BORN OF BLOOD SCRIPT:

INT. STONE, UNDERGROUND LAIR IN 1816.

1. A rough sacrificial table is surrounded by torches mounted to
the walls which surround it. Tied down to this table is a
pretty girl named ESTHER WILLIAMSON, who does not appear
afraid but proud and honoured to be in the position which she
is. She is dressed in a short top and short pants.
The room is bathed in a dark red glow, making the other
colours seem darker and more ominous. The area is deathly
silent and nothing stirs, save for the breathing of the
captive.
2. In a birds eye view, the GRAND MASTER stands in front of the
bed and is seen addressing a horde of followers. The floor is
old and stony, suggesting that this structure has been here
for a significant length of time. Torches surround the room.
The Grand Master is wearing a dark burgundy robe with black
ties and rims. The others wear grey robes with black edging.
Still with the strange red lighting, the leader of the cult
opens the ceremony. The grand masters speech bubbles are pale
red with different typography to accentuate the fact that
there is no indication as to their sex, age, appearance and so
on.
GRAND MASTER:
(ADDRESSING AUDIENCE)My brothers and sisters! Gathered are we,
the Kin of the Holy Church of the Child of Satan, to bask in
the glory, the truth, bought to us by our pure, beloved
sister, Esther of name Williamson
3. A skinned body is tied to the wall alongside the skeletal
remains of another. There are signs that the body is still
alive. The torches close to these individuals illuminates them
and introduces a faint orange tone to the overall red
lighting.
GRAND MASTER:
By willingly offering herself to our All-Powerful Lord, she
will live forever in replacement of those lives she will take
in exchange
4. The shadowed face of the Grand Master is seen; any identifying
or distinguishing features are disguised, i.e. we cannot tell
their gender or the like. With the exception of a flicker of
flame, the background is black.
GRAND MASTER AND THE REMAINDER OF THE CULT:
Simul clamor, suscipe deprecationem nostram; Sanguinem
sanguine petimus ...
(TOGETHER WE CRY, HEAR OUR PRAYER! With blood we ask for
blood)

5. Against the stone wall, a hand holds a candle which flickers.

Blood seeps between the bricks and trickles down the wall-we
do not know where this has come from.
GRAND MASTER AND THE REMAINDER OF THE CULT:
Nam restinguere flammam, novam velut flammam petimus ...
(For the extinguishing of this flame, we ask for a new
spark...)
6. A close up on the face of ESTHER WILLIAMSON. She is not
scared, but proud and excited. There is a hint of insanity in
her eyes, although she is extremely pretty.
GRAND MASTER:
So, it is to you our Lord, that we gift our sister Esther in
this pledge of Blood and Glory!
7. An aerial view of the room shows the Grand Master stood behind
the stone table to which Esther is tied to. In front of this,
the remaining members of the cult look forth and observe their
leader. The ominous glow remains and a silence is passed as
the Grand Master speaks.
GRAND MASTER:
I command silence from you as we free the soul of our sistera
fellow child of Satan. With no objection
8. A close up on two hands holding a knife being plunged into
Esthers stomach.
GRAND MASTER:
We shall expel Esthers captive soul and allow her to walk
free.
ESTHER:
AAAAAAHHHHHHHHH!
9. The torso of Esther is seen to have a gaping stab wound with
the Grand Master stood behind her.
GRAND MASTER:
Dear Esther, this is but the first step...
10.
The Grand Master plunges their hand into the Esthers
wound, rummaging through her gut.
GRAND MASTER:
You shall be granted a new host each time the present one
expires, based only on your allegiance to Him.
11.

A close up on Esther shows her eye, filled with insanity,

pain and pride.
GRAND MASTER:
Thisthis loyalty is proven by your donations, the sacrifices
you bring us. In other terms

12.
A bloody knife lies atop a surface, stained and drenched
in the liquid.
GRAND MASTER:
You shall bring us those you deem fit, the family of the host
and, finally, the host itself. Then, you will shed their
blood.

13.
The Grand Master drapes Esthers intestines around her
neck like a garland.
GRAND MASTER:
It is now that we display Esthers sacrifice with pride, as we
contemplate what is done and what is yet to come.
14.
Esthers throat is cut, and she is beheaded, by the Grand
Master in the concluding moments of the ceremony.
ESTHER:
(Gargling noises)
GRAND MASTER:
OUR GATHERING APPROACHES ITS CONCLUSION, LEAVING US ONE
15.
Esthers severed head falls to the floor, past the stone
table.
GRAND MASTER:
FINAL
16.
A drop of blood falls into a goblet which already has
blood falling down its sides.
GRAND MASTER:
TASK.
17.
Silence ensues as the Grand Master drinks from the goblet
of blood.
18.
The cultists walk away from the table, Esthers
decapitated head left on the floor.
EXT. TACOMA SUBURB
19.
A 4X4 sits in the driveway of an attractive suburban
home. There are trees, and the only sounds are a gentle breeze
and a bird tweeting.
20.
A boy, ZEKE (18) angrily glances about the area, taking
an instant dislike to the area. He does not speak, but grunts
his lack of approval.
21.
A younger girl, GRACIE (11) spots something which excites
her and, unlike her brother, she seems to like her new
surroundings.
22.
A cat sits alongside one of the trees, looking in the
direction of the family. He is quiet and is licking his paw.
23.
In a long shot, we see that she has spotted a cat and is
chasing it to a blind spot around the corner of the house. Her
arms are outstretched and she is incredibly enthusiastic.
24.
The two childrens parents stand laughing, with the
mother CONNIE holding a baby carrier with MAGGIE in and the
Father MARK looks as his wife.
MOTHER:
Heh, look at her! Shes making friends already!.. Did we do
the right thing, Mark?
MARK:
I told you she wouldand yeslook. Itsthis is gonna be fine
25.
Gracie returns from around the corner, rubbing her hands
clean on her jeans. This action leaves a dark red stain on her
pants. This is as a result of her having killed the cat.
MARK:

Were gonna be fine

26.
The panel cuts to head shots of all the family members;
Zeke is relatively annoyed, Gracie seems overly cheerful,
albeit with a hint of smugness, the mother looks happy, tired
and slightly worn. The father is pleased that his family is
together and safe, as he glances across at them. The sky has
clouded over and drops of rain fall sporadically.
MARK:
Were together, were happy, weve got a good wage coming
in...We could travel a million miles and nothing could ruin
that
27.
A long shot shows us the family walking into the house
and a splat of blood by the blind spot. The rain gets heavier
and we see the home in relation to the rest of the suburb.
MARK:
Nothing.
28.
From a birds eye view, we see a sparsely decorated dining
room; there is a long, eight seat table, a side cabinet and
several removal boxes. There is an empty shelf hanging on the
wall. The McAllister family sits at this table eating take-out
pizza directly from the box. Connie and Mark sit at the heads
of the table, with Zeke sitting one seat away from his Father,
and Gracie sits on the right hand side at the centre seat.
There is silence as they eat. Maggie is in a high chair next
to her mother.
29.
A head shot of Connie looking at her son.
CONNIE:
(Through a mouthful of pizza) So, Zeke, (she gulps and speaks
clearly) how you settlin in? Whatdya think of the house?
Its a nice neighbourhood, huh?
30.
A head shot of Zeke looking away and rolling his eyes.
Yeah. Its GREAT. God knows I cant wait to have to start a
new band, new high school, find new friends. AGAIN! Hell, I
just cant contain myself! (Under breath, in smaller writing)
Jesus
31.
Two shot of Zeke and Mark, with the latter looking
frustrated. They are facing each other in a sat down version
of a stand-off; their heads lean into one another.
MARK:
Ive HAD it with you, boy! And quit your cussinwhat does
Exodus 20:7 say?
32.
An extreme close up of Zekes face shows the faintest
suggestion of fear and a great amount of intimidation.
ZEKE:

33.
A mid-shot of Mark shows him leaning on the table,
forwardly poised and looking angry.
MARK:
Huh? I cant hear you, Zeke!
34.
A long shot shows Connie sat at her seat looking pained
and upset. Due to the type of shot, she looks small and
insignificant in relation to her surroundings.
CONNIE:

He knows, MarkNow, I was just asking our Gracie here about

that darlin lil kitten she found.
35.
Close up on Gracies face which epitomises innocence and
is a picture of sadness at the mention of the cat.
GRACIE:
Iwellhe mustnt of liked me too much cause he ran off soon
as I went to pet him.
36.
A head shot shows Zeke staring at his sister as though he
knows something is amiss; he knows that she killed the cat.
ZEKE:
Well aint that a shame, Gracie, aint that a shame.
37.
In a long shot, everyone ignores him and continue their
conversation as it was prior to his interjection, although
Mark is still visibly agitated.
MARK:
HmThats no good, is it? I think that your mother an me
oughta look at gettin you your own cat. Whatdya say, Con?
CONNIE:
Ha. I say WE settle in, fore we even THINK about addin
another member.
38.
Looking up at her mother, Gracie is seen in a mid-shot
smiling sweetly.
GRACIE:
Oh, Ill wait. Itll just make it all that bit more special,
won it?
39.
We cut to a bedroom which, like the dining room, is not
decorated. There is a bed and countless boxes. From behind,
and in a long shot, we see Gracie seemingly playing with
dolls. She has changed into pink polka-dot pyjamas.
40.
Zeke walks into the room and stands behind his sister. He
looks annoyed and angry, in a full body shot.
ZEKE:
Shame about that cat, aint it, Gracie?
GRACIE:
Uh-huh, I dunno why he just freaked out like that.
41.
Facing off against Gracie. Through his anger, he seems
slightly unsettled. He speaks in a fierce, low tone.
ZEKE:
I saw what you did to lil mittens, Gracie. I saw what you did
and it was darn well screwed up
Well? Dontcha have anythin to say for yourself, cos Mom and
Dad will! Huh?
42.
A close up of Gracie who is smiling sweetly.
GRACIE:
Heh! You sound jus like Daddy!
43.
An extreme close up on Zekes horrified face shows how
much he dislikes this notion.
44.
Scattered on the floor we see deformed and brutalised
dolls-the ones Gracie was playing with. They are headless,
limbless and some with red scrawl over them.
45.
Zeke lies awake in bed with the moonlight casting a glow
over him; the curtains have not yet been put up. He looks
troubled and restless.

46.
Hearing a noise, he stirs, sitting bolt upright in a midshot. He looks briefly alarmed but not overly concerned.
47.
This does not stop him from navigating his way to the
window and seeing Gracie sat at the top of the garden, next to
the opening which leads into the forest which sits behind
their home. This is an over the shoulder shot.
ZEKE:
What in the hell? Gracie?
48.
The panel is divided into three as Zeke puts on a hoodie,
ties his sneakers and leaves his room.
49.
A narrow grey, shaded panel acts as a division between
the previous scene and the next.
50.
A long shot shows Zeke stood on the covered veranda
calling out to his sister at the bottom of the garden. He
tries to keep his voice low so as not to disturb his sleeping
parents or the neighbours.
ZEKE:
Gracie! Get back inside! Gracie!
(In smaller lettering) Shit.
51.
He walks onto the grass, the rain hitting him full in the
face. His expression is hardened and he does not seem pleased
about the situation.
52.
On reaching her, he sees that she is crying. As such, he
reaches a hand out to her shoulder in an attempt to console
her. His hardened attitude softens slightly.
ZEKE:
Heya, Gracie. Whats up with you, then?
53.
She looks up slightly, her face stained with tears. She
seems to be distraught.
GRACIE:
I didnt mean it Zeke! Was an accidentI guess I jus petted
him a tad too hardhe got crossan I got cross
54.
Her head falls back into her hands.
GRACIE:
Im so sorryIm so, so sorry!..
55.
Closing his eyes and raising his hand to his head, Zeke
appears deep in thought and unsure as to what to do.
ZEKE:
Jesus, Graciethis aint good...this aint
56.
Catching her brother unaware, Gracie hits him over the
head with a heavy rock she hid amongst the grass.
57.
A panel of red is indicative of the impact received and
the severity of the situation.
58.
Front on, Gracie looks down at her brother, her face
indifferent and nonchalant.
59.
A long shot shows her displaying inhuman strength as she
drags his unconscious body into the woods.
60.END OF ISSUE ONE.