and stops at a perched white owl, staring right back at her. We see her stand and stare at the owl for an extended moment.
INT. Ecclesia hall, night
Abraham and Dr. Glendon are walking together down the hall talking, Carrie is a few paces behind, still silent, arms folded. Three men in armor come running down the hall carrying multiple munitions each. Dr. Glendon stops and moves out of their way, Carrie and Abraham follow suit.
Dr. Glendon: Ah, these are members of the Brotherhood of Light, our foot soldiers if you will. They are out there in the field actually fighting the good fight. Looks like something big will be happening soon, they've been readying things all day.
Abraham: It really is quite an eclectic group of people that have all been collected here. Are you certain that is not the actual source of the organization's name?
Dr. Glendon laughs. And with a small smile looks over the two youths.
Dr. Glendon: It's nice to see you're capable of keeping your spirits up. That will be exceptionally useful in the work we are to undertake.
He looks over to Carrie. His expression becomes inquisitive and his head tilts.
Dr. Glendon: You've been awfully quiet, Ms. Fernandez. In fact I don't think you've said a single word this whole time.
She is shaken back into the moment.
Carrie: I'm sorry. I'm just a little tired is all.
INT. Ecclesia hall, NIGHT
Shanoa is walking down the hall. It's dark, with just a few lamps struggling to light the way. She's nervous and jumpy. Suddenly there is a sound from a dark unlit section of hall. Shanoa freezes, eyes locked on the darkness.
Shanoa: Who's there?
Silence. She takes a few steps towards the darkness, arms up and bent, in extreme apprehension.
Shanoa: Hello? Whoever's there better answer me.
A few more moments of silence, and then another louder sound of someone moving in the darkness. And a man steps out. Shanoa shrieks, but it's Albus. He's smiling sarcastically.
In an instant Shanoa's mood changes from frightened to overjoyed. She leaps at him and embraces him lovingly.
Shanoa: Albus! I'm so glad you're back.
After an embrace of several moments Shanoa pulls back and slaps him gently on the chest.
Shanoa: You scared me.
Albus: You know how I like to tease you.
She hugs him again. Both seem truly happy to see one another.
Shanoa: I was really hoping to see you before tonight.
She became apprehensive once again.
Albus: Yes, I noticed your dress. What's going on?
He takes her hand. She becomes conflicted, so happy to be with Albus again, but worried at the same time, of what she must do.
Shanoa: Well, I was just told this morning, but I'm to be the bearer of Dominus.
Albus freezes, his expression switching to disbelief and confusion.
Shanoa: Yes, I'm heading there now. Master Barlowe is preparing the ritual.
Albus pulls his hand away, and becomes very obviously troubled.
Albus: That can't be right. I just spoke with master Barlowe this morning... He assured me that I would be the bearer of Dominus, as he did at the onset of my last mission.
Shanoa pulls back a little as well. It's obviously an uncomfortable moment for her, but it's much more troubling for Albus.
Shanoa: Well, it's not our place to question the master's decisions, or when he changes them.
She takes on a rather formal tone and expression. Albus seems to get a little desperate.
Albus: You don't understand Shanoa...
He struggles with his words, seeming less like he's trying to figure out what to say than what not to.
Albus: Master Barlowe promised me that I would be the bearer... It was very important.
Shanoa looks almost embarrassed, definitely uncomfortable.
Shanoa: I'm sorry Albus, I don't know what to say. Master told me that only I was even capable of it. And it's not up to us.
Albus is in shock. Shanoa looks at him sympathetically for a moment.
Shanoa: I'm truly sorry Albus, but I have to go now, master is waiting for me. I'm glad you're back. We'll talk more later.
She smiles, and hugs him, but he does not hug back. He's still in shock. As she starts to walk away he grabs her arm.
Albus: (bordering hysterical) Shanoa you don't understand! I have to be the bearer, you can't! I won't allow it!
She pulls back angrily, both offended and frightened by his behavior.
Shanoa: Albus what's wrong with you? You're frightening me. Now, I told you I'm sorry, but the choice is neither of ours. We have our orders.
Shanoa turns and begins walking away quickly. Albus just stands motionless and silent, his anguish clear on his face. His eyes watch her until she exits into a stairway.
Albus: Orders may be orders Barlowe...
He regains his composure a bit, stands straight, and places his hand on the shotgun hilted in his vest.
Albus: But I'm holding you to your promise.
INT. Ecclesia sorcery chamber, night
A large open room, the top level of the sorcery tower, five stories up. The room is wide with green marble walls. Blue steel embroidery extends into something of a veranda in the center of the far wall, extending out from it is a platform stage with three podiums aligned in a triangle. A book sits closed on each. Barlowe is standing below the stage looking up towards the podiums. He turns as Shanoa enters the room, and the two walk towards each other.
Barlowe: Welcome Shanoa. How are you feeling?
He has a warm smile on his face, seems very fatherly. Shanoa on the other hand looks like she is trying as hard as she can to hold back a flood of terror.
Shanoa: I'm ready master.
Barlowe places a comforting hand to her cheek, forcing her to look into his eyes.
Barlowe: I know you are my dear, Shanoa. But are you sure that you do?
She exhales deeply, opens up.
Shanoa: Just a little bit of self doubt.
Barlowe: Don't be ridiculous, my dear. I am completely certain that you can do this. Only you can do this. Cornell agrees.
She seems to become more comfortable.
Shanoa: Thank you master. I know, it's just that for so long we've been working towards this, and now it's ready, and I'm to be the bearer.
Barlowe: In truth Shanoa, I always had a pretty good idea that it would be you.
His smile become a grin, like the proudest of parents. Shanoa perks up, seeming much more confident.
Shanoa: I know that I'm ready, master.
Barlowe: Then let us get started. Step onto the platform, my dear, in the center of the podiums.
He gestures to them, and they both walk over. Shanoa steps into place and Barlowe stands directly in front of her but not on the stage. He extends both hands, palms up, closes his eyes, and begins whispering incantations. Shanoa stands resolutely in place, a last trace of fear still hanging on her face. She closes her eyes.
After a moment Barlowe's whispers become louder, and sound as if they are coming from all directions, in many different voices. The books on the podiums levitate about five feet into the air. The pages begin turning rapidly as if blown by wind, as they do bluish purple circular auras form around them, becoming larger and less transparent as the pages turn further. After a few moments, wisps of white fog begin to drift around them.
When all the pages have turned the books close, but remain in place. The auras overtake them completely, becoming round balls of glowing energy. They begin revolving in circles above her head. The fog whirls around like storm clouds. The energy orbs waver like water in zero gravity.
After a moment a small tendril extends from each orb, pointing down towards Shanoa. They grow as they slowly climb down towards her, tornado-like in appearance.
The markings on Shanoa's shoulders and back begin to glow, and the tendrils touch them.
Suddenly our view changes.
We see Shanoa, nude and glowing white, her hair a starkly contrasting blackness. She floats in a dark ethereal dreamscape. The markings on her shoulders and back glow a bright red, the purple tendrils pour into them, the orbs getting smaller as they do. Suddenly she screams, and there is a loud smashing sound.
We see from Shanoa's perspective in slo-mo. She's on the ground, everything is hazy but coming into focus. The podiums are down and in pieces. There are flames. Barlowe is turning rapidly, his arms dancing around in a defensive spell. Albus is standing behind him, his shotgun pointed directly at her and smoking, bright red runes blazing on the barrel. The three books suddenly fly to him, and he holds them under his other arm.
Now from the side we see Albus and Barlowe facing each other, about five yards apart. Albus is pointing his shotgun at Barlowe. Barlowe is holding his hands up, fingers curled as if straining to hold a weight.
Barlowe: Albus what have you done!? You know how delicate the ritual is!
Albus: You lied to me.
Albus: (cutting Barlowe off, enraged) I was to be the bearer! You promised me!
Barlowe: We each have our role! If you had followed orders you might have come to understand that. Above all else Shanoa is the only one with the capacity for Dominus. You had to know that, deep down. She has a much stronger affinity.
Albus: We still have time, I can become stronger. You said I had much more potential. What happened to working together?
Barlowe: Perhaps we still can. Together we can overcome even this setback.
Albus: Shut up. I can feel your tricks. You won't sway me. It's too late.
Just then the door swings open hard and quickly, and into the room thunders a giant man, almost 7 ft. He has light gray skin, with severe medical scarring marking his exposed flesh along muscle contours and some joints. He wears a large dark gray coat, denim slacks, and a simple shirt. His eyes are white and glazed, he is a Frankenstein-like creation. Barlowe turns to the door, and shouts quickly.
Barlowe: Coller, stay back!
Coller, the living dead man, obeys. Barlowe turns back to Albus.
Barlowe: Tell me Albus, what do you intend to do with Dominus.
Albus: I'm taking it.
Barlowe: Be rational! Without that Glyph, our mission is a failure! Dracula's vessel-
Albus: I have my own mission now. I'll wield it against the dark lord.
The runes on Albus's shotgun start to light up again. And Coller starts sprinting towards him, faster than a normal human.
Barlowe: Coller no!
Albus turns the gun on the charging Coller, and when he pulls the trigger a fiery charged smoldering blast fires out, slamming into Coller and throwing the giant back several yards, crashing into the stone wall which gives way under his weight. Red smoldering brimstone-like buckshot lays burning in his arms and chest.
Albus quickly turns the gun back on Barlowe, and again the runes light up. Another blast identical to the last one, but Barlow throws his hands forward and the smoldering brimstone smashes into another blue wall of energy extending from Barlowe's hands. The room is rocked, but Barlowe and the area behind him, Shanoa included, are unscathed.
Albus: You've shown me my role. You're my master no longer...
Albus leaps from the tower window, the three books in hand. Barlowe is visually weakened, and falls to one knee.
Barlowe: So... close...
Coller suddenly rises from the rubble, bloody and in shambles, one arm hangs barely connected, one of his eyes is gone. He speaks with a voice of gravel, and a cockney accent.
Coller: Master, y'alright?
Barlowe looks at him.
Barlowe: I'm fine, but...
His head jerks to Shanoa's motionless body, which lay across the stage.
He quickly runs to her, and is on the stage in an instant. He places a hand to her cheek, and moves her head slightly. Suddenly he turns to Coller and shouts.
Barlowe: Summon the Doctors! She's alive!