Dark Inheritance
Warning: Mature themes discussed
EXT – BELMONT MANOR, AFTERNOON
FADE IN shows ALICE and JASPER out in the manor garden. JASPER is feeding the fish in the pond and ALICE is trimming the flower bed.
JASPER
Things have been quiet as of late. The Reinhardts seem to have given up harassing us.
ALICE
It's possible they think pursuing JC is pointless. The police have pretty much closed the case on Ayla. Even if the whole truth is never known, no one wants to dig further.
A SERVANT enters from the house.
SERVANT
Excuse me, miss? There's a call from the main house.
CUT TO:
INT – BELMONT MANOR, AFTERNOON
JC and DIANA are sitting at a dining table, finishing a meal. Both look uneasy.
DIANA
Are you okay, JC? You've been quiet lately.
JC looks hesitant but eventually addresses her.
JC
It's been too quiet these last few days. My family already tried to attack me at school. So why have they stopped after one attempt?
DIANA
Aren't you happy about that? Maybe they've finally decided to leave you alone.
JC
They've made it clear that I won't be left alone. So what are they waiting for?
DIANA touches his shoulder.
DIANA
Don't worry, I'm sure everything will be fine.
JC nods. He takes out his backpack and takes out the gun, a Colt Delta Elite.
DIANA (cont.)
What are you doing with that?!
JC
Don't worry, I unloaded it completely. I want to show you something.
JC closes his eyes and seems to concentrate. Methodically, he disassembles the gun, component by component, and lays them neatly on the table in front of him. DIANA looks on with amazement. His eyes still closed, JC takes the components and reassembles the gun perfectly before opening his eyes once again.
DIANA
How did you do that? Have you done that before?
JC
No. I just seemed to know how. I feel I know how to use it but I've yet to test that out.
DIANA
You're amazing, JC. Scary, sometimes, but amazing.
JC puts the gun back in his pack. JASPER enters the room.
JASPER
Excuse me, Miss Diana? You're father and brother are here to see you.
DIANA scowls at this information.
DIANA
Tell them they wasted a trip.
JC looks shocked at her response.
CUT TO:
INT – BELMONT MANOR, AFTERNOON
ALICE is sitting in the living room. THOMAS BELMONT, a man in his early twenties, and FRANKLIN BELMONT, a man in his early fifties, sit with her. ALICE sets a cup of hot tea in front of each of them. FRANKLIN thanks her. He raises the cup and sips it.
FRANKLIN
As delicious as ever.
ALICE
I'm sorry I don't have much else to offer.
FRANKLIN
No need to worry. This visit was unannounced.
THOMAS
Where's Diana? That girl should know better than keeping father waiting.
JASPER enters the room.
ALICE
Jasper? Did you tell Diana who's here?
JASPER
I'm sorry, Madame. Diana's not feeling up for a visit.
THOMAS laughs at this. JC is seen behind the doorway listening in.
THOMAS
Really? Sounds likes she's being as stubborn as always. I wish that girl would just get over herself, bite the bullet and face the rest of us like –
JC steps into the room suddenly.
JC
High there! Sorry for the delay. My name is JC Reinhardt. Pleased to meet you.
FRANK looks surprised when JC says the name 'Reinhardt'.
THOMAS
(Cheerfully)
Oh, you must be the stray Alice took in. I'm Tom, pleased to meet you. This is my father, Frank.
FRANK bows his head in greeting.
JC
Pleased to meet you too. Now what's the deal with you and Diana? She's your sister.
THOMAS
Oh, she's always been difficult. It's not my fault she can't get over her –
A towel hits him in the face from off screen. DIANA stands at the doorway.
DIANA
Good grief, you never did know when to shut up. And your manners are still awful.
DIANA enters into the room.
FRANK
Hello, Diana. How are you?
DIANA looks away from him.
DIANA
I'm just fine. But you must've known that seeing as you took thing long to check in on me.
FRANK
(Solemnly)
There's no need for that. I have many obligations.
DIANA
Whatever. You'd better not stay too long. If that woman knows you came here to see me she'll be pissed.
JC watches in surprise that their exchange. TOM and FRANK get up.
FRANK
Perhaps you're right. Come Thomas, let's go.
TOM walks past DIANA and stops.
THOMAS
Don't act so high and mighty all the time. You're just one of my old man's bastards.
He turns to her with an angry look.
THOMAS (cont.)
And if you ever refer to my mother as 'that woman' again I swear –
FRANK walks up to his son and moves him towards the door.
FRANK
That's enough, son. Let's go.
The two leave. ALICE follows them.
JC
Diana, what exactly is the situation with your family?
The shot cuts to the outside. ALICE stands with FRANK by their car.
ALICE
I'm sorry, sir. She can be difficult.
FRANK
It's alright, I expected as much. Tell me, that boy in there, JC. Is he from the Reinhardt family?
ALICE
Yes. I've been meaning to talk to you about that. I'll ride with you back to the main house and explain.
CUT TO:
INT – DARK ROOM, EARLY EVENING
MARCUS looks at a computer screen. KAI LUNG, a stern man of about 20, stands behind him reading from a file. The name ALICE BELMONT is on the screen along with other information.
KAI
Alice Belmont, age 25.
MARCUS
Are you sure it's her?
KAI
Yes. An inheritor who married into the Belmont family. Originally her name was Schneider, but she assumed their name after her marriage.
MARCUS
It's important we get to her. JC mustn't interfere.
CUT TO:
INT – BELMONT MANOR, EARLY EVENING
JC and DIANA are sitting in the living room. DIANA looks depressed.
DIANA
My mother worked as part of the staff at the main house. For the most part, his wife tolerated the two of us. But then, shortly after she died, my father got around to making me his legal daughter, everything changed. When I wasn't ignored, I was constantly ridiculed for being what they considered an outsider. Even though I was nothing but polite to everyone, kept my grades up, nothing changed. Who was I to them?
JC pats her shoulder.
DIANA (cont.)
Then, when my brother Ted married Alice, he invited me to live with them. But he died little more than a year later.
DIANA chuckles sadly.
DIANA (cont.)
But it's not a big deal. Who cares what the others think of me? Family is overrated anyways.
JC looks shocked at this. A series of memories play past:
JC sneaks into JUDITH's room wearing a phantom mask, scaring her while she's on her bed studying. She hits him with a pillow before chasing him down the stairs, where she tackles him into a hug.
…
JC falls to his knees after being shot on his birthday.
…
JC and JUDITH have their tearful goodbye at the facility.
JC snaps back to reality.
JC
What are you talking about? Family does matter! At least you have relatives that give a shit about your well-being. Mine had me shot in the gut. The only one who still cares is my sister, and she's in the same bad situation I am!
DIANA looks surprised at JC's outburst.
JC (cont.)
Look, I'm sorry to interject, but you shouldn't turn your back on your father. At least try to be civil to him.
DIANA nods slowly and smiles.
DIANA
I guess you're right. Sorry for being such a downer. Thanks.
DIANA leans forward and kisses JC on his cheek, lingering a few seconds. JC looks surprised as DIANA draws back, shocked at herself. The two look at each other for a moment before slowly kissing each other on the lips. They continue for a short bit. A voice is heard approaching the door.
JASPER
JC, DIANA? Can I get you something to –
JASPER walks into the room and sees the two kissing. They stop and both sides stare at each other for several seconds. JASPER eventually turns and exits the room.
JASPER (cont.)
A baby boy would be nice.
JC runs to the doorway.
JC
We're not taking requests!
JC sits back down near DIANA. DIANA can't look at him.
DIANA
JC, I'm sorry. I don't know why I did that.
JC is at a loss for words. A stunned silence ensues.
DIANA (cont.)
I don't know how you feel, but I can't just be a friend to you.
DIANA quickly gets up and leaves the room. JC remains stunned. Eventually he leaves in the opposite direction towards his room.
CUT TO:
EXT – BELMONT CAR, HIGHWAY, EARLY EVENING
ALICE and FRANK are in the backseat of the car in motion. TOM sits in the passenger seat next to the DRIVER.
ALICE
So, father, what did you want to talk about?
FRANK
What do you know about the Reinhardts?
ALICE
They're a powerful family that travelled from Romania a few centuries ago. They control a large conglomerate that has branches in several countries.
FRANK
It's said that a powerful force watches over that family. They've used that to become successful and prosperous. Their success has lead to several 'questionable' pursuits.
Above the highway, a small helicopter shadows the car.
PILOT
Target in sight, sir. Awaiting orders.
MARCUS
(Over radio)
Proceed with the plan.
The helicopter passenger aims with a rifle. A shot is fired. The front tire of a car blows and it spins dangerously close to the BELMONT car. The driver swerves to avoid a collision.
TOM
What was that?!
ALICE
It must be the Reinhardts! Quickly, get us out of here!
The car speeds up and takes off down the highway.
FRANK
This is a bold move, even for them.
The car careens forward. ALICE makes some hand signals and mutters few words. A shimmering distortion surrounds the car.
ALICE
This should keep us safe until we get to the house.
The car speeds away. Cut to the helicopter.
PILOT
Target is on the move. What are your orders?
MARCUS
(Over radio)
Break off pursuit. All units, proceed with phase two.
CUT TO:
INT – BELMONT MANOR, EARLY EVENING
JC is lying on his bed looking exasperated.
JC
What do I do? What do I say to her?
A phone rings in the distance. Several seconds later there's a knock on the door.
SERVANT
Excuse me, Mr. JC? It's for you. He says he's your cousin.
JC goes wide-eyed. He gets up and quickly takes the phone from the SERVANT, who departs.
JC
Hello?
MARCUS
JC! So good to hear your voice. I meant to call you sooner but your phone won't accept calls from my number.
JC
What do you want, Marcus?
MARCUS
I'm just checking in on you. Are you well? Are the Belmonts taking good care of you? It was nice of them to take you in.
JC
You've got a lot of nerve after what your people have done. What was that thing that attacked me?
MARCUS
One of our latest creations. A simulacra drone. Think of it as a robot but able to look and act like a human, albeit in a very limited manner. Perfect for shock troops. Not much of a challenge for you, apparently.
JC
And what about Ayla? How could you do that to her?
MARCUS
What do you mean?
JC
You had someone give her a drug that gave her powers and sent her after me. It backfired and now she's in a coma.
MARCUS
You don't seem to understand, JC. Your destiny is with us, and nothing you do will change that. Ayla was simply test to see how far along you're coming. The results were impressive. As for the drug, where do you think we got that?
JC
Magic elves from Santa's workshop?
MARCUS
Very funny. It came from you. You and your sister.
JC
Excuse me?
MARCUS
It was synthesized from blood samples taken from both of you. The special properties can trigger latent genes. You sealed her fate.
JC tenses at that statement.
MARCUS (cont.)
You should be more aware of how your presence affects the people around you. Someone else close to you may be next. Food for thought.
MARCUS hangs up. JC looks confused but quickly becomes alarmed.
CUT TO:
INT – BELMONT MAIN HOUSE, EVENING
ALICE, FRANK, TOM and the DRIVER enter the house. The lights are off.
TOM
I can't believe we got away from that.
ALICE
What were they trying to accomplish? Was it a scare tactic?
FRANK
Do worry, we have excellent security here. They can't get to us.
The group enters the living room and looks around. No sound is heard. They start to look worried.
ALICE
Where is everyone?
A hissing sound is heard as a gaseous cloud fills the room. The groups starts coughing and slowly sinks to the floor. Soon they are immobilized. Several men enter the room wearing gas masks. They hover towards ALICE.
MAN 1
So this is the inheritor. She's a pretty one.
CUT TO:
INT – BELMONT MANOR, EVENING.
JC bursts into a room where DIANA is seated. He looks frantic.
JC
Alice! They're going after Alice!
DIANA
What! How do you know?
JC
My asshole cousin all but told me. I have to get to the main house!
JC turns to leave.
DIANA
Wait, you can't go against them alone.
JC
I have to. I can't lose my family. Everyone here is family to me.
Cut to JC exiting the house wearing his backpack. He sees JASPER standing next to his car.
JASPER
Your ride awaits, young master.
JC
Jasper, I can't ask you to help. This is my battle.
JASPER
The lady of the house is in jeopardy, that makes it all our fight.
JC nods and opens the rear door. He stops when he sees DIANA sitting on the other side.
JC
Diana, this is dangerous. I can't put you in danger.
DIANA
You're not. I'm coming to help my sister. Whether you agree or not.
JC enters the car and buckles up. JASPER gets in and the car takes off.
CUT TO:
INT – BELMONT MAIN HOUSE, EVENING.
ALICE and her family lie tied up on the floor. The men are gathered around her. Suddenly her hands make quick gestures and she mumbles something unintelligible. Bands of thick webbing grab the men and partially restrain them. ALICE manages to raise her head with effort.
ALICE
I don't know what you're after, but you better leave my little brother and sister alone.
Her cell phone starts ringing. One of the men gets his arm free and takes the phone from her pocket. He smacks ALICE on the face with it. She goes limp and the webbing disappears. Eventually the phone stops.
CUT TO:
INT – CAR, EVENING.
DIANA is holding her phone as it stops ringing.
DIANA
No good. She's not answering. What could they be doing to her?
JC
Based on what I saw with Ayla, it won't be pleasant.
The car eventually pulls up close to the house.
JC
Let me off here. I'll climb over the wall and clear the area. You guys circle around and try to survey the grounds while staying out of site.
DIANA
Who do you think you are, Batman?
JC
I need to do this. It's my responsibility.
The car stops and JC gets out, then it takes off again. He climbs up the wall surrounding the manor and lands softly in the brush. Peeking out, he concentrates on the area. A shot from his POV shows the area lighting up and the outlines of people patrolling the grounds are visible. He quickly sneaks out of the brush and goes to work. A montage shows him sneaking up to guards and quietly subduing them with various means: choke holding, smacked on the head, punched in the face, even zapped with his baton. Where possible he moves the bodies out of site. Eventually he gets to the living room. As soon as he opens the door one of the men shoots him with a taser gun, causing him to drop his baton and fall to the ground. The others pull their guns and aim at him.
MAN 2
Well, well. Looks like the interloper got here after all.
Another MAN enters and shoves DIANA and JASPER onto the floor in the room.
MAN 3
Looks like the whole family's here. You're just in time for the show.
One of the men opens a case and takes out a small pill.
DIANA
What are you doing?
MAN 4
Your sister is a very special person. We're going to give her a 'gift' that will make her even better.
JC
Is that what you gave Ayla?
MAN 2
The Perkins girl? She was just a test. Ms. Belmont here is a real prize. We should get good results from her.
TOM
You can't do that!
MAN 1 points his gun at him.
MAN 1
Shut up!
The men take the pill and approach ALICE. DIANA struggles towards them.
DIANA
Leave her alone!
The MAN closest to her fires his gun at her. A grunt of pain is heard. DIANA winces but sees FRANK has taken the shot for her in the shoulder.
FRANK
What kind of man shoots a child? If you must, shoot me instead.
The MAN with the pill kneels next to ALICE and lowers the pill towards her mouth. JC looks on in horror. A look of rage crosses his face. Suddenly he yells out and throws his hands out. Lightning bolts jump from his fingers and each home in on one of the men. As they're struck, they're stunned as electricity courses through them. JC jumps up and quickly punches and kicks each of them into unconsciousness with a series of sickening impacts. As the last one falls, he stops to catch his breath as the others look on in surprise. Seconds later another MAN walks in with a cell phone in his hand. When he sees JC he puts the phone away and flips out a metal baton.
MAN 5
Say goodbye, bitch!
JC sneers and cracks his knuckles.
JC
'Goodbye, bitch!'
The MAN raises the baton and charges JC. Suddenly, from JC's perspective, everything seems to slow down and his vision is overcome with indicators highlighting the MAN. Certain spots are lit up over his body. JC takes a stance as time resumes. He quickly strikes each of the spots he saw, including punching the MAN's lower abdomen, boxing his ears, kicking his knee, and bringing his fist down on his shoulders. The MAN falls to his knees in pain. JC raises his fists to finish him.
FRANK
That's enough JC. You've beaten him. Waste no more time on that man.
DIANA grabs JC's baton and tosses it to him. JC catches it and promptly zaps the man on the throat, rendering him unconscious. He then sits down on the floor in relief. DIANA goes over to ALICE and tilts her head carefully to the side. The pill falls out of her mouth.
DIANA
Thank god, she didn't swallow it.
FRANK groans in pain. TOM tends to his father. JASPER gets up and goes to check the rest of the house.
TOM
Hold on, father. I'll get some bandages.
DIANA looks on in surprise.
DIANA
Dad, why did you protect me?
FRANK
What kind of question is that? What do you think fathers do?
TOM returns with a first aid kit.
TOM
Diana, didn't you know father always loved you best?
JASPER returns.
JASPER
I've check the rest of the house. The rest of the staff was just unconscious. We got through this with no casualties.
JC sits with a blank look on his face. ALICE begins to stir.
DIANA
Sis! Are you okay?
JC looks over with a desperate look.
ALICE
I…I'm fine. What's everyone doing here?
DIANA hugs ALICE tightly. JC crawls next to them. ALICE sees the unconscious bodies around the room.
ALICE (cont.)
Did you guys save us?
JASPER
You should thank JC, he did practically all of it.
JC looks away in shame.
JC
Alice…I'm sorry. This is my fault. They came after you because of me.
ALICE reaches her arm out and pulls JC into the hug with her and DIANA. JC sobs softly into her shoulder. TOM bandages FRANK's injury. JC looks at man he just knocked out. He gets up and walks over to him, goes into his pocket and takes out the MAN's cell phone. He checks out the list and finds what he wants. He sets the phone to speaker and dials a number.
CUT TO:
INT – CONFERENCE ROOM
MARCUS sits at a table with other important-looking people. His phone is on the table in front of him.
MARCUS
Plans for the main facility are in the works. Operations should follow soon after.
His phone rings.
MARCUS (cont.)
It looks like they're checking in.
He smiles before pressing the accept button.
MARCUS (cont.)
Report.
JC
Hello Marcus.
MARCUS looks surprised to hear JC's voice. The others look with surprise and worry.
MARCUS
JC, so good to hear from you. To what do I owe the pleasure?
JC
I just called to thank you for the heads up you gave me.
MARCUS and the others look confused.
JC (cont.)
You know, if you hadn't told me that you were going after Alice, I wouldn't have been able to get over to the house, take out your men, and save Alice from whatever experiment you were trying to perform. That was very considerate of you. I couldn't have done it without your help, 'cousin'.
MARCUS's associates don't look too happy at this.
JC (cont.)
Oh, and thanks also for showing me exactly how far you and your cronies are willing to go to get what they want. One good turn deserves another I suppose. Consider yourselves on notice.
JC hangs ups. MARCUS looks at the others.
MAN 6
You cousin's quite the handful, isn't he?
CUT TO:
INT – BELMONT MAIN HOUSE, EVENING.
JC hangs up the phone and tosses it away.
ALICE
You enjoyed that, didn't you?
JASPER approaches.
JASPER
I've made some calls. These men will be escorted off. The Reinhardts can deal with their failure. I'll have someone drive Diana and JC home. I'll stay and tend to the others and drive Ms. Alice home in the morning.
FRANK
Sounds good. Thank you all. Especially you JC.
JC is silent. He gets up and heads out the door. DIANA follows close by. A time lapse jumps to after they leave. FRANK and ALICE are in in the living room. The lights are back on.
FRANK
I see you weren't exaggerating about the situation. I'll help where I can.
ALICE
Thank you. We appreciate it.
FRANK
JC Reinhardt. Of all people for Diana to fall for.
ALICE
You could tell?
FRANK smiles warmly.
FRANK
Fathers know these things. I think things are going to get interesting around here.
CUT TO:
INT – UNKNOWN FACILITY, LATE EVENING.
MARCUS is walking towards an elevator with ALAN HOWARDS, a young scientist in his twenties.
ALAN
So, the Belmont lady didn't pan out?
MARCUS
I figured JC would try to interfere. I assured the others that this outcome was expected.
ALAN
So they weren't mad?
MARCUS
They saw things my way as always.
As they reach the elevator, ALAN looks pensive.
ALAN
Sir, if I may say so, I have some misgivings about this.
MARCUS
Oh?
ALAN
I joined this project because I've always been intrigued by the stories of the Progenitors, and the role they played in liberating the world. It's just…it seems most of our methods are unnecessary.
MARCUS
What do you mean?
ALAN
I mean chasing these kids seems a bit much. We can learn more about them with more benign procedures. All we really need is to learn how they are able to-
MARCUS gently places his hand on ALAN's shoulder.
MARCUS
Mr. Howards, our work requires in-depth studies gathering as much data as possible. We can't do that by tiptoeing around everything. You have clearance to your work as you see fit, but we need results. Understand?
ALAN
Yes, sir. I understand.
The two board the elevator and the doors close on them. Nearby, JUDITH seems to materialize from a shadowy corner, holding a thick book. Her eyes narrow as she watches them leave.
CUT TO:
INT – CAR, LATE EVENING.
JC and DIANA sit in the backseat of the car as it drives. JC is staring out the window. DIANA looks worried.
DIANA
JC, you've been silent since we left the house.
JC doesn't react.
DIANA (cont.)
I know you blame yourself but you shouldn't. We knew the risk when we helped you.
JC
It's not fair. They can't keep doing this.
He turns to look at DIANA.
JC (cont.)
It's bad enough what they did to me and my sister. Now they've involved other people. Enough is enough.
The car comes to a stop at the manor. JC and DIANA exit.
JC
I've made a decision. I'm going to do whatever it takes to blow up this 'project' of my relatives.
JC holds up and clenches his fist. Electricity sparks around it.
JC (cont.)
But to do that, I'm going to need all the power at my disposal.
DIANA
JC, are you sure? Your sister warned you about your family's resources. Are planning on taking on an entire conglomerate?
JC
I don't have a choice. I've been content to keep my distance, even leaving my sister there to keep both of us safe. But the others have made it clear that they'll get what they want, one way or the other. I can't sit back and do nothing.
DIANA
Even if it means going against your own parents?
JC's eyes spark electricity and appear to glow a bluish white.
JC
(Stoically)
It doesn't matter.
FADE OUT