Sling Blade - by by Billy Bob Thornton
FADE IN:
INT. A MENTAL HOSPITAL - DAY
A few patients sit around fumbling with themselves. One man
sits at a table scratching back and forth on a piece of paper
with a crayon. Another stands in a corner smoking a cigarette
and staring at the crayon guy. This is CHARLES. Another man,
KARL, sits in a chair staring at the floor and rubbing his
hands together. We cut back and forth between Charles staring
and Crayon Man scratching. After a moment, an attendant
approaches Charles.
ATTENDANT
You can't smoke in here.
Charles stares at him blankly for a moment and continues
smoking. He looks back to Crayon Man again for a moment then
looks over at Karl and then goes and sits down beside him.
CHARLES
A Mercury is a good car and that's
what I was driving that day. I've
owned a lot of cars. Different
kinds. Lots of different kinds of
cars. She was standing, this girl,
on the side of the street where
there was a chicken stand; not the
Colonel, mind you, but nevertheless
a chicken stand, and I pulled the
Mercury over and rolled down the
window by electric power. She was
wearing a leather skirt and she had
a lot of hair on her arms. I like
that. I like it a lot. It means a
big bush. I like a big bush. She
said, "Are you dating?" I said,
"yes," and she got in the car. We
pulled to a remote location, one
that she and I both felt
comfortable with and she said, "How
much can you spend?" I said, "What
it takes to see your bush. I know
it's a big one." She said "twenty
five dollars," which to a working
man is not chicken feed. I produced
the money and she put it in her
shoe and pulled up her skirt. There
before me lay a thin, crooked,
uncircumcised penis. You can
imagine how badly I wanted my
twenty-five dollars back.
INT. A HALLWAY - DAY
Two young women, MARSHA DWIGGINS, carrying a briefcase, and
THERESA EVANS, carrying two camera bags are being led down
the hallway by a GUARD.
THERESA
I don't know why you're so weirded
out, this is not San Quentin, it's
just a nuthouse. Most of these
people don't even know where they
are, they're not gonna hurt you.
MARSHA
In a few minutes we're gonna be in
a room with a killer. That doesn't
bother you?
THERESA
Hey, you're the one that wanted to
major in journalism. Anyhow, wasn't
the guy something like twelve or
thirteen when he did it, it was
twenty-five years ago, he probably
doesn't even remember it.
MARSHA
(wrinkling her nose)
Do you smell shit?
THERESA
Yeah.
They reach a door and the guard ushers them through.
INT. AN OFFICE - DAY
JERRY WOOLRIDGE stands up from behind the desk as they enter.
He's in his fifiles and looks like a school teacher, shop
class or perhaps eighth-grade science.
GUARD
These are the people from that
newspaper deal.
WOOLRIDGE
Oh yeah, from the college?
MARSHA
Yes sir.
Woolridge shakes hands with them.
WOOLRIDGE
My name's Jerry Woolridge.
MARSHA
Nice to meet you. I'm Marsha
Dwiggins and this is Theresa Evans.
She's here to take the pictures.
WOOLRIDGE
Y'all have a seat. Is this all of
you?
MARSHA
Yes sir.
WOOLRIDGE
I think there must have been a
little mix up. I told your sponsor
or teacher or whatever he is, there
couldn't be any pictures. It's
s'posed to be just a little story
or article or something, isn't that
right?
MARSHA
Well, yeah, it's for the school
newspaper. But it has pictures. I
mean it's a regular paper, you
know.
WOOLRIDGE
Karl's real sensitive about having
his picture made. He wouldn't even
be on the bulletin board for the
Easter Collage.
(to guard)
Melvin, would you get me a good hot
cup with two sugar substitutes? You
girls want some coffee?
MARSHA
No thank you.
WOOLRIDGE
The other thing is I told your boss
on the phone to send a man. Karl
won't talk to women.
INT. REC ROOM - DAY
CLOSE UP on Karl's face. Charles has started another
monologue.
CHARLES
There was a young man named John
Liggit Hunter who was in the
filling station business and a good
filling station business. He was
one of those young men that we run
across so often in life. I'm sure
you've run across them, that didn't
deserve the things he had. One of
those things was his beautiful
bride, Sarah. She was a Georgia
Peach. As a matter of fact she
looked more like the picture I've
had in my head than any woman I've
ever seen. I took it upon myself to
take her away from John Liggit
Hunter, who didn't deserve her. I'm
not sure if I mentioned that he was
a Frenchman who claimed to be an
Englishman. It took some very
strong nylon cord to take her away
from him. She was a fighter as well
as a Georgia Peach.
INT. WOOLRIDGE'S OFFICE
The girls look confused.
WOOLRIDGE
I don't know what to tell you. I'm
sorry. I made myself pretty clear I
thought. He probably got busy and
wasn't thinking. I know how that
is. I used to teach shop and eighth
grade science.
MARSHA
Well, what do we do? We drove all
the way out here.
THERESA
Let's just go, Marsha.
MARSHA
No, we have to get this story.
THERESA
I thought you'd be happy to leave.
MARSHA
Why won't he talk to women?
WOOLRIDGE
He has problems. You know. With all
that. He won't hardly talk to
anybody really. Just certain
people. He's very troubled.
INT. REC ROOM
CHARLES
(leaning in to Karl)
A shovel just makes too goddamn
much racket.
INT. WOOLRIDGE'S OFFICE
WOOLRIDGE
(takes a drink of coffee)
I don't think he's talked to a
woman in twenty-five or so years.
That I know of anyway. That's why I
said to send a man. At least maybe
he'd answer a question or two for a
man. I'm all for helping the
college out, believe me. It might
be a real good article or story.
MARSHA
Can't you talk to him? Maybe talk
him into it. I'm a real good
interviewer. Just get me in the
room with him.
WOOLRIDGE
(to guard)
Melvin, go get Karl and take him
down to the old classroom.
INT. HALLWAY - DAY
Woolridge and the two women walk down the hallway.
WOOLRIDGE
I'll talk to him and see what we
can do.
INT. CLASSROOM - DAY
Woolridge is opening a door. He enters and the women follow
him in. He flips on a light switch and very bright florescent
lights illuminate the room.
WOOLRIDGE
You see, Karl, growing up, only
knew that sex was wrong and that
people who did it should be killed
for it. He couldn't really read
but, well, neither could his
mother. But, his father made sure
that his mother knew what the Bible
said. And she made sure Karl knew.
You know he slept in a hole in the
ground under a toolshed, right?
MARSHA
I knew he slept in a toolshed.
WOOLRIDGE
His mother told him that he was
their punishment. Hers and his
father's; from God, for having sex--
MARSHA
Before they were married?
WOOLRIDGE
I don't think so. Just period, I
think. She told him... God gave
them the ugliest creation he could
think of. Karl has an entire book --
a notebook. On every page it says
"Franklin Chapter 1 Verse number
1." He wrote that a few years ago
after he'd learned to write. His
father's name was Franklin.
MARSHA
That's really strange. What does it
mean?
WOOLRIDGE
One of his Daddy's Bible lessons I
imagine. Y'all pull up a chair.
I'll go out and talk to him.
INT. REC ROOM
CLOSE UP on Charles's face.
CHARLES
You have to make something explode
to truly understand it. You have to
examine the tiny particles while
they're on fire.
Off screen we hear FOOTSTEPS approaching. We pull back and
see MELVIN the guard.
MELVIN
Karl, I gotta take you down to the
old classroom. Mr. Woolridge has
some people for you to see down
there. Come on. Let's go.
INT. HALLWAY - DAY
Melvin and Karl walk down the hallway. Woolridge stands
outside the door of the classroom. They reach him and
Woolridge talks quietly to Karl.
WOOLRIDGE
Karl, you know, do you remember
when I told you about those people
from that newspaper?
(pause)
They want to ask you some questions
about your release. They think it
would make an interesting story.
Will you talk to 'em? Get
interviewed.
(pause)
Now, they're women. I think it
might be good for you to. You're
gonna be seein' all kinds of people
when you go on the outside. This'll
help you I believe.
INT. CLASSROOM - DAY
It's just Woolridge and the two women in the room.
WOOLRIDGE
Well, it surprised the dickens out
of me. He said he'll talk to you.
Marsha smiles and looks at Theresa.
WOOLRIDGE (CONT'D)
But, here's the thing. He'll only
talk to you. He doesn't want you to
ask him anything. And you shouldn't
stare at him.
MARSHA
How am I going to conduct an
interview if I can't ask him any
questions?
WOOLRIDGE
It's the best you're gonna get. I'm
sorry.
MARSHA
Can I ask you a question? If he's
so troubled, why are you letting
him out? What if he does it again?
It happens all the time.
WOOLRIDGE
He's free. His time's up. That's
the rules. He's been treated and
reevaluated. He doesn't show any
signs any more.
MARSHA
Signs?
WOOLRIDGE
Homicidal signs. Oh, we're gonna
change the light in here for Karl.
I hope you can see to write.
Woolridge turns on a lamp on a desk and turns off the
overhead lights. He opens the door and Melvin brings Karl in.
In the semidarkness Woolridge pushes a chair up and motions
for Marsha to sit. Karl stands beside Melvin motionless.
Woolridge whispers to Theresa.
WOOLRIDGE (CONT'D)
You'll have to step outside.
Theresa starts to protest.
WOOLRIDGE (CONT'D)
Please.
Karl sits down in a folding chair near a lamp as Melvin
ushers Theresa outside into the hallway. Karl sits staring at
the floor. Rubbing his palms together and breathing
strangely, as usual. He sits silent for what seems like
forever.
INT. HALLWAY - DAY
Theresa stands on one side of the door, Melvin on the other.
THERESA
Can I just sneak in there? I won't
take any pictures, I promise. I
just want to listen.
MELVIN
No ma'am. I'm sorry you can't.
Theresa takes a cigarette from her purse and starts to light
it.
MELVIN (CONT'D)
You can't smoke in here. I'm sorry.
INT. CLASSROOM - DAY
Marsha is staring at Karl. Karl, still breathing and rubbing
his palms, starts to speak. His voice is low and raspy, but
not just low and raspy; strange.
KARL
Well, I reckon what you're a
wanting to know is what I'm doing
in here. I reckon the reason I'm in
here is 'cause I killed somebody.
But I reckon what you was a wanting
to know is how come me to kill
somebody. Well, I reckon I'll start
at the front and tell you.
(pause, heavy breathing)
I lived most of my life out behind
my mother and father's house in a
little old shed and my daddy'd
built for me. They didn't too much
want me up there in the house with
the rest of 'em. I mostly just set
around out there in the shed all
the time a lookin' at the ground.
It didn't have no floor but I had
me a hole dug out to lay down in
and a quilt or tow that I put down
there.
(pause, more breathing)
My daddy was a hard workin' man
most of his life, not that I can
say the same fer myself. I most
just set around the shed and
tinkered around with a lawn mower
or two and went to school off and
on from time to time but the
children there made quite a bit of
sport of me, made fun of me quite a
bit. Some of 'em roughed me up
sometimes so mostly I stayed out
back there in the shed. My daddy
worked down at the sawmill there,
down there at the planer mill for
an old man named Dixon.
Old man Dixon was a very cruel
feller, he didn't treat his
employees very well, didn't pay 'em
much of a wage, didn't pay my daddy
much of a wage, just barely enough
to get by on. But I reckon he got
by all right, they come out one or
the other of 'em, usually my
mother, and fed me pretty regular.
At least I know he made enough for
me to have mustard and biscuits
three or four times a week. Old man
Dixon had a boy named Jesse Dixon.
Jesse was really more cruel than
his daddy. He made quite a bit of
sport of me and takened advantage
of the little girls around the
neighborhood quite a bit.
(pause)
He used to say my mother was a very
pretty woman. He said it quite a
bit from time to time, when I was
at the school house. Well, I reckon
you want me to get on and tell you
what happened so I reckon I'll tell
you. I was settin' out in the shed
one evenin' not doin' too much,
just kindly starin' at the wall and
a waitin' fer my mother to come out
and give me my Bible lesson and I
heared a commotion up in the house
there so I got up and run up on the
screened-in porch there to see what
was a goin' on, and I looked in the
kitchen window and I seen my mother
a layin' there on the floor without
any clothes on.
(pause, breathing)
And seen Jesse Dixon a layin' on
top of her having his way with her.
(pause)
Well, I just seen red. I picked up
a kaiser blade that was a layin'
there by the screen door, some
folks calls it a sling blade, I
call it a kaiser blade. It's just a
long handle like a axe handle with
a long blade on it that's shaped
kind of like a banana. Sharp on one
edge and dull on the other. It's
what the highway boys use to cut
down weeds and whatnot.
I went in the kitchen there and I
hit Jesse Dixon up side the head
with it and knocked him off my
mother. I reckon that didn't quite
satisfy me so I hit him again in
the neck with the sharp edge and
just plumb near cut his head off.
Killed him. Well, my mother, she
jumped up from there and started
yellin', "What did you kill Jesse
fer? What did you kill Jesse fer?"
(pause, intense breathing)
Well, come to find out my mother
didn't really mind what Jesse was a
doin' to her. I reckon that made me
madder than what Jesse had made me.
I takened the kaiser blade, some
folks calls it a sling blade, I
call it a kaiser blade and hit my
mother up side the head with it an'
killed her.
(long pause, breathing)
Some folks has asked me if I had it
to do over again would I do the
same thing. I don't know, I reckon
I would. Anyhow, they seen fit to
put me in here and here I've been
for a great long while. I've
learned to read some; took me four
years to read the Bible. I reckon I
understand a good deal of it. It
wasn't what I expected in a lot of
places. I've slept in a good bed
for a great long while. They've
seen fit to put me out now. They
tell me they're a settin' me free
today. Anyhow, I reckon that's all
you need to know. If you want any
more details I reckon I can tell
'em to you. I don't know if that's
enough for your newspaper or not.
Suddenly Marsha speaks from the darkness.
MARSHA
Will you ever kill anybody again,
Karl?
This seems to startle the very room itself. Woolridge motions
for Marsha to shut up and Karl stops still. Very still. He
breathes hard for a moment then starts to calm down. He seems
almost at ease. He slowly looks up. From Karl's point of view
we barely see Marsha's face in the dim light. Karl is looking
straight at Marsha.
KARL
(slowly)
I don't reckon I got no reason to
kill nobody.
INT. HALLWAY - DAY
Woolridge stands just outside the classroom door with Marsha
and Theresa. Karl stands down the way a few feet with Melvin.
MARSHA
Is he leaving right this minute?
WOOLRIDGE
We've got some paperwork to take
care of. Pretty soon. Don't worry,
you won't run into him in the
parking lot.
MARSHA
I didn't mean that.
WOOLRIDGE
I hope the best for you, Miss
Dwiggins, with your school and your
paper and all.
MARSHA
Where will he go?
WOOLRIDGE
Wherever he wants to. I think he's
going back to Millsburg where he's
from. It's just about twenty miles
from here.
MARSHA
Will he be supervised?
WOOLRIDGE
As much as anybody else is, I
guess. Y'all have a good rest of
the day now.
Marsha and Theresa walk toward the exit. As they pass Karl he
speaks to Marsha.
KARL
(looking down)
Thank you.
MARSHA
(immediately extends her
hand)
Thank you.
Karl doesn't take her hand.
Karl continues to stare at the floor until the women exit.
KARL
I reckon I'm gonna have to get used
to looking at pretty people.
WOOLRIDGE
Yes, I guess you are.
KARL
I reckon I'm gonna have to get used
to them lookin' at me, too.
WOOLRIDGE
You better go get your things.
KARL
I ain't got nothing but them books.
WOOLRIDGE
You better go get 'em.
KARL
All right then.
Karl walks slowly down the hallway.
EXT. BUS STATION - MILLSBURG - DAY
Karl steps off the bus carrying a few books by a strap. He
stands there for moment staring at the bus station as the few
people around stare at him, then he starts walking.
A SERIES OF SHOTS
Karl standing in front of a barbershop looking through the
window at a man having his hair cut.
In front of the police station.
Staring at an empty school yard...
EXT. DAIRY QUEEN - DAY
Karl stands and stares at the building for a moment. He sees
a woman take a tray of food from the window.
When she's gone, he walks up to the window. A pimply-faced
TEENAGE BOY comes to wait on him.
BOY
Can I help you?
KARL
I was kindly wantin' somethin' or
'nother d'eat.
BOY
Well, what did you want?
KARL
You have any biscuits for sale?
BOY
Naw, we don't have biscuits.
Karl stands in silence for a moment.
BOY (CONT'D)
Did you decide, sir?
KARL
What you got that's good to eat?
BOY
Well, I guess it's all good.
KARL
What do you like to eat here?
BOY
French fries. I like to eat them
pretty good.
KARL
French-fried potaters.
BOY
Yeah.
KARL
How much you want fer 'em? I'll get
some of them I reckon.
BOY
Sixty for small and seventy-five
for large.
KARL
Give me the big'uns.
Karl digs in his pocket for money.
EXT. LAUNDROMAT - DAY
Karl sits on a bench eating french fries. After a moment, a
twelve- or thirteen-year-old BOY comes out of the laundromat
wrestling three or four big bags of laundry. He can't seem to
get a plan together for carrying them all. Karl gets up and
goes over to him. The boy looks up at Karl, a little startled
by Karl's strange figure looming over him.
BOY
These dang things are heavy. Hard
to carry, too.
KARL
What you got in there, warshing?
BOY
Yeah.
KARL
Ain't you got no mama and daddy to
tend to it?
BOY
I got a mama, but she's at work
over at Ben's Dollar Store. My
daddy's dead.
(pause)
He got hit by a train.
KARL
How fer you going with them sacks
full of warsh?
BOY
About a half a mile I think it is.
KARL
I'll help you tote 'em if I don't
give out first.
BOY
Okay. You don't have to though.
Karl picks up two sacks and they walk away.
EXT. STREET - DAY
They walk in silence for a while before the boy finally
speaks.
BOY
My name is Frank Wheatley. What's
your name?
KARL
Karl's my name.
FRANK (BOY)
What's you last name?
KARL
Childers.
FRANK
What are all them books?
KARL
Different ones. One's the Bible.
One of 'ems a book on Christmas.
One of 'ems how to be a carpenter.
FRANK
How come you're carryin' them
around with you.
KARL
Ain't got nowhere to set 'em down.
FRANK
Don't you live somewhere?
KARL
I did live there in the state
hospital.
FRANK
Why'd you live there?
KARL
I killed some folks quite awhile
back. They said I wadn't right in
the head and they put me in there
in the nervous hospital instead of
puttin' me in jail.
FRANK
They let you out?
KARL
Yeah.
FRANK
How come?
KARL
They told me I was well. They had
to turn me loose.
FRANK
Are you well?
KARL
I reckon I feel all right.
FRANK
You don't seem like you'd kill
nobody.
They reach a little white frame house and the boy turns up
the sidewalk.
FRANK (CONT'D)
This is my house. You can just set
those bags on the porch.
Karl sets the bags down and he and the boy stare at each
other in silence for a moment.
FRANK (CONT'D)
Do you like to play football?
KARL
I never was much count at it. I
never did get picked out fer it.
FRANK
Me and the Burnett twins and some
boys plays down at the junior high
practice field all the time. If you
ever want to come by and play. We
ain't no good either. Well, I'll
see you later.
He goes inside leaving Karl staring at the front door.
INT. BUS STATION - DAY
Karl stands at the counter. A middle-aged man is selling
tickets.
KARL
How does a feller go about gettin'
up to the state hospital?
MAN
You buy a ticket for fourteen
dollars and then set and wait for
the four-fifteen bus to Kelton.
KARL
All right then.
INT. MENTAL HOSPITAL - DAY
Karl walks down the hallway carrying his books. A couple
staffers give him 'Why are you still here' looks. He reaches
a door and goes in.
INT. WAITING ROOM - DAY
There is no one at the desk in the outer office, so Karl goes
into Woolridge's office.
INT. WOOLRIDGE'S OFFICE - DAY
Karl finds Woolridge doing paper work. Woolridge looks up
startled.
WOOLRIDGE
Karl, what in the world are you
doing here?
KARL
I want to come back and stay here.
WOOLRIDGE
Well, you can't do that. You're a
free man. You've been let out to do
as you please.
KARL
I reckon I don't care nothin' about
bein' a free man. I don't know how
to go about it.
WOOLRIDGE
Well, you have to learn. It'll take
some time. Don't you know anybody
down there to help you out?
KARL
Naw.
WOOLRIDGE
Your daddy's still livin' down
there from what you told me.
(pause)
I guess he wouldn't help you any,
would he? I wasn't thinking. You
don't know anybody?
KARL
Naw. Never did know too much of
nobody. Not to he'p me out anyway.
WOOLRIDGE
(sighs)
Listen, Karl, the truth is I don't
know where they expect you to go or
what they expect you to do. If it
was up to me, I'd let you stay here
if that's what you wanted. I'm just
doin' my job.
(they sit in silence for a
moment)
You follow me?
(no answer)
Listen, I know an old boy that runs
a fix-it shop deal down in
Millsburg. He used to go to church
with me. You're good workin' on
small engines and things. If I put
my neck out for you with him, will
you work at it if he'll hire you?
KARL
I'm pretty handy I reckon on lawn
mowers and whatnot.
WOOLRIDGE
I know, I've seen it myself. Would
you give that a try?
KARL
I reckon.
WOOLRIDGE
I can't promise he'll hire you.
I'll have to tell him about your
history.
KARL
I never was no good with history.
WOOLRIDGE
No, I mean your past. About why you
were in here.
(pause)
I'll take you first thing in the
mornin'. You have anyplace you can
stay tonight at all?
I just can't let you stay here.
It's the rules. If something
happened well, I'd be liable.
KARL
I reckon I can just walk around
till the mornin'. Or set and read
me a book somewhere.
They sit and stare at each other for a moment.
INT. WOOLRIDGE DEN - NIGHT
Woolridge, his WIFE, his teenage SON, BUBBA, and teenage
DAUGHTER sit in various comfortable chairs looking extremely
uncomfortable and staring at Karl, who is sitting on the edge
of a chair looking at the floor. After a long creepy moment,
Mom speaks.
MRS. WOOLRIDGE
Karl, would you like a muffin?
KARL
No thank ye.
MRS. WOOLRIDGE
I understand Jerry is going to take
you somewhere else tomorrow.
KARL
I don't reckon I know nobody name
Jerry.
WOOLRIDGE
She's talkin' about me, Karl.
That's my first name.
KARL
He's a-carryin' me to look fer work
in Millsburg where I was borned.
MRS. WOOLRIDGE
Would you like some coffee?
KARL
Coffee makes me a might nervous
when I drink it.
DAUGHTER
Daddy, can I be excused to go to
bed?
WOOLRIDGE
Sure, honey. You sleep with Mama
tonight. I'll sleep with your
brother and Karl can take your
room.
DAUGHTER
Why?
WOOLRIDGE
We have company. Now you go on.
INT. BEDROOM - NIGHT
It's an all-American girls room. Everything is pink. There
are stuffed animals everywhere and posters of pop idols.
WOOLRIDGE
Well, Karl, there's plenty of
blankets and things there.
Bathroom's right there in the hall.
We'll leave first thing tomorrow.
Karl stands in the middle of the room holding his books.
Woolridge closes the door.
INT. WOOLRIDGE KITCHEN - NIGHT
Woolridge walks into the kitchen where Mom and Son sit at the
table.
MRS. WOOLRIDGE
Jerry, why didn't you give him
Bubba's room? Sister's is kind of
girly, isn't it?
WOOLRIDGE
Yeah, I thought about that. No
sense in moving him now I guess.
BUBBA
Daddy, don't you think one of us
ought to stay up all night and kind
of - guard or somethin'?
WOOLRIDGE
Why, hell no, son. What's wrong
with you?
BUBBA
Well, he's crazy. He's a nut ain't
he?
MRS. WOOLRIDGE
'Isn't' he, Bubba. Don't say ain't.
INT. WOOLRIDGE DEN AND HALLWAY - MORNING
Woolridge, already dressed, walks through the den and down
the hallway. He knocks on the bedroom door.
WOOLRIDGE
Karl, you up?
KARL (O.S.)
Yes sir.
Woolridge opens the bedroom door and sees Karl sitting on the
edge of the bed beside his books. The light is on, the bed
still as it was the night before.
WOOLRIDGE
Didn't you go to sleep at all,
Karl? You been sittin' there like
that all night?
KARL
Yes sir.
WOOLRIDGE
Well, I guess we better hit the
road.
INT. FIXIT SHOP - DAY
Woolridge's car pulls into the parking lot. He and Karl get
out and walk toward the shop.
INT. FIXIT SHOP - DAY
Two men, BILL COX, a large man in his forties, and SCOOTER
HODGES, a really country-looking guy in his thirties, look up
from behind the counter as Woolridge and Karl enter.
Woolridge goes to the counter, Karl stands by the door
looking at the floor.
BILL
Hey Jerry, how it's goin'. Good to
see you. Been a long time.
WOOLRIDGE
Good to see you, Bill. How's
everybody doin'?
BILL
Aw, pretty good. Kids are drivin'
me crazy and Phyliss is gonna put
me in the poorhouse. Can't complain
other than that. Wouldn't do any
good if I did.
(laughs)
Do you know Scooter, Jerry?
WOOLRIDGE
No, don't guess I do.
(he shakes hands with
Scooter who sort of
smiles)
Scooter, good to meet you.
(Woolridge leans in and
gets confidential)
This is him, the one I talked to
you about on the phone. Now like I
said, I'll understand if you get
nervous about it. I'm not gonna lie
to you now, he did get in that
trouble but then he was real young.
BILL
I remember it real well. Cut them
folks to pieces. His mama one of
'em.
SCOOTER
And that ol' Dixon boy. Hell, I
always wanted to kill him myself.
Asshole's what he was. I remember
that ol' boy
(points to Karl)
too. Kind of retarded or somethin'
back in school.
WOOLRIDGE
Well, he seems pretty well-adjusted
these days. I don't think he'd ever
hurt anybody.
BILL
Don't look much like he could. You
say he can fix a small engine like
nobody's bidness.
WOOLRIDGE
He's a regular whiz at it. That's
all he did when he was a kid.
BILL
Well, I ain't scared of him workin'
here. You know me. I'm a church
goin' man. Forgivin' man. When your
time's up the Lord's gonna come git
you. You seared of him, Scooter?
SCOOTER
I don't guess. Can he talk?
WOOLRIDGE
Oh yeah. Listen I really appreciate
it. He needs the job. I don't know
what to do with him. He don't have
anybody really.
BILL
That old man of his still livin'
over there on Clark Street I
believe.
WOOLRIDGE
He won't have anything to do with
him. Now you say it's all right for
him to stay out here in the back?
BILL
Fine with me. If he steals
anything, I'll take it out of your
pocket anyway.
Bill slaps Woolridge on the shoulders and wheezes with
laughter.
WOOLRIDGE
He won't steal. I'm tellin' you
he's a pretty good ol' boy. Keeps
to himself.
BILL
Well, I've got a roomful of work
for him to do. Can't get Scooter to
do any of it.
WOOLRIDGE
Karl, come over here. I want you to
meet your new boss.
(Karl obediently shuffles
over)
This is Bill Cox, runs this place.
Says you can work here and stay in
the back.
BILL
Good to know you, Karl.
KARL
Thank ye.
BILL
Now it's minimal wage and there
ain't nothin' but a army cot and a
toilet back there.
Karl doesn't say anything.
WOOLRIDGE
That'll be fine. Karl, I'll go to
the car and get your books.
Woolridge exits. Bill and Scooter just stare at Karl and Karl
stares at the floor.
BILL
They say you're a whiz on fixin'
lawn mowers and things.
KARL
I've tinkered around on 'em a
little bit.
BILL
We order from Dairy Queen at
noontime usually. We can buy your
lunch till you get on your feet a
little.
KARL
I like them french-fried potaters.
BILL
(long pause)
Yeah, me too.
SCOOTER
They make a good double meat
burger.
INT. SHOP WORKROOM - NIGHT
The place is cluttered with mowers, edgers, weed-eaters, and
other equipment, most of it in pieces. A small cot is in a
little clearing in the corner by the bathroom. Karl is
sweeping up oil with sawdust and a push broom while Scooter
puts some tools away. Bill comes to the door.
BILL
All right then, I'll see y'all
later. Karl you done a good day's
work. They right about you.
Scooter, he's gonna knock you out
of a job if you're not careful.
I'll see you tomorrow.
SCOOTER
Wait up, I'll leave with you and
lock up.
BILL
Karl, they's a blanket up in under
that cot and soap in the bathroom
to clean up with.
(pause)
Now there's one more thing. The way
we lock these doors at night, you
can't get out. You didn't want to
go anywhere, did you?
KARL
I don't reckon.
BILL
If it works out and all, maybe
we'll get you a key so you can get
out at night if you need to. See
you later.
They leave Karl standing in the midst of the lawn mowers. He
sets the broom down and goes and sits on the cot. After a
moment, he gets back up and starts sweeping again.
INT. SHOP - DAY
It's lunch time and Bill, Scooter, and Karl are sitting in
folding chairs behind the counter eating from their Dairy
Queen to-go bags. Karl has french fries.
BILL
Scooter, did I tell about the two
old boys pissin' off the bridge?
SCOOTER
I can't remember.
BILL
There was these two old boys hung
their peckers off of a bridge to
piss, one old boy from California
and one old boy from Arkansas.
Old boy from California says, "Boy
this water's cold." Old boy from
Arkansas says "Yeah, and it's deep
too."
(starts wheezing)
Get it? That's a goodun.
SCOOTER
(laughing)
Yeah, that's a goodun. I believe
you did tell me that one before.
I've heard that a bunch. Long time
ago.
BILL
Well, yeah it's a classic. You
know, Karl, I got to thinkin' about
it last night and it's just not
Christian of me to not let you have
a key. I mean you been in lockup so
long, you don't need me keepin' you
locked up. You need to come and go
as you please. Here, take this key,
it'll get you in and out that back
door.
(Karl takes the key and
keeps eating french
fries)
Them french fries good?
KARL
Yeah, they's good all right.
BILL
You got any money?
KARL
They give me fifty dollars when
they turned me loose. I spent up
some of it on ridin' the bus and
eatin' french-fried potaters.
BILL
Well, I'm gonna pay you today for
this comin' week, so you'll have
some walkin' around money. When you
get off this evenin' you better go
buy some toothpaste and cleanin' up
supplies to have back there. Some
hard candy and some magazines.
Somethin' to keep you busy at
night.
KARL
All right then.
BILL
I'll let you off while it's still
daylight.
EXT. STREET - DAY
Karl is walking down a residential street. He stops in front
of the house where the boy, Frank, lives and stares at the
house for a moment, then he walks up to the door and stares
at it. A curtain moves and the boy's face appears at the
window. He comes and opens the door.
FRANK
Hey there. I thought I heard
somebody on the porch. Wasn't your
name Karl?
KARL
Yeah it is. Your name's Frank.
FRANK
Yeah. What you doin' by here?
KARL
You told me to come by.
FRANK
Did you want to play ball with us?
KARL
I ain't no good at it. I just come
by.
FRANK
Well, anyhow, I was just fixin' to
go see my mama down at Ben's Dollar
Store. She's workin' two till
eight.
KARL
All right then.
He starts to walk away.
FRANK
Wait a minute. You want to go with
me? You can meet my mama.
KARL
I don't want to worry your mama
with company.
FRANK
Aw, come on. You'll like her. She's
real nice. She'll give us somethin'
if we ask her to. Candy or
somethin'.
KARL
I was kindly needin' to do some
tradin'. Reckon they sell
toothpaste?
FRANK
They sell some of everything. Come
on let's go. I won't tell her about
you bein' in the state hospital for
killin'.
INT. BEN'S DOLLAR STORE - DAY
Frank and Karl make their way through the fairly crowded
store. It's sort of a mini-version of a Walmart. They find
Frank's mother in her red smock talking to a guy in a red
Ben's knit shirt. They are laughing together and pricing some
mouthwash. LINDA WHEATLEY is a short, plain woman in her
thirties. The man, VAUGHAN CUNNINGHAM, is in his forties,
with a neat flattop hair cut, glasses, and a paunch hanging
over his belt. They eye Karl suspiciously, as the boys
approach.
FRANK
Hey, Mama. Hey, Vaughan.
LINDA
Hey, sweetheart. What you up to?
VAUGHAN
Let me guess. You want a bunch of
candy and a pop.
FRANK
Yeah.
VAUGHAN
You're gonna rot your teeth that
way. But I bet I know what you
would like even better.
I put potted meat on special, four
cans for a dollar and they're not
moving very well. I'd sure let a
few cans go for free to the right
boy.
FRANK
I don't like potted meat. Daddy
used to say it was made out of lips
and peckers and intestints.
LINDA
Frank, don't talk that way. Who's
that strange lookin' man behind
you? Did he follow you in here?
VAUGHAN
Can I help you, sir?
FRANK
Oh, that's Karl. I met him at the
laundrymat. Karl, this is my mama.
And Vaughan, Vaughan's the manager.
He lets mama off any time she feels
like it 'cause they're best
friends.
LINDA
Nice to meet you, Karl.
KARL
(keeping his distance)
Pleased to know y'all.
There's an uncomfortable silence.
LINDA
Frank come back here with me for a
minute.
She shuffles him away and leaves Vaughan staring at Karl.
VAUGHAN
I don't think I've ever seen you
before.
KARL
Naw, I don't believe you have. I
don't reckon I never been in here.
This store didn't used to be here.
VAUGHAN
It's been here seventeen years. Did
you live here before or something?
KARL
I's horned and raised here up till
I's twelve year old.
VAUGHAN
What brings you back?
KARL
What's that you say?
VAUGHAN
Why are you here now?
KARL
They turned me loose from the state
hospital.
VAUGHAN
Is that right?
(pause)
Are you going to be staying here
long?
KARL
I reckon Mr. Woolridge got me hired
on to work for Bill Cox's outfit.
VAUGHAN
Do you have family here?
KARL
Not really to speak of.
Linda and Frank return from the back.
FRANK
Hey Karl, guess what. Mama said you
can stay with us. Out in the
garage. Our car won't fit in there
anyway. It's real neat.
LINDA
Frank told me about your situation.
And Frank loves company. You know,
especially after his daddy passed
and all. There ain't no sense in
you stayin' in that old greasy
shop.
(to Vaughan, hushed)
He's mentally retarded, poor thing.
VAUGHAN
(hushed)
He just got out of the state
hospital.
LINDA
(put out)
I know.
FRANK
Can we get some candy and pops?
VAUGHAN
Sure, go ahead.
They walk off down the aisle leaving Vaughan a little
puzzled.
VAUGHAN (CONT'D)
Are you sure it's safe to let him
around that guy?
LINDA
Frank's just crazy about him. He
likes the way he talks. He helped
him carry home the clean laundry.
VAUGHAN
He's been in the state hospital a
long time, something must be wrong
with him.
LINDA
He's retarded's all. You know he's
always after a father figure and
Lord knows Doyle ain't a good one
with his mean ass.
VAUGHAN
What about me?
LINDA
I don't think he sees you as a guy
guy.
VAUGHAN
(wrinkles his brow)
Karl is a guy guy?
EXT. WOODED AREA - LATE AFTERNOON
Karl and Frank sit on stumps in a little clearing enjoying
the spoils of their Ben's Dollar Store visit.
FRANK
This is what I call my secret place
'cause I come out here when I feel
like bein' by myself. I used to
come here with Karen Cross. She's
kind of like my girlfriend, or used
to be. She says she likes Jerry
Maroney now. But I'm gonna get her
back 'cause I love her. We used to
come here and hold hands and talk
and read books to each other with a
flashlight. She didn't want to have
anything to do with me in front of
other people 'cause I don't have
any money. Well, mama and me, I
mean. She seemed to like me a whole
lot when we were out here though.
She said she loved me, too. Out
here. Settin' right on that stump
you're on. See, her daddy's a
dentist so they're rich. So's Jerry
Maroney's daddy. He owns the ice
plant. Was your folks well off?
KARL
Naw. Didn't have too much. Enough
to scrape by on, I reckon.
FRANK
They still around, your folks?
KARL
My mother's dead. My daddy's
s'posed to be around still. He
don't want to have nothin' to do
with me though.
FRANK
How do you know?
KARL
He never did want to. I figure he
ain't changed his mind much.
FRANK
How did your mama die?
KARL
(long pause)
You don't need to know all of that.
You're just a boy.
You need to think about good
thoughts while you're still a boy.
They'll be plenty of time for the
other.
FRANK
I've had a lot of bad thoughts
since my daddy died. Sometimes I
wish I was still real little and he
was still here. My mama's real
good, but I wish I had both of 'em.
(pause)
When we went to Memphis one time in
the car, it was rainin' so hard we
couldn't see the road. But I wadn't
scared because I thought as long as
daddy was drivin' nothin' could
happen to us. I feel that way about
mama now.
(he looks at the ground
for a moment)
Mama has a boyfriend now. His name
is Doyle Hargraves. He works
construction so he makes a pretty
good livin'. He still don't help
mama out with any money though. He
ain't no good. He's mean to her. He
don't like me at all. Mama says
it's because he's jealous I belong
to my daddy instead of him. He
stays with us all night sometimes,
but he's got his own house.
Somebody told me it's so he can
still have other girlfriends. I
like it on the nights when he ain't
at our house. I'm not so nervous
then.
KARL
How come her to keep bein'
girlfriends and all with him if
he's mean to her?
FRANK
She says it's for the times when
he's good to her. She's lonely
since daddy died. She said
sometimes she don't know why.
(pause)
He threatened to kill her if she
ever left him. My daddy would kill
him if he was here and somebody was
mean to mama. Vaughan, he's real
good to mama. Vaughan that you met.
But he's not able to do anything to
Doyle, he's funny you know. Not
funny ha, ha, funny queer. He likes
to go with men instead of women.
That makes him not to be able to
fight too good. He sure is nice
though. He's from St. Louis. People
who are queer can get along better
in a big town. He got transferred
here to work. But mama said the
real reason he left is 'cause his
daddy hated him. For bein' the way
he is. I wish he liked to go with
women. I'd rather him be mama's
boyfriend than Doyle.
Pause as Frank looks at the ground again. He seems troubled.
FRANK (CONT'D)
Karl.
(pause)
You know when I said daddy got hit
by a train.
KARL
Yeah, I remember you a-tellin' me
that.
FRANK
It ain't the truth. He shot hisself
with a shotgun on purpose.
KARL
Why did he do that, reckon.
FRANK
'Cause he didn't have enough money
to take care of us the way he
wanted to. That's what the letter
said. He got laid off from work and
had to just work odd jobs. I
thought he took care of us fine.
(pause)
Karl, did you really kill somebody?
KARL
Yeah, I did.
FRANK
Who did you kill?
KARL
Two people.
FRANK
Were they bad people?
KARL
I thought they was.
FRANK
Maybe they needed it.
KARL
I growed up and got taught it ain't
right to kill nobody.
FRANK
It's okay if you're lookin' out for
yourself. If it's self-defense. Was
it self-defense?
Karl shifts around and makes a noise in his throat and
doesn't answer.
FRANK (CONT'D)
My daddy was good. I think too many
good people die. It ain't right.
That's what I think.
INT. SHOP - DAY
Karl is tying the strap around his books. His sack of
toiletries is on the bed. Bill Cox comes in.
BILL
Now, Karl, you sure you want to go
stay with these folks? You're
welcome to keep on stayin here.
It's workin' out real good.
KARL
That boy wants me to.
BILL
All right then. I'll see you bright
and early. How you comin' along on
that garden tiller?
KARL
I fixed it. Hit's a workin' pretty
good.
BILL
You done fixed it? I'll be damned.
Scooter told me it couldn't be
fixed.
'Course Scooter's about as shitless
as one poor son-of-a-bitch can be.
You done fixed it. I'll just be
damned. See you tomorrow.
INT. WHEATLEY LIVING ROOM - NIGHT
DOYLE is in the comfortable easy chair with adjuster handle
drinking beer. He's in his late thirties and dressed in his
construction clothes. Linda sits on the arm of the chair and
Frank stands before them.
DOYLE
Well, honey, I don't guess I give a
shit. I ain't here half the time
anyway. If you want a retard livin'
in the garage, I don't guess I
care. I've got a good tool box and
socket set out there I don't want
stol'd. I guess I could take it
home with me.
FRANK
He's real honest. He wouldn't steal
nothin'.
DOYLE
Now son, I wadn't talkin' to you,
was I?
(pause)
Was I?
FRANK
No sir.
DOYLE
No sir's right. I'm talkin' to your
mama. This is your mama's decision,
not yours. I'm lettin' it go on
because she asked me, not you.
(to Linda)
Now is this the kind of retard that
drools and rubs shit in his hair
and all that, 'cause I have trouble
eatin' around that kind of thing.
Just like I am about antique
furniture and midgets. I can't so
much as drink a glass of water
around a midget or a piece of
antique furniture. Same thing with
a droolin' retard.
LINDA
Doyle, you're awful. You shouldn't
be that way.
DOYLE
I ain't sayin' it's right. I'm just
tellin' the truth. What was he in
the nuthouse for?
LINDA
He's just mentally retarded, I
guess.
DOYLE
He had of went nuts and did
somethin'. They don't put you in
there for just bein' a retard.
They's retards all over the place
that ain't in the nuthouse. Do you
know, Frank?
FRANK
I ain't sure.
DOYLE
You might want to find out. He
might of hacked his family to
pieces with a hatchet or somethin'.
LINDA
Yeah, that's right, Frank, you
better ask him. I mean, don't hurt
his feelin's or anything, but it
would be good to know. I'm sure
it's nothin'. He seems real sweet.
DOYLE
You sure are hung up on people
bein' sweet.
(takes a long pull on his
beer)
Speakin' of which, where's your
girlfriend? I thought he was comin'
by here for something.
LINDA
He'll be here in a little while,
he's takin' me to get an ice cream.
DOYLE
Ain't that the sweetest thing. What
am I supposed to do about supper
with you traipsin' around with that
fag?
LINDA
You're not crippled. Get in there
and make somethin'.
DOYLE
Boy, ain't you somethin' else.
Talkin' back and everything. It
kinda makes me horny when you talk
back.
LINDA
Frank, why don't you go off and
play in your room if Doyle's gonna
talk nasty.
FRANK
I want to watch T.V.
DOYLE
Yeah, honey, let the kid watch T.V.
Hell, let's all watch T.V. like a
family till your retarded friend
and your homosexual friend gets
here.
EXT. PORCH - NIGHT
Karl is standing on the porch with his bag and his books
staring at the door. After a moment, we hear a car door slam
and footsteps on the porch. Then we hear Vaughan's voice.
VAUGHAN
Karl?
Karl turns to face Vaughan.
KARL
Yes sir.
VAUGHAN
So, you're really going to stay
here?
KARL
That boy wants me to.
VAUGHAN
Did you knock on the door yet?
KARL
Naw, I ain't.
VAUGHAN
How long have you been standing
here?
KARL
Quite a spell, I reckon.
VAUGHAN
Listen, before you get very used to
staying here, I think you and I
need to talk about a few things.
Can I take you to lunch?
KARL
I done et just a little bit ago.
VAUGHAN
I mean tomorrow or the next day.
KARL
I reckon I can stand to eat a
little somethin' or 'nother at
noontime tomorrow. Bill Cox
generally gets me a box of french
fried potaters. But I reckon he can
lay off doin' it tomorrow.
VAUGHAN
Okay, I'll come by Mr. Cox's and
get you at noon.
They stand therefor a moment. Vaughan doesn't really know
exactly what else to do, so he knocks on the door. After a
moment, Frank answers the door.
FRANK
Hey. Y'all come on in.
INT. LIVING ROOM - NIGHT
Vaughan ushers Karl in and they stand behind the sofa. Doyle
looks up and grins.
LINDA
Hey, Vaughan. How are you, Karl?
KARL
Tolerable, I reckon.
LINDA
(in a hurry to get out)
Karl, this is my boyfriend, Doyle.
Frank, why don't you and Karl go
out in the garage and fix him up a
place or play a game or somethin'.
Vaughan, you ready to go?
VAUGHAN
Sure, I guess.
DOYLE
Don't rush ever'body, honey.
She starts to get her things together.
LINDA
(to Frank)
Maybe you and Karl want to go with
us?
FRANK
Naw, I don't want to. Me and Karl
got things we need to do.
DOYLE
Hey, Vaughan, you know what I
heard? I heard you been puttin' it
to Albert Sellers that works over
at the funeral home.
VAUGHAN
I know Albert. We're friends.
DOYLE
I heard you was more than friends.
I heard Dick Rivers caught y'all
all bowed up and goin' at it in the
same room with poor, little, old
Mizz Ogletree and her dead as a
doornail layed out on a gurney.
VAUGHAN
That's ridiculous. That's just a
total lie.
LINDA
Let's go, Vaughan.
(they start for the door)
Frank, we'll be back in a little
while. I'll bring you back
somethin'. You're food's in the
oven warmin' over.
DOYLE
See, you made him somethin'. Hey
Vaughan, I was just goin' on with
you, jokin' around, buddy.
VAUGHAN
(smiles a little)
Yeah, I knew that. You're a card
all right.
Linda kisses Frank on the forehead and they leave.
DOYLE
So, Karl, come have a seat, talk to
me.
Karl sits on the couch.
FRANK
Come on, Karl, let's go out to the
garage.
DOYLE
Goddamnit, I'm talkin' to the man.
You set right there, Karl.
Frank leans on the sofa arm beside Karl.
DOYLE (CONT'D)
What's in your bag?
KARL
This and that. Toothpaste and
whatnot.
DOYLE
What's all them books?
KARL
Different ones. The Bible's one of
'em.
DOYLE
You believe in the Bible?
KARL
A good deal of it, I reckon. Can't
understand all of it.
DOYLE
Well, I can't understand none of
it. This one begat this one and
that one begat this one and begat
and begat and begat and lo somebody
sayeth some shit or another. Just
how retarded are you?
FRANK
Stop it, Doyle!
DOYLE
You be quiet, Frank, we're talkin'.
The adults are talkin'. Were you in
the lockup for cuttin' somebody up
with a hatchet?
KARL
I ain't never used no hatchet that
I remember.
DOYLE
You're just crazy in a retarded
kind of way then.
(pause)
It wouldn't matter to me if you did
do violence on somebody 'cause I
ain't afraid of shit. You think I'm
afraid for you to stay here. You're
just a humped over retard it looks
like to me. Not really, I'm just
jokin' with you. Welcome to our
humble home, buddy. Frank needs all
the friends he can get. Frank's a
real weak little kid. His daddy
taught him how to be a pussy.
FRANK
Stop it, Doyle! Don't talk about
daddy, you hear me!
DOYLE
(mocking)
Don't talk about daddy. Y'all go on
to the garage and let me be.
Frank is crying now.
FRANK
Come on, Karl.
They get up and walk away.
DOYLE
(yelling to Frank)
Don't tell your mama we had a
little spat. She don't need to be
worried with your ass.
INT. GARAGE - NIGHT
Karl sits on an old sofa and Frank sits on an upside down
paint bucket, still upset.
FRANK
I'd like to kill that son of a
bitch. I hate him.
KARL
You ort not to talk that way.
You're just a boy.
FRANK
Well, I hate him.
KARL
He ort not to talk that away to you
neither. He ain't no count. He's
mean to you and your mama.
(pause)
Yore mama and that feller that's
carryin' me to get somethin'
d'eat's gonna be back here
directly.
FRANK
Will you stay here with us for a
long time?
KARL
I reckon if you want me to.
(pause)
I got some of that potted meat and
sodie crackers left over if you
want some.
FRANK
I don't see how you can eat that
stuff with all those insides it's
made out of.
KARL
I reckon it tastes pretty good to
me.
FRANK
I like the way you talk.
KARL
I like the way you talk.
Karl starts to put together a cracker and potted meat delight
as we:
DISSOLVE TO:
INT. HAMBURGER ESTABLISHMENT - DAY
Vaughan is carrying a tray of food as Karl follows him to a
table and they sit and immediately start to eat. After a few
bites, Vaughan starts to speak in an official manner.
VAUGHAN
Okay, Karl, the reason I brought
you here was to talk to you about
something that is on my mind.
(pauses for a response,
instead Karl eats french
fries and stares at the
table)
I guess I'll put it right out on
the table. Where do I start. Linda
and Frank are very important to me.
They're like family. My own family
was never like family. They're
horrible people. As a matter of
fact I prayed every night for years
that my father would die. I finally
realized through a lot of therapy
that I was wasting my energy on
hating him. Now I just don't care.
(pause)
You see, you and I are a lot alike,
strange as that may seem. I mean
not physically or even mentally
really, just well, maybe
emotionally or actually the hand
we've been dealt in life. We're
different. People see us as being
different anyway. You're -- well
you have your affliction or
whatever and I, well mine's not as
easy to see. I'm just going to say
it. I'm gay.
(watts)
Does that surprise you?
(watts)
That I'm gay. You know what being
gay is, don't you?
KARL
I reckon not.
VAUGHAN
Homosexual. I like men. Sexually.
KARL
Not funny, ha, ha, funny queer.
VAUGHAN
Well that's a very offensive way to
put it. You shouldn't say that. You
were taught that, weren't you?
KARL
I've heard it said that way.
VAUGHAN
Anyway, it's hard to live gay,
that's the right way to say it, in
a small town like this. I've wanted
to leave many times, but my love
for Linda and Frank and another
certain person that we won't go
into have kept me from it. Anyway,
I'm rambling. If you're going to
live in the Wheatly garage you need
to know that it won't be easy.
Doyle is a monster. Not just a
closed minded redneck, but a
monster. A dangerous person. I've
told Linda that one day that man is
going to really hurt her or that
boy. Maybe even kill one of them. I
see it in his eyes. I'm very in
tune, maybe even psychic. Doyle
will make your life hell. You're a
perfect target. When I first saw
you I was afraid of you. Not really
afraid, I guess, just taken aback.
But also, I felt a real sensitive
feeling from you. And for some
reason, Frank has adopted you. Much
like a stray animal. I'm sorry, I
didn't mean it like that. In a good
way. Anyway, I just want you to
know what you're in for. I have a
good feeling about you. You're good
for Frank. Maybe it's that he can
have an adult friend on a child's
level.
I'm sorry, I didn't mean it in a
bad way.
(pause)
There's one more thing. It's none
of my business why you were in the
state hospital. Everyone has
something in their past, maybe you
tried suicide, maybe you did
something -- terrible. But what I
see before me is a gentle, simple
man. All I want you to promise me
is that you're capable of being
around Linda and Frank. You know.
You would never hurt them under any
circumstances, would you?
KARL
I wouldn't never hurt them.
VAUGHAN
That's what I thought. I hope I
haven't offended you in any way.
You seem like a thinker. You seem
to always be in deep thought. Tell
me something. What are you thinking
right now?
Karl looks up and stares for a moment.
KARL
I was thinkin' I could use me
another helpin' of these potaters.
VAUGHAN
Oh. How about before that?
KARL
Before that I was thinkin' it'd be
good if I could get another three
or four cans of that potted meat if
you got any extry.
INT. WHEATLEY KITCHEN - NIGHT
Linda, Frank, and Doyle are eating.
LINDA
How come Karl won't eat here with
us?
FRANK
I don't know. He just said he'd eat
out there.
DOYLE
Well, I wouldn't let it get to you.
LINDA
I just feel sorry for the poor
thing.
DOYLE
Who could eat with him settin'
there makin' that goddamn racket
with his throat.
LINDA
He does make some funny noises.
FRANK
I sure like the way he talks. It
sounds like a race car motor
idlin'. It makes me not be nervous.
LINDA
I'm glad of it, honey.
DOYLE
What have you got to be nervous
about? You're a damn kid. You ain't
got any bills to pay or bidness to
run or old lady to stay on your ass
all the time.
FRANK
I get nervous, that's all I know.
They eat in silence for a while. Linda and Frank know where
this conversation could lead and know when to leave well
enough alone.
DOYLE
You know what, by God?
LINDA
What?
DOYLE
You know what we ought to do
tonight?
LINDA
Please Doyle, don't.
DOYLE
Have a damn party! Call Morris and
them and get the band together and
just party our asses off. I'd like
to show that fuckin' Karl to the
guys. They'd get a kick out of
that. Don't you know they would.
LINDA
Please don't. Not tonight. I'm not
up for it. They always stay till
mornin'. I'm just give out, Doyle.
DOYLE
You don't have to do anything but
pour some potato chips in a bowl
and bring beers out when we get
low.
FRANK
Last time you got mad and run
Morris and them off and said to
stay away from here.
DOYLE
That ain't none of your damn
bidness. Besides that's the way
friends do one another. Fuck it,
I'm gonna go call 'em. Honey, find
my guitar, I think it's out there
in the garage with that loony tune.
INT. GARAGE - NIGHT
Karl sits on his cot eating from the plate Frank brought him.
Frank and Linda come through the door. Frank comes and sits
beside Karl. Linda gets a guitar case down from a shelf and
comes over and stands in front of Karl.
LINDA
Karl, now listen, there's gonna be
a party tonight here at the house.
Doyle's invited his music-playin'
buddies over to make a bunch of
racket out on the patio.
FRANK
They ain't even no good. The only
one can play is Randy
Horsefeathers. He claims he's an
Indian. His real name's Randy
Collins and he works at the feed
mill. He can at least play guitar.
LINDA
He's no more an Indian than I am
though. Anyhow, Doyle's gonna try
and tease you and be mean to you to
show off to his friends. Just like
he does to Frank and me sometimes.
You just ignore it. Or stay out
here away from 'em if he'll let
you. He's an okay guy till he gets
drunk but tonight he'll get drunk.
I guarantee it.
FRANK
He ain't ever okay to me.
The garage door opens and Doyle appears. He seems really
happy.
DOYLE
Well, it's on! We're gonna rock.
Linda, call Vaughan. Tell him to
get over here. I'd like him to be
here. I owe him a good time.
LINDA
No Doyle. Vaughan don't want to
come to a party with you.
DOYLE
Too late, Honey. Fooled you. Done
called him. He'll be here.
(grins)
Or I'll go get him. Come on Karl, I
need you to help me ice down a tub
of beer, you and Frank.
INT. BACKYARD - NIGHT
White Christmas tree lights are strung above the patio. Karl
sits to the side in a kitchen chair staring at the ground
alongside Vaughan, Frank, and Linda. The "band" is set up on
the patio. The band consists of MORRIS, a heavyset guy in a
military uniform on tambourine, TERENCE, a skinny guy in a
wheelchair on bass, RANDY, a long haired younger guy who's
not an Indian on guitar, Doyle on a guitar which he can't
play and MONTY "The Johnson " Johnson, a large guy with a ZZ
Top beard on drums. A tub of beer is in front of them.
They're all hooting and hollering and drinking. They've
obviously been at it for a while. Doyle steps forward to
address the 'crowd.'
DOYLE
Okay ladies and gentlemen
(points to Vaughan)
or both. It's come to the time in
our show when we like to introduce
the band. Over here on lead guitar
Mr. Randy Horsefeathers. Come on
hit a hot lick, Randy.
(Randy plays a lick)
Well, come on, y'all are supposed
to clap now. Come on!
(they clap a little except
for Karl)
ANGLE ON LINDA
LINDA
Karl, you better clap your hands or
he'll just keep on.
Karl claps his hands a little.
DOYLE
On the bass, give it up for Terence
"One Ball" Atkins.
(more half-assed clapping)
On the tambourine and lyrics Morris
Hobbs the fuckin' genius of the
group.
(claps)
On drums "The Johnson."
(claps)
And last and most importantly,
Doyle Hargraves on rhythm guitar
and business affairs and the only
motherfucker with a truck big
enough to haul this outfit on the
next world fuckin' tour. Come on, a
big hand for these guys. They're
workin' their asses off here.
(pauses for a slug of
beer)
Okay I'd like to dedicate this next
one to some very special people in
our audience tonight. To my lovely
female companion Linda, her lovely
son Frank, our new boarder Karl -
what's your last name Karl?
KARL
Childers.
DOYLE
Karl Childers just in from the
state facility. Make one of them
gruntin' sounds Karl or whatever it
is you do.
(nothing)
Oh well, Karl's a little retarded,
he don't know what the hell I'm
talkin' about. And to Vaughan who
fucks a mortician in the rear
entrance right in front of his
clients. Now that takes balls. Our
number one tune for the folks,
boys. Kick it off Johnson!
They play "Walk Don't Run" while the audience of four sits in
motionless silence. They finish the song and hoot and holler
and drink some more and say nasty things to each other.
DOYLE (CONT'D)
You like that Vaughan?
VAUGHAN
Sure. It sounded like a number one
tune all right.
DOYLE
You enjoying yourself, Karl?
KARL
I reckon.
We hear the voice of an OLD MAN NEIGHBOR in the near
distance.
VOICE (O.S.)
I wished you all would lay off for
tonight. I can't hear myself think
for that racket. It's nighttime,
now let folks be! I'll call the
law!
DOYLE
(hollers back)
I told you already three times, the
laws on my side. I play cards with
J.D. Shelnutt, chief' of police.
Get fucked you old bastard!
(to the party)
Okay now, Linda, you and the kid
clean up and get a tarpaulin over
this instruments. Me and the boys
are goin' to the county line.
We're out of liquor and beer. Come
on Karl, you and Vaughan are goin'
with us.
VAUGHAN
I'd better go on home now, it's
late. I have to work tomorrow.
DOYLE
Come on, don't be a pussy.
Everybody has to work.
LINDA
He don't want to Doyle. Don't go
Vaughan if you don't want to.
You'll wreck Doyle, you're drunk.
DOYLE
(very sincere)
But honey, I'll be good. I promise.
I love you sweetie. I'm just tryin'
to help these two be part of
things.
INT. DOYLE'S TRUCK - NIGHT
Doyle is driving, Vaughan in the middle, and Karl by the
window. Doyle cranks up the truck and pops in a cassette
tape. The first few notes of "Ghost Riders in the Sky" play.
VAUGHAN
Are you sure you can drive? You've
really had a lot of alcohol.
DOYLE
Shhhh! This is the national anthem.
They take off, tires screaming on the pavement as the song
goes louder.
EXT. STREET - NIGHT
The truck fishtails into the night and we see the rest of the
"band" in the back of the truck trying to control Terence's
wheelchair as it rolls back and forth.
INT. TRUCK - NIGHT
DOYLE
(points to tape player)
Not that you afflicted sons of
bitches would know anything about
it, but this is art.
They are stopped by a red traffic light. A police car pulls
up beside them and Doyle looks over at the RED-FACED COP on
the passenger side and turns down the music.
DOYLE (CONT'D)
Hey Freddy, what's goin' on boy. I
seen your pitcher in the paper for
catchin' that big-ass bass.
FREDDY
Yeah She was a big 'un. You ain't
drunk drivin' are you Doyle?
DOYLE
Yeah.
FREDDY
I figured that. Well you better be
careful with that cripple in the
back. You'll throw him out. Looks
like you got a wagonful.
DOYLE
We run outta somethin' to drink.
Goin' to the county line. You want
to race?
FREDDY
(laughing)
You know better than that. We're on
duty. Catch me in that Camaro next
week one night.
DOYLE
Catch you later Freddy!
Doyle peels out and the music blares again.
DOYLE (CONT'D)
I bet you like sittin' between two
men in a dual wheel truck don't
you?
VAUGHAN
Oh, yeah, I'm thrilled.
DOYLE
Sarcastic right?
(pause)
You know the boys in the band are
probably gonna stay over tonight.
We'd be glad to have you.
INT. LIVING ROOM - NIGHT
Doyle slouches in his chair drinking whiskey from the bottle.
Terence and Morris are sitting facing Karl and Vaughan who
are on the sofa. Randy and The Johnson are sitting across the
room in straight-backed chairs drinking beer. They really
stocked up at the county line and beer and liquor bottles are
strewn everywhere. Morris is in the middle of a monologue,
which has obviously been going on for awhile.
MORRIS
Anyhow I'm not sure if you follow
me on those particular points, but
it's not really important in the
smaller picture, which is where
most people dwell anyway. Not that
being manager of Ben's Dollar Store
is insignificant. Or that making it
through years of incarceration in a
state supported facility is any
small feat.
THE JOHNSON
Morris, he's the only one in the
band that went to college.
RANDY
I'm in junior college right now
over in Westfield.
THE JOHNSON
That ain't no college, that's trade
school. Auto repair ain't ever made
a genius out of nobody.
MORRIS
Holidays are for campers.
RANDY
What do you know about bein' a
genius, Johnson. You can't even
hardly keep a steady beat on that
high-price drum set.
TERENCE
I think y'all play really tight
together, Randy. Y'all shouldn't
throw off on one another.
MORRIS
Anything that has to be discussed
can't mean anything.
DOYLE
You got that shit right.
VAUGHAN
What exactly do you mean by that? I
don't understand.
MORRIS
Exactly the point, my young
levelheaded friend.
VAUGHAN
I don't get it.
MORRIS
I rest my case.
TERENCE
Morris is real smart with
philosophies and things. That's why
him and me are the songwriting team
of our group. I make up good tunes
or melodies as we call them and
Morris is the lyrics.
MORRIS
Not unlike Gary Brooker of the
Protocol Harum.
RANDY
We don't ever play any songs that
y'all wrote. I never even heard one
of 'em. Y'all just talk.
THE JOHNSON
We don't even play any songs with
words at all that I remember. We
ain't got no fuckin' microphone. Or
speaker set up.
TERENCE
We wrote one last night standin'
outside Mini-Mart. Morris called it
"Stuart Drives a Comfortable Car."
Then, you know, like on country
songs in parenthesis it says "There
is usually someone in the trunk." I
came up with a tune just humming.
DOYLE
See Vaughan, you shouldn't question
a genius. Morris is a modern day
poet like in the old days.
MORRIS
Our latest composition is as
follows: entitled:
"The Thrill" --
"I stand on the hill
Not for a thrill
but for a breath
of a fresh kill
Never mind the man
who contemplates
doing away with license plates
He stands alone anyway
Baking the cookies of discontent
By the heat of a laundrymat vent
Leaving his soul"
(Then like in poetry I have dot dot
dot then drop down to the next line
kind of off center.)
"Leaving his soul parting waters
Under the medulla oblongata
of (then dot dot dot again)
mankind."
Silence for a moment as everyone in the room just stares at
something other than Morris.
TERENCE
I don't think that's right. I
believe dot dot dot come between
medulla and oblongata or something
like that.
(Morris stares at him)
Well it did. It wadn't before
mankind, I know that much.
MORRIS
The dots are where I say they are.
Melody and tune. That's your trade.
You're a tunesmith Terence.
VAUGHAN
I don't really understand the
meaning of the words.
DOYLE
If y'all don't shut up I'm gonna go
out of my mind. And plus you're
liable to bust a spring in Karl's
head. He's already off balance.
TERENCE
That wadn't the way you made it up
before, Morris. That's all I know.
RANDY
We don't need fancy words, we need
to practice. We don't ever
rehearse.
THE JOHNSON
We need some payin' gigs instead of
just messin' around on first one
patio and then another'n.
RANDY
Morris, you should just be the
manager, you can't play nothin'
anyway.
Doyle jumps up and throws his whiskey bottle through the
window. He has changed from groggy drunk to a wild-eyed
madman in a flash.
DOYLE
We don't have a goddamn band! Y'all
just shut the fuck up! We don't
need no practicin' or managers
cause we ain't no fuckin' band!
Morris ain't no genius and the rest
of you are just losers. Am I the
only one sane human bein' around
here? Just get the hell out of my
house and don't come back!
VAUGHAN
It's not your house, Doyle, it's
Linda's.
DOYLE
I'll kill you, you fuckin' faggot!
You mind your own business. Now get
out! Now, before I get too mad to
turn back.
TERENCE
What about our instruments?
Doyle grabs the handles of Terence's wheelchair and pushes
him right out the screen door. We hear the chair clatter down
the steps and a cry of pain from Terence.
DOYLE
Now!
They all file out the door except Vaughan and Karl who sit
frozen on the sofa.
THE JOHNSON
(turning back)
You ain't right Doyle. Somethin's
wrong with you. Nobody needs your
shit.
MORRIS
(stops at the door)
The dots just look good on paper.
You don't sing 'em anyway. You're
showing your true Aries colors now.
DOYLE
Get out of my goddamn face, you
fuckin' buzzard!
He slams the door and turns to see Vaughan and Karl on the
sofa and Linda and Frank, in their nightclothes, standing in
the doorway.
DOYLE (CONT'D)
I thought I told everybody to get
out of my house. That includes
cocksuckers and retards. Get off
your asses and go.
LINDA
This is not your house, Doyle. This
is my house and I'll say who stays
and goes. You've got a house, why
don't you go get one of your
girlfriends and go home to it.
DOYLE
You know better than to talk like
that when I'm hurtin'. Don't make
me knock the piss out of you.
VAUGHAN
Doyle, don't you lay one hand on
her.
DOYLE
That's funny.
(to Linda)
You go to bed and take snot nose
with you.
Linda walks up to him with Frank close behind. Vaughan gets
up also. Karl stares at the floor rubbing his hands together.
LINDA
You're not stayin' here tonight. Go
get sober before you come back. I'm
tired of my child seein' this. Now
you get yourself straight or I'll
lock your ass out of my life for
good.
DOYLE
You know what I told you, you even
think of leavin' me, I'll kill you
dead as a doornail.
LINDA
That might be better than this.
VAUGHAN
I'm a witness. I heard you threaten
her life.
DOYLE
I thought I told you to keep out!
LINDA
Leave.
DOYLE
Don't tell me what to do.
LINDA
Leave.
DOYLE
Don't tell me what to do.
LINDA
Leave.
DOYLE
Don't tell me what to do.
LINDA
Leave.
DOYLE
(an inch from her face)
Don't tell me what to do.
She shoves him in the chest and he slaps her hard in the
face. Vaughan starts looking for a weapon and Frank goes
wild. He starts throwing anything he can find at Doyle. Empty
cans, bottles, a lampstand.
He connects with an encyclopedia to the head. Doyle goes to
the door. His face has changed from angry to sad, almost
pitiful.
DOYLE (CONT'D)
Okay, I'll leave and sober up.
Everything's botherin' me, that's
all. I'm hurtin' Linda. I love you.
FRANK
I hate you!
DOYLE
Well, I hate you, too. No I don't.
I love your mama. Nobody
understands what I go through. I'll
leave. You bunch of freaks have
fun. I'll call you tomorrow honey.
I'm sorry. You can kiss my ass,
really.
(to Frank)
You ever hit me again you little
bastard and I'll make you sorry
your daddy ever squirted your
little ass out.
He leaves and slams the door. Frank goes to Linda's side, as
does Vaughan.
FRANK
You all right, Mama?
LINDA
I'm fine, honey. Let's just try and
forget about tonight.
FRANK
We don't need to think bad
thoughts, do we Mama?
LINDA
No, honey, we don't.
(pause)
I'll make some coffee and start
cleanin' up this mess. Karl, you
want some coffee, huh?
KARL
No, ma'am. Coffee kindly makes me
nervous when I drink it.
DISSOLVE TO:
INT. LIVING ROOM - NIGHT
Linda cleaning up the last of the mess. Frank comes in sleepy
eyed in his pajamas.
LINDA
What are you doin' up again, Frank?
You need to get a little sleep.
FRANK
Did Vaughan go home?
LINDA
Yeah, he has to go to work in a
little while. I do too.
FRANK
Did Karl go to bed?
LINDA
I guess. He went to the garage.
Poor thing, he's probably never
seen such a crazy mess. He probably
wants to go back and live in Mr.
Cox's shop.
FRANK
I bet he don't. Karl likes me.
LINDA
I know he does.
FRANK
Mama?
LINDA
Huh?
FRANK
Is everything gonna be all right
someday? I just stay nervous all
the time just about.
LINDA
Yeah, honey, someday everything's
gonna be all right.
FRANK
Doyle wouldn't really kill you,
would he?
LINDA
I promise we're gonna get away from
him. The time has to be right,
that's all. I'd rather him get
tired of me and leave me. Then he
wouldn't want to hurt me. He
wouldn't care then. We'll be fine.
I promise. You go to bed now.
(she hugs him)
I love you.
FRANK
I love you, too, Mama.
He goes to his room.
INT. KITCHEN - NIGHT
Linda goes into the kitchen and pours a cup of coffee and
sits at the table. After a moment, she looks up and is
startled to see Karl in the doorway.
LINDA
You scared me.
KARL
I didn't aim to.
LINDA
Want to sit down? Did you need
somethin'?
KARL
No ma'am.
Karl just keeps standing there and Linda keeps staring.
KARL (CONT'D)
Two fellers was on a bridge a
takin' a leak and one feller says
the water was cold and the other
said it was deep water. One of 'em
came from Arkansas, I believe.
LINDA
(puzzled)
I'll be dog.
More silence.
KARL
Do you reckon you can make me some
biscuits?
LINDA
Right now?
KARL
Just whenever you take a notion to.
I don't aim to put you out.
LINDA
Well, it is nearly breakfast time
anyway. I can't go to sleep. I have
to be at work in three hours. You
know how it is when you just sleep
an hour or two, you feel worse than
if you hadn't slept at all?
KARL
Yes ma'am.
LINDA
Well, set down and I'll make some
biscuits and gravy.
KARL
Mustard's good on 'em to me.
LINDA
Okay.
Karl sets at the table and Linda starts to make the biscuits.
KARL
Thank ye.
LINDA
It's all right.
(pause)
You know I was thinkin' there's
this girl that works with me. She's
real heavy, but she's cute in the
face. Well, you know, she's slow.
She's a little bit, I think. She's
not retarded, just -- it don't
matter, listen to me. I thought you
might like to meet her. Vaughan
wants to have a little supper over
at his house and we could invite
her. Would you like that?
KARL
I wouldn't mind a havin' supper.
LINDA
Vaughan's "friend" will be there,
too. He works at the funeral home.
And Frank. You know Frank likes you
a lot. He says you make him feel
calm.
KARL
I like Frank. He's a good boy. Me
and him's made friends.
She keeps working.
KARL (CONT'D)
Hit ain't right for me to keep from
tellin' you how come me to be put
in the state hospital.
LINDA
That's okay. It's not really my
business. I have wondered though.
Why was it? Was it like a nervous
breakdown?
KARL
I killed my mother and a old boy
name Jesse Dixon. I thought they
was a-doin' wrong. I was about your
boy's age. They say I'm well now
from it.
Linda stops working and turns to Karl, a little shocked, but
not as much as you would think.
LINDA
Was that you? I remember that. I
was only three or four, but I
always heard about it growin' up.
(pause)
They say you're well?
KARL
Yes ma'am.
(pause)
I like your garage.
(pause)
I wouldn't never hurt you or your
boy. I'd lay my hand on the Bible
and say the same thing.
LINDA
I believe you. I really do.
EXT. COVS PARKING LOT - DAY
Bill Cox is standing beside a garden tiller with an old man.
Bill is trying to crank it up, but it won't start. A car
pulls into the parking lot and Gerry Woolridge gets out of it
and comes over to Bill.
BILL
How 'bout you, Jerry.
WOOLRIDGE
How are you, Bill?
BILL
Doin' pretty good. Got a sick
tiller here. What's got you down
this way?
WOOLRIDGE
Just thought I'd check on Karl and
see if everything's working out.
BILL
Well, he's pretty quiet. Except for
them rackets and breathin' things
he does. Ain't threatened me with a
killin' or anything.
(laughs)
But boy you couldn't of been more
right about him fixin' things. That
son of a bitch is a regular Eli
Whitney on a lawnmower. Loves
french fries. Eats four larges and
don't even so much as belch. I'm
proud to have him.
WOOLRIDGE
Is him stayin' here workin' out?
BILL
He's gone to stayin' over with that
Wheatley boy and his mama in their
garage. I think that little boy
adopted him damn near like a
mascot. But he's got a key here to
come and go as he pleases.
Everything's worked out good.
WOOLRIDGE
Can I see him?
BILL
Sure.
Bill looks over at Scooter, who is putting up a sale sign on
new mowers in the front window.
BILL (CONT'D)
Scooter! Run get Karl for me.
EXT. PARKING LOT - DAY
Woolridge and Karl lean on the hood of Woolridge's car. In
the background, Bill and the old man tinker with the tiller.
WOOLRIDGE
Are you sure you're okay staying
with that woman and boy?
KARL
Yes sir.
WOOLRIDGE
Do they know about you?
KARL
My history.
WOOLRIDGE
Yeah.
KARL
I told 'em about it. They know I'm
well. That Mizz Wheatley made me
some biscuits.
WOOLRIDGE
I'll be.
KARL
That boy, he's my friend. He likes
the way I talk and I like the way
he talks.
WOOLRIDGE
I knew you'd do all right. Well, I
just wanted to check on you. I'll
say bye to Bill and get on back.
They walk over to Bill.
BILL
Karl, see if you can figure out
what's wrong with this thing. It
won't crank up and ever'thing seems
to be put together right.
Karl squats beside the tiller.
WOOLRIDGE
I'll see you, Bill.
BILL
Okay, stop back by. Don't worry
about your boy here, he's doin'
good.
Karl looks up from the tiller holding the gas cap.
KARL
Hit ain't got no gas in it.
BILL
See there. Thinks of the simplest
thing first.
INT. VAUGHAN'S DINING ROOM - NIGHT
Vaughan, ALBERT the "friend," Linda, Frank, Karl, and
MELINDA, the Dollar-Store girl, are seated at the table. Karl
and Frank are going at the delicacies while Melinda shyly
picks at hers and the others are engaged in idle chit chat.
This goes on for a few moments, then Albert's attention turns
to Karl.
ALBERT
So Karl, do you intend to stay in
the lawnmower business for a while
or do you have other plans?
KARL
I reckon.
VAUGHAN
I think Karl is going to be a
writer or a librarian eventually.
You should see all the books he
has. He must read constantly.
KARL
I ain't read 'em yet except two or
three of 'em. I can't understand a
lot of what I try to read. My mind,
hit wonders off to somethin' else
when I try to read.
ALBERT
I'm the same way. Of course, in my
line of work, I stay too busy to
read.
But at least I have job security.
People may stop doing a lot of
things, but one thing is for sure,
they won't stop dying.
LINDA
(looks at Frank)
Why don't we talk about something a
little more festive.
VAUGHAN
Does everyone like the food?
Nods and yeses.
VAUGHAN (CONT'D)
Good. I haven't decided yet if I'm
a good cook.
LINDA
Hey Karl, you know what? Melinda
was voted employee of the month at
the Dollar Store last February.
Isn't that somethin'?
KARL
Yes ma'am, I reckon.
MELINDA
Well, when you like pricing items
as much as I do, I guess it's just
bound to happen sooner or later.
VAUGHAN
Karl, maybe you and Melinda might
want to take a walk or something
after dinner. It's a nice night.
LINDA
Vaughan, don't get pushy.
VAUGHAN
I'm sorry.
KARL
I like walkin' quite a bit from
time to time.
MELINDA
I stay on my feet all the time at
work. I just can't find shoes
that's comfortable.
ALBERT
Hospital shoes might be the answer.
Nurses' shoes.
VAUGHAN
Or the kind old ladies who work in
the school cafeteria wear.
ALBERT
Same difference.
MELINDA
I get real mean when my feet hurt.
It's the only time I don't like
checkin' out the customers, when my
feet hurt.
LINDA
Frank, you and Karl aren't talkin'
much, you boys must really like
that food.
FRANK
I just don't have anything to say
about shoes.
Silence for a moment.
VAUGHAN
Listen everybody, I know this may
sound corny, I've had a few glasses
of wine and that kind of makes me a
little emotional, but I'm going to
say it anyway. It just came over me
in a rush. I want you all to know
that I care about each and every
one of you at this table.
LINDA
That's very sweet of you Vaughan.
We care about you, too. Don't we
y'all?
Nods, grunts, "Sure do's."
VAUGHAN
Also, Melinda, please don't tell
anybody at the store that Albert
was here tonight, okay.
MELINDA
Why?
VAUGHAN
Well, a lot of people in town talk
and spread cruel rumors.
Unfortunately, I have to keep
certain parts of my life private.
MELINDA
You mean about y'all bein' together
in "that" way?
VAUGHAN
Yes.
MELINDA
I think everybody at the store
knows that already. They always
talk about it. Maureen Ledbetter
told a awful story about why you
ain't allowed over at the First
Baptist Church no more.
LINDA
Karl, why don't you and Melinda go
take a walk. It's nice out.
KARL
All right then.
He gets up and walks toward the front door. Melinda gets up
and tries to catch up.
EXT. SIDEWALK - NIGHT
Karl and Melinda are walking in the moonlight. It seems a
little hard for Melinda to keep up.
MELINDA
You walk fast, don't you?
KARL
I reckon.
They walk a little farther in silence.
MELINDA
These is the worst shoes I own for
walkin'. How far did you want to
go?
KARL
I ain't really thought about it too
much I don't reckon.
They walk until they disappear into the darkness.
INT. COX'S SHOP - DAY
Karl is on the floor working on a mower with Scooter, they
are ad libbing semi-technical lawnmower things. Bill Cox
appears in the door.
BILL
Hey Karl, they's somebody out here
to see you. Some gal holding a nice
bouquet.
(Karl doesn't move)
Come on now, she wants to talk to
you. Don't just set there.
Karl gets up and goes to the counter followed by Scooter.
Melinda stands on the other side of the counter holding a
cellophane wrapped store-bought flower assortment. Nobody
says anything for a moment.
MELINDA
Hi, Karl, I'm on lunch break. These
was on sale 'cause they're not
fresh. Two ninety-nine a bunch plus
my ten percent employee discount.
Since I didn't bring you anything
to our date last night, I thought
you'd like to have 'em.
She hands them to him.
KARL
Thank ye.
BILL
Scooter, let's me and you go over
to Dairy Queen and pick up a few
things for lunchtime.
SCOOTER
I can go. You don't have to. You
don't never go.
BILL
Goddamnit, Scooter, come on. Pardon
my language, ma'am.
They start to leave. At the door, Bill Cox turns and winks at
Karl. They exit leaving Karl and Melinda staring at the
counter. They are silent for a while.
MELINDA
Well, I just thought I'd give you
them. I liked walkin' with you. I
got a blister the size of a quarter
on one heel. Well, I'll see you
sometime, I guess.
She walks to the door and stops as if she expects Karl to say
something.
KARL
A blister shore can hurt.
MELINDA
Yeah.
KARL
Flowers is pretty. I've always
thought that.
MELINDA
Me, too.
She leaves and Karl goes to the window holding the flowers
and watches her walk away.
EXT. SIDEWALK - DUSK
Holding the flowers, Karl is walking down the sidewalk toward
the Wheatley house when he sees Frank coming out the front
door with a book and a flashlight. He sees Karl.
FRANK
Hey Karl, you off work?
KARL
Yeah.
FRANK
Where'd you get them flowers?
KARL
That gal that made employee of the
month give 'em to me for awalkin'
with her.
FRANK
I was goin' to the secret place. I
borried one of your books to take
down there. You ain't mad, are you?
KARL
Naw. You can look at all my books
you want to.
FRANK
It's name's A Christmas Carol.
KARL
That's than un on Christmas I was
tellin' you about.
FRANK
You want to go with me?
KARL
Yeah.
EXT. SECRET PLACE - NIGHT
Karl and Frank sit in the clearing, Karl on the stump, Frank
on the ground. Frank is shining the flashlight on the book.
He finishes reading a few lines and turns off the flashlight.
FRANK
I'm gettin' tired of readin' for a
while.
KARL
All right then.
FRANK
Boy, folks sure had it rough back a
long time ago, didn't they?
KARL
Yeah, I reckon they did. Hit like
to tore me up when I read about
that pore little cripple boy.
FRANK
Yeah, me too.
(pause)
That was nice of that woman to give
you them flowers.
KARL
Hit was right thoughty of her.
FRANK
I was wantin' to ask you somethin'.
KARL
All right then.
FRANK
You know that girl I told you
about. The one I love.
KARL
Yeah, I recollect it.
FRANK
Would you go see her with me? I
kind of thought I might take her
some flowers like that woman done
you.
KARL
If you want me to.
FRANK
I ain't got no money to get 'em
with but I bet Vaughan will let me
have some of them flowers at the
store.
KARL
I bet he will. I got a little money
if he don't. I'll get 'em for ye.
FRANK
I usually get run off by her mama
or daddy if they're home. Reckon
why they don't like me?
KARL
They ort to. You're a good boy.
FRANK
Just 'cause I'm not rich don't mean
I don't love her.
KARL
Naw.
FRANK
And I don't try to touch her. You
know, in a bad way. Foolin' around,
sex and all.
KARL
That's real good. You ort not to if
ye ain't married to somebody. Bible
tells you that much. Hit tells some
things that don't seem right too, I
reckon. I guess a feller ort to
foller it close as he can, though.
(pause)
You don't touch yourself, do you?
FRANK
What do you mean?
KARL
Pull on your works. Your privates.
FRANK
Oh, jackin' off?
KARL
Yes sir. You ort not know that
language.
FRANK
I didn't know till here while back
a year or two ago when I spent the
night with Ronnie Smart one time.
He said just tug on your peter and
think about your mama. I tried it,
but I felt funny thinkin' about my
mama. So, I switched over to
thinkin' about his mama and then
what he told me would happen,
happened. It sure tingles, don't
it?
KARL
You ort not to pull on yourself
that away.
FRANK
I kind of like you tellin' me what
to do and not to do. Just like my
daddy. I didn't mind him tellin'
me. I hate Doyle to tell me what to
do. Mama said the only way to ever
get away from him is for him to get
away from us. That we can't leave
him or he'll try and hurt her.
KARL
He ain't no count.
FRANK
You don't seem like a daddy. You
seem like a brother.
(pause)
Wonder what makes you like somebody
right off when you don't even know
'em like what happened with me and
you.
KARL
I don't reckon I know.
FRANK
And then some people you don't like
right off. It's funny.
(pause)
You know why I want you to play
ball with me?
KARL
Naw.
FRANK
'Cause it's fun. It don't matter if
you ain't no good. It takes your
mind off of everything else while
you're doin' it. When you run real
fast tryin' to make a touchdown you
don't think about anything else. I
ain't no good, but my daddy always
said he was proud of me when I
threw a ball or ran with it. Did
you have any brothers and sisters
growin' up to play with?
KARL
I had one there for little bit. Hit
didn't get old enough to play with.
FRANK
Why not? It died?
KARL
Yeah.
FRANK
Why?
KARL
Hit was borned a little too early
on. My mother and father made hit
come too early some way or other. I
reckon they changed their mind
about havin' another'n. I was about
six or eight year old then and they
didn't care too much for me so I
reckon they didn't need somethin'
else to worry 'em with.
FRANK
So it died when it come out?
KARL
My daddy come to the shed out back
and got me and said throw this here
away and handed me a towel with
somethin' in it. I went for the
trash barrel there and opened up
the towel to see 'cause they was a
noise and somethin' movin' in it.
Hit was bloody-like around that
towel. Hit was a little ol' bitty
baby, no bigger than a squirrel.
FRANK
It was alive?
KARL
Yes sir. Right then it was.
FRANK
A boy or girl?
KARL
A little ol' boy.
FRANK
You threw it in a trash barrel?
KARL
I didn't feel right about doin'
that. I takened a shoe box from
there in the shed and emptied out
some screwdrivers and nuts and
warshers from it and put the little
feller in that and buried him in
the corner of the yard there. That
seemed more proper to me, I reckon.
FRANK
It was still alive when you buried
it?
KARL
I heared it cryin' a little through
that box.
FRANK
That don't seem right. It seems
like you should have kept him alive
and took care of him if he was your
brother.
KARL
I wadn't but six or eight. I reckon
I didn't know what to do. I didn't
know how to care for no baby. Mama
and Daddy didn't want him. They
learned me to do what they told me
to. These days I figure it might of
been best to give him right back to
the Good Lord right off the bat
anyhow.
FRANK
That makes me feel real sad.
Couldn't you have done somethin',
Karl? I would have. I wish I would
of had him. He'd be here right now.
Livin'.
KARL
Hits been hard thinkin' about it.
They ain't a day goes by I don't
think about it. I kindly have a
picture of it up in my head that I
see. Hit makes me sad, too. I have
bad thoughts on it. I wished they
was somethin' I could of did, too.
Shouldn't no bad things happen to
childern. All the ol' bad things
ort to be saved up for folks that's
growed up, the way I see it. I
shouldn't of told you about that. A
boy ort not hear about such things.
It just kindly come out.
FRANK
I didn't mean to say anything bad
about you. I know you're good. You
didn't mean no harm.
(pause)
Did you ever think about killin'
yourself on purpose like my daddy
did?
KARL
I've studied about it. The Bible
says not to or you end up goin' to
Hades. Some folks calls it Hell, I
call it Hades.
FRANK
Bible says the same thing about
killin' others, too.
KARL
Yes sir, I reckon it does.
EXT. RESIDENTIAL NEIGHBORHOOD - DAY
Frank, flowers in hand, and Karl approach a very nice two
story house. They get to the door and Frank rings the
doorbell.
FRANK
I always get nervous when I hear
that doorbell. I'm okay just
walkin' over, but somethin' about
that dang doorbell. They have one
room where you can't walk on the
carpet or sit on the furniture. I
don't see much sense in havin' it.
The door opens and we see an older black lady, the
HOUSEKEEPER.
HOUSEKEEPER
(eyes Karl)
Son, I don't know why you keep
comin' over here. You know these
folks don't want you here. They run
you off ever' time. Don't keep
doin' this to yourself. You a sweet
boy. Now go give them flowers to
somebody that'll enjoy 'em.
FRANK
Ma'am, I really want to give them
to Karen.
HOUSEKEEPER
(to Karl)
You his daddy?
KARL
No ma'am.
HOUSEKEEPER
Well, whoever you are, you ought to
talk some sense into him. That
little old girl is way too fast for
him and don't wanna see him no way.
FRANK
Will you get her for me. Please. I
really want to see her.
She'll want to see me, too, 'cause
we're not in public. Just don't
tell her folks I'm here.
HOUSEKEEPER
(sighs)
Okay.
She disappears and a moment later KAREN appears. She's
thirteen, pretty and very neatly dressed.
KAREN
(put out)
Hey Frank. You shouldn't be coming
over here. My parents really don't
want you to.
FRANK
I wanted to bring you some flowers.
They're pretty good ones.
KAREN
They're from the Dollar Store. I'm
not an idiot. Besides we have a
garden full of flowers.
She eyes Karl.
FRANK
I wanted for you to meet Karl, too.
He's my new friend. But I feel like
I've always known him. I thought
you should meet him.
KAREN
Why? Hi, Karl.
FRANK
He's gonna be around a lot and I
hope you are too, so...
KAREN
Here give me the flowers, I'll do
something with them. Thank you. Now
you better go. Maybe I'll see you
down at the secret place one day in
a week or two or something. I have
a boyfriend now you know. And we're
pretty serious. He gave me a ring.
She proudly displays the ring.
FRANK
Can you go there with us now? Me
and Karl. We could just hang out.
Karl has some cool books.
KAREN
Frank, I just like you as a friend.
Only at the secret place. Okay? I
can't go there now. I'll see you
later.
FRANK
But maybe just for awhile --
KAREN
I'm closing the door now. I told
you, I'll see you later.
She closes the door. They stand therefor a moment, then walk
away down the sidewalk.
FRANK
She said she'd see me later. That's
kinda good, right?
KARL
I reckon.
EXT. WHEATLEY HOUSE - DAY
Frank and Karl walk up the steps to the house. Frank opens
the door and they enter.
INT. HOUSE - DAY
As Frank and Karl enter, they see Doyle sitting on a
footstool facing Linda who's in a chair. Doyle is holding
both her hands and talking very softly to her. He sees the
guys and looks up.
DOYLE
Well, I'll be damned, there's the
boys. I'm glad y'all came in. I
wanted to talk to y'all, too. I was
just tellin' Linda here -- Oh hell,
I'll just start over, set down you
boys.
They do, on the couch.
DOYLE (CONT'D)
Well, what it is is, I just, well I
took off work early today and your
mama was good enough to do the same
so we could talk. I guess you'd say
I'm really here to apologize, which
ain't easy for me to do, about the
way I acted the other night. I was
just drunk and kinda got a little
too worked up and one thing led to
another. I care about y'all a lot,
I do. I don't mean to be so damned,
assholish I guess the word would
be. Now Karl, I don't believe I hit
you, did I? So no apology needed
there I guess, but Frank, I'm
sorry. I'm sorry I hit your mama.
I'm just jealous of her. I don't
like her life or the way she runs
it. I don't like homosexuals and
she buddies with one. I don't like
little wimpy ass kids or fuckin'
mental retards and she's got one of
each livin' with her.
(laughs)
I was just kiddin'. But really I
guess people need to get along even
if they have differences.
(pause)
You see, I work construction. I
build things. Do you realize how
important that is to the world. I
have a lot of pressure on me. The
upshot is, I'm gonna spend a lot
more time over here and we're gonna
get along. Like a family should.
(to Linda)
I may even surprise you one day and
pop the question.
(he gets up)
Well, I'm goin' back to work. I
just wanted to give y'all some
little piece of happiness today.
(kisses Linda)
See you tonight honey. Karl. Be a
good boy, Frank.
He leaves.
LINDA
Well, at least he's tryin'. But who
knows for how long.
FRANK
He's lyin' Mama. He ain't gonna do
better.
LINDA
I know honey. Just remember what I
said, we'll bide our time. You just
steer clear of him as much as you
can. Doyle's had a real hard life.
It's just about run him crazy I
think.
FRANK
We've had a real hard life, too,
Mama.
Linda moves to the couch and puts her arms around Frank.
LINDA
You're a hell of a boy, Frank.
Someday you're gonna get all the
good things you deserve. And Karl
here's gonna get some more biscuits
tonight. What do you think about
that?
KARL
I could shore use some. Thank ye.
INT. SHOP - DAY
Karl is cleaning some parts in a bucket of gasoline. Bill
comes to the door.
BILL
Hey there Karl, can you come unload
a generator for me?
Karl wipes his hands on a shop towel and starts outside.
EXT. PARKING LOT - DAY
A MAN and a TEENAGE BOY stand by a pickup truck. A small
generator is on the tailgate.
BILL
Karl, lift this thing down and
carry it to the back. It's on the
blink.
(to man as Karl unloads
it)
We'll have it for you in a day or
two, Walter.
WALTER
Y'ont us to he'p you there liftin'
that?
BILL
Oh no, that dang Karl can lift a
bulldozier. Fix anything, too.
(confidentially)
He's mentally retarded, but he's a
whiz on small engines. Lord works
in mysterious ways.
Karl carries the generator toward the shop. He turns and
watches the man and boy talking and laughing with Bill. The
man playfully puts an arm around his son's neck and tousles
his hair.
WALTER
Hell, he didn't just make the team,
Coach says he's probably gonna
start at end on defense. He's a
chip off the old block. Ain't you,
Steve?
STEVE
I guess so.
Karl turns and goes in the shop.
INT. WHEATLEY GARAGE - DAY
Karl is on his cot reading a book. Frank comes in. He looks
very depressed. He sits beside Karl.
FRANK
What you readin'?
KARL
Readin' on this book on how to work
carpentry. I aim to learn how to
build things out of wood one of
these times. I've always been
partial to wood buildin's and
cabinets and whatnot. These
drawin's they got here don't make
no sense to me so far.
(he looks directly at
Frank, which he seldom
does)
You seem like yore tails a'draggin'
a might. You got somethin' wrong
with ye?
FRANK
Seems like Doyle's wormed his way
back in. Mama said he's stayin'
over tonight and he's talkin' about
movin' in for good. We ain't ever
gonna be happy. We'll always be
nervous, won't we Karl?
KARL
I don't reckon I know. I ain't
found no way yet and I'm three or
four times as old as you. Might be
that's just the way folks is.
FRANK
I feel sad about Karen Cross, too.
I just make like to myself she
loves me. I know better, though. It
just feels good to me when I
imagine it.
KARL
Make believin' always made me feel
good too from time to time.
They sit in silence for a moment.
KARL (CONT'D)
Bill Cox is goin' to a funeral for
a Mister Turner tomorrow and a
closin' up shop early.
FRANK
Is that right?
KARL
I'll play ball with ye. I reckon if
neither one of us is no count it
won't make no difference.
FRANK
You will? For sure?
KARL
Yeah.
FRANK
We'll be on teams, me and you?
KARL
Yessir.
EXT. JUNIOR HIGH FOOTBALL FIELD - DAY
It's the practice field, so it's not very well kept. Karl,
Frank, and two other boys around Frank's age are huddled up.
Four boys are lined on defense. They break the huddle and
come to the line. They are on about the fifty-yard line.
Frank hikes the ball to one of the boys. He later als it to
Karl who stands there for a minute as the defenders run
toward him. Then he takes off like the wind. He runs funny,
kind of humped over and pigeon-toed, but fast. All the others
are chasing him. Two of the other team's boys catch him on
about the fifteen-yard line, but he drags them along. Karl
sees Frank out of the corner of his eye and tosses him the
ball just as Karl bites the dirt. Frank goes into the end
zone untouched. There are cheers from Frank and the other
boys. Frank runs over to Karl who's still on the ground.
FRANK
Way to go, Karl. We got a
touchdown. That was a good lateral,
man. That was just like the
Wishbone.
KARL
I dern near had me a touchdown till
them boys got a-hold of me there so
I figured I better give it off to
you. I seen you over there
follerin' me.
FRANK
We're liable to win if we keep this
up. For somebody like you, you sure
run fast.
He grabs Karl by the hands and helps pull him up.
FRANK (CONT'D)
Come on, let's kick off to 'em.
EXT. SIDEWALK - DAY
Karl and Frank, dirt, grass stains and all, walk toward home.
FRANK
I know you could of scored them
three touchdowns by yourself
instead of throwing 'em over to me.
KARL
Them boys was tryin' to pull me
down pretty hard.
FRANK
You're strong though. You let me
make them touchdowns so I'd feel
good. My daddy used to do that kind
of thing.
They walk in silence for a moment.
FRANK (CONT'D)
It don't matter to me about us
losin' does it to you?
KARL
No sir.
FRANK
It was fun, anyhow.
KARL
I wadn't thinkin' about nothin'
else just like you told me I'd do.
FRANK
Can we play ever' Saturday?
KARL
If I ain't too stove up. I ain't
like you. I'm old and give out.
(pause)
I'm proud of ye.
INT. GARAGE - DAY
Karl sits on his bed rubbing his hands together, deep in
thought.
EXT. STREET - DAY
Karl is walking down the street past rundown houses. He comes
to an old gray woodframe house. It is in bad repair, the
paint is peeling, the yard is grown up. There is an old
wooden shed in the back yard. He stands looking at it for a
moment then walks through the yard and opens the door to the
shed. He's motionless for a moment, then goes inside.
INT. SHED - DAY
Sunlight comes through the cracks in the wood. The shed has
nothing but dirt for a floor. A few tall patches of grass
shoot up between boxes and rusty lawnmowers. A few old garden
tools hang on the wall. In the center is a low circular spot
in the ground and a few tattered shreds of an old quilt.
Karl stands looking at the hole for a moment, then turns and
walks out of the shed.
EXT. YARD - DAY
Karl walks across the yard to the house.
INT. SCREENED-IN PORCH - DAY
Karl goes onto the screened-in porch, looks through the
kitchen window and goes inside.
INT. KITCHEN - DAY
The place is a mess. Dirty dishes are piled in the sink and
on the table. It's not just clutter, but filth everywhere.
INT. LIVING ROOM - DAY
Karl walks into an equally filthy living room where an OLD
MAN in overalls sits slumped in a chair looking at his lap.
Karl stands facing him for several moments.
KARL
I'm ye boy.
OLD MAN
I ain't got no boy.
KARL
I'm ye oldest boy name Karl.
OLD MAN
I ain't got no boy.
KARL
They turned me aloose from the
nervous hospital. Said I was well.
No response.
KARL (CONT'D)
I got hired to work for a Mr. Cox
fixin' lawnmowers and whatnot.
No response.
KARL (CONT'D)
That grass out in the yard's all
growed up. I figured I might cut it
fer ye.
OLD MAN
I told you, I ain't got no boy, now
get on out from here and let me be.
Long silence.
KARL
I learned to read some. I've read
on the Bible quite a bit. I don't
understand all of it, but I believe
I understand a good deal of it.
Them stories Mama and you told me
ain't in there. You ort not to of
done that to ye boy.
(pause)
I've studied on killin' you. But I
don't reckon they's no reason fer
it if all you're gonna do is set
there in that chair. You'll be dead
soon enough I reckon and the
world'll be shut of ye.
(Karl walks toward the
kitchen and turns back to
the old man)
You ort not to of killed my
brother. He ort to have had a
chance to grow up. Sometimes he
would of had fun.
EXT. YARD
Karl walks out of the house and across the yard to a hedge in
the corner and kneels down. He pushes some grass aside to
reveal a rock about afoot tall and afoot across. In front of
it, the ground is raised a little. He stares at the rock for
a moment and touches it.
KARL
Little feller.
EXT. A LARGE OLD WOODEN SLAT BRIDGE - DUSK
Karl stands on the side of the bridge looking into the river
below.
INT. WHEATLEY HOUSE - NIGHT
All the lights are out. We see a shot of Frank in his bed
asleep, but tossing and turning. Then a shot of Linda in bed
staring at the ceiling and Doyle beside her snoring.
Suddenly, the lights come on and Linda lets out a little yelp
and sits up, which wakes up Doyle and he sits up with a
start. From their P.O.V. we see Karl standing in the door
holding a hammer.
DOYLE
What in the goddamn hell are you
doin'? It's the middle of the
night.
LINDA
What do you want, hun?
KARL
I want to be baptized.
DOYLE
Baptized? Well, get baptized then.
I don't give a shit. Call a fuckin'
preacher, goddamnit! I can't
baptize you.
LINDA
We'll go to church and get you
baptized, tomorrow's Sunday. You go
on back to bed.
DOYLE
What are you doin' with that damn
hammer?
KARL
I don't rightly know. I just kindly
woke up a-holdin' it.
INT. CHURCH - DAY
We see a shot of Frank and Linda and Vaughan in a church pew.
The church is pretty full. From their P.O.V. we seek Karl in
a robe standing in the baptismal tank. The preacher takes
Karl and dunks him under the water and brings him back up.
INT. WHEATLEY LIVING ROOM - DAY
Doyle is in his favorite chair as Linda, Frank, and Karl come
through the front door.
DOYLE
How'd your baptizin' go?
LINDA
It went real good.
DOYLE
Well, that's good. It's about time
to eat and you know what I'm
cravin'? Some of that take out
chicken. Why don't you run get some
of it, honey, for lunch?
LINDA
(to Frank and Karl)
Would y'all like that?
FRANK
Yeah, I guess.
KARL
Yes ma'am. I like a fried chicken
leg.
LINDA
All right, y'all gonna go with me?
DOYLE
Naw, hell, let them stay here with
me and do men things. There might
be some kind of ball game on we can
watch. You go on.
LINDA
I'll be back in a little bit then.
She leaves and Doyle walks up to Karl and Frank.
DOYLE
I really just wanted to git your
mama out of the house for a minute
so we can have a talk. Y'all set
down.
They sit on the couch and Doyle kneels in front of them.
DOYLE
Now here's the deal. Now that I'm
gonna throw my entire life away
doin' what I want to come live here
with y'all, we have to get a few
things straight. See, Frank, me and
you mama wouldn't have any problems
if it wadn't for you. We'd never
have a bad word between us. But
since you do exist, if I'm gonna be
here as the head of the household,
we'll have to live by my rules.
And my rules are you don't speak
unless you're spoken to. Stay out
of my way and do what a regular kid
does. You're a weird little shit. I
don't get you. So wake up. Face
what they call reality. We're gonna
be a family now. And it's my
family. I'll be payin' the bills so
you got me. But I ain't your daddy.
You just treat me like I am. I'm
the boss, okay. And the other thing
is your friend Karl has to go. We
can't have a normal family with him
livin' in the garage and comin' in
the bedroom at four in the mornin'
with hammers and shit. See?
FRANK
Karl can stay if he wants to. Mama
said --
Doyle slaps him across the face and Karl grabs Doyle's arm.
Doyle shakes him off.
KARL
Don't hit that boy no more.
DOYLE
You shut up you, fuckin' retard.
Get your shit and get out of here.
(to Frank)
That was a wake-up slap, Frank.
Remember. Reality, like I said.
Don't forget any bit of what I said
to you and we'll be fine.
Frank jumps up and runs from the house and Doyle sits back in
his chair and pops a beer. Karl gets up and goes to the
garage.
INT. GARAGE - DAY
Karl ties his books up with his strap and gets a bag from his
bed and leaves.
EXT. DRIVEWAY - DAY
Karl is walking away as Linda pulls up in her car and gets
out with fast-food bags.
LINDA
Where are you goin', Karl? Didn't
you want some chicken and things?
KARL
No ma'am. I'm a'goin' off sommers.
LINDA
Well, okay. I got you some.
KARL
Frank, he went off, too. He ain't
gonna be in there when you get
indoors.
LINDA
Where'd he go? What's goin' on?
KARL
He wanted to go off and play, I
reckon.
(pause)
You go in there and you and that
Doyle eat ye dinner. You don't have
to worry yourself none.
LINDA
All right then. Well, I'll see you
later. If you see Frank, tell him
to come on back home. I don't get
to see him all day except Sundays.
He can play tomorrow.
KARL
Ma'am?
LINDA
Yeah.
KARL
You're a good mama to that boy. You
care for him. You work hard fer him
to take care of him. You light him
up in his eyes, I've seen it. He
wouldn't know what to do without
ye.
LINDA
Well thank you, hun. That's real
good of you to say. I wouldn't know
what to do without him either.
KARL
You've been real good to me, too.
It ain't ever'body that'd make
biscuits in the middle of the
night. You and that boy has give me
a good feelin'.
LINDA
We sure like havin' you.
KARL
Thank ye.
(Karl walks away, then
turns)
I'm just getting around to tellin'
you, but I fixed your warshin'
machine.
EXT. SECRET PLACE - DAY
Frank is on the ground digging a trench in the dirt with a
stick. He hears footsteps in the leaves and looks up and sees
Karl coming toward him.
FRANK
Hey, Karl. How'd you know to come
out here?
KARL
I knowed you'd be here.
(Karl sits on the stump)
What are you a-doin' digging with
that stob?
FRANK
Just diggin'.
(pause)
I ain't ever gonna be happy now.
Not with that son of a bitch movin'
in for good. I wish me and you and
Mama could just run away. But she
said he would find us wherever we
went. He's crazy. Sometimes I think
it would of been better if I wadn't
ever born.
KARL
I'm glad of it you was borned.
(pause)
I reckon I ain't gonna be there in
the garage no more.
FRANK
You have to Karl. You have to look
out for me. You don't let that son
of a bitch run you off.
KARL
You're just a boy. You ort not to
use that sort of language.
FRANK
Karl, I ain't tryin' to say nothin'
bad about you, but why don't you
stop Doyle when he gets that away?
You're older than him. You're
strong, too. My daddy wouldn't let
him do that to me and Mama.
KARL
That feller's a whole sight meaner
than me. He'd just whup the tar out
of me.
FRANK
Yeah, I guess so. I'm real tired,
you know that. A kid my age
shouldn't be tired of things.
KARL
I'm tired, too, Frank.
(pause)
If I ain't around no more, it don't
mean I don't care fer ye. I care
for ye a good deal. I care for you
more than anybody they is. We made
friends right off the bat.
FRANK
I care for you, too. But you'll be
around, don't say that.
KARL
Hit don't make no difference where
I was to be. We'll always be
friends. There ain't no way to stop
that.
(pause)
I aim for you to have these books.
He hands him the books.
KARL
Maybe you can make more sense out
of them than I can.
I made you a little old book marker
and stuck it in that book on
Christmas.
FRANK
You don't want to give away all
your books.
KARL
I aim fer you to have 'em.
FRANK
Man. Thanks.
(pause)
You know when you get a feelin' and
you don't know why?
KARL
Yes sir.
FRANK
I've got a feelin' today.
KARL
Reckon what kind of a feelin'?
FRANK
Like something different. I don't
know.
(pause)
You're leavin' ain't you, Karl?
KARL
Will ye do somethin' for me if I
ast you to?
FRANK
You know I would. Whatever you
want.
KARL
Don't go home tonight and stay with
that Doyle. He's got it in for ye
tonight. I got me a feelin', too.
Feels like to me you ort not be
there in that house with him
liquored up and mean. Ye mama
neither. When you get up from here,
I want you to go to that feller's
house. Your mama's friend. I want
you to give me your word on it.
FRANK
Okay. I give you my word. Is
ever'thing gonna be okay? Are you
all right?
KARL
Ever'thing's okay, boy. I kindly
want to put my arm around ye for a
minute and then I'm gonna go on and
leave here.
FRANK
Okay.
Karl lays his arm on Frank's shoulder and Frank puts his hand
on Karl's arm. They sit like that for a few moments, then
Karl gets up with his paper sack and walks away. Frank takes
the book marker out of the Christmas book. It is just a
folded piece of notebook paper. On it is written 'You will be
happy.' He looks up at Karl who is now thirty yards away in
the trees.
FRANK (CONT'D)
Karl!
Karl turns around and he and Frank stare at each other
through the trees.
EXT. VAUGHAN'S HOUSE - DAY
Karl knocks on the door. After a moment, Vaughan answers in a
pair of big shorts and a sweatshirt.
VAUGHAN
Karl, what are you doing here? Come
in.
KARL
I ain't a-stayin'. I need to ast
you fer a favor.
VAUGHAN
Okay.
KARL
This evenin' I want you to go get
Mizz Wheatley and that Frank and
have them stay with you tonight.
VAUGHAN
What's wrong? Is everything okay?
KARL
That dern Doyle is in a bad way
again with that drinkin' and bein'
mean to folks. Will you give me
your word you'll do it?
VAUGHAN
Well, sure, okay. He hasn't hurt
them, has he?
KARL
Naw, not yet.
(hands the bag to Vaughan)
I want ye to give this to Mizz
Wheatley. Hit ain't much, but maybe
there's a little somethin' to hep
out. Hits what I've earned fixin'
lawnmowers and whatnot fer Bill
Cox.
Vaughan takes the bag.
VAUGHAN
What about you, Karl? Do you want
to stay here?
KARL
I don't reckon you have to go with
women to be a daddy to a boy.
(pause)
You've been real square dealin'
with me. The Bible says two men ort
not lay together. But I'll bet you
the Good Lord wouldn't send nobody
like you to Hades. Some folks calls
it Hell, I call it Hades.
(Karl starts away)
That boy lives inside of his own
heart. Hits an awful big place. You
take care of that boy.
Vaughan watches Karl walk away.
EXT. BUS STATION - NIGHT
Karl stares at the bus station door.
EXT. WHEATLEY HOUSE - NIGHT
Karl stares at the house from the sidewalk.
EXT. OLD WOODS BRIDGE - NIGHT
Karl stares into the river.
INT. COX'S SHOP - NIGHT
Karl has a lawnmower blade sharpening it on a grinding wheel.
EXT. WHEATLEY HOUSE - NIGHT
Karl carrying the blade walks onto the porch and enters the
living room.
INT. LIVING ROOM - NIGHT
Doyle is in his chair drinking beer and watching TV. He looks
up as Karl comes around and sits on the sofa.
DOYLE
Where's ever'body else? You seen
'em?
(no response)
I thought I told you to get the
hell moved out of here anyway.
KARL
How does a feller go about gettin'
ahold of the police?
DOYLE (CONT'D)
Pick up the fuckin' phone and call
'em, I guess.
KARL
What numbers do you punch?
DOYLE
I told you to get away from here,
didn't I? I'm tryin' to relax and
look at TV.
(notices blade)
What are you doin' with that piece
of iron? I swear to God you're the
weirdest son of a bitch I ever
heard of.
KARL
I aim to kill you with it.
Doyle keeps drinking and watching TV.
DOYLE
Yeah, okay. Well, to get the police
you push 911. You'll need to tell
'em to send an ambulance, too. Or a
hearse. You fuckin' idiot. You're
gonna kill me.
(laughs)
Karl gets up and walks slowly toward Doyle out of frame. We
see the flickering light of the TV on the wall. O.S. we hear
one short dull thud.
DOYLE (O.S.)
Oh God! Oh God!
We hear one more thud, then the sound of Doyle's body hitting
the floor. Karl appears in frame again and we follow him to
the kitchen where he picks up the wall phone. He stares at it
for a moment, then pushes 911. He has a few specks of blood
on his face, hand and shirt.
KARL
(into phone)
Yes ma'am. I need the police over
here at the Wheatley house.
(pause)
I've killed somebody with a mower
blade.
(pause)
Yes ma'am, I'm right sure of it. I
hit him two good whacks. That
second time just plumb near cut his
head in two.
(pause)
Hits a little old yeller house
right on the corner of Marigold
Street and some other street.
They's a red pickup truck out front
says DOYLE HARGRAVES CONSTRUCTION
on it. I'll be a settin' here
waitin' on ye. Beside sendin' the
police, Doyle said you might want
to send a ambulance or a hearse.
Thank ye.
He hangs up and goes to the refrigerator and takes out a jar
of mustard. He gets a knife out of the drawer and sits at the
kitchen table and pulls back a table cloth that is covering
up some leftovers. He picks up a biscuit and opens the
mustard jar and runs the knife around it.
There's hardly any mustard in it. He dabs a little on the
biscuit and takes a bite and relaxes to wait for the law.
CUT TO:
CLOSE UP OF CHARLES THE NUT CASE
He's in the middle of one of his sick monologues. We pull
back and see we're in the recreation room of the hospital
again with Karl in his usual chair listening to Charles. Karl
is now wearing the hospital issue clothing.
CHARLES
... on the third day I washed her.
She wasn't very clean. I got all
the right spots. She was the first
one I ever kept for any length of
time, you see I get bored easily, I
have a short attention span. I
can't say she enjoyed her stay,
although the washcloth in her mouth
held in place by good duct tape
kept any complaints to a minimum. I
don't really like people who talk a
lot. I like to do the talking. I
guess that's why I'm so fond of
you. You're so easygoing, although
I do sense a little tension in you
sometimes. By the way, how was it
out there? Did you have any fun?
Make any new acquaintances? Tell me
what it was like.
KARL
They was a boy. We made friends.
CHARLES
I bet you did. I was never bent
that way. I'm bent the other way.
So, you liked it out there in the
world.
KARL
It's too big.
CHARLES
Well, it's not too big in here, is
it?
(pause)
I feel very generous today. I feel
like listening. I'm sure you have
plenty to tell me. And please bore
me with the details.
(long pause) )
Come on Karl, who did you kill? Was
it the boy?
KARL
Don't say nothin' about that boy.
Karl looks him right in the eye for the first time ever.
KARL
Fact the bidness, don't you say
another word to me. I ain't
listenin' to you no more.
Karl gets up and goes to the window and looks out at the
grass that separates him from the next building. He stares
out the window, as we:
FADE OUT.
THE END
BLADE - by David S. Goyer
BLADE
-----
by
David S. Goyer
Darkness, BLOOD-CURDLING SCREAMS. Presentation credits roll as we
FADE UP ON:
INT. HOSPITAL, INNER-CITY TRAUMA WARD - NIGHT
It's 1967, the Summer of Love and --
BOOM! Entry doors swing open as PARAMEDICS wheel in a FEMALE BLEEDER,
VANESSA (20s, black, nine months pregnant). She's deathly pale,
spewing founts of blood from a savagely slashed throat --
A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into an
artery to draw blood, wrapping a blood pressure cuff around her
arm --
NURSE #1
(with stethoscope)
She's not breathing!
SENIOR RESIDENT
Intubate her!
The RESPIRATORY THERAPIST feeds an endotracheal tube down the woman's
ruined throat, attaches that to an Amblu bag --
RESIDENT
Blood-pressure's forty and falling --
The woman starts spasming violently. It takes three staff members
just to hold her down.
SENIOR RESIDENT
Jesus, her water's broken --
(calling for help)
She's going into uterine contractions --
CAMERA PUSHES IN on the woman as she bolts upright, SCREAMING to wake
the dead. We PLUNGE INTO the darkness of her mouth and find
ourselves --
INSIDE HER BLOODSTREAM
The sound of a HEART BEATING, pounding as we whip-snake through --
CORPUSCLES
floating in amber plasma. Erythrocytes, leukocytes, neutrophils and
eosinophils.
The rhythmic expansion of the artery walls, pulsing with each
successive surge of blood as the HEART BEATS FASTER AND FASTER,
taking us --
IN UTERO,
A CHILD, alive but unborn, shifting in a sea of amniotic fluid,
surrounded by the white, protective substance known as vernix
caseosa. The HEARTBEAT races like a locomotive now. The unborn child
shifts, turns its head towards us --
-- and opens its eyes.
CUT TO:
A SWORDBLADE
cleaving the darkness, radiant light slicing across gleaming Damascus
steel. Words acid-etched in the weapon's fine-tempered surface:
BLADE
Main credits end.
EXT. INNER CITY, INDUSTRIAL GHETTO - NIGHT
A decaying no man's land populated by condemned buildings and HUNGRY
HOMELESS. Steam rises from manhole covers, drifting across the
litter- lined streets. Suddenly --
A black Mercedes 850 appears over the crest of a hill, ROARING past
us, stereo system belting out FILTER.
INT. MERCEDES - NIGHT
Raquel, a wasp-wasted woman, sits behind the wheel. 20s, rich,
sickeningly attractive. Hungry eyes.
Squirming around in the passenger seat is DENNIS, a model/actor boy-
toy with a sub-zero IQ and a "fuck me sideways" grin.
DENNIS
So where we going?
RAQUEL
It's a surprise.
DENNIS
I likes surprises.
Raquel eyeballs Dennis -- "if looks could devour".
RAQUEL
What do you have down there, little
man?
DENNIS
Heat-seeker.
RAQUEL
I'll bet.
Raquel slides a manicured hand up his thigh, squeezes his groin.
Dennis MOANS. She pulls her hand away, downshifts.
EXT. VACANT LOT - NIGHT
The 850 threads a narrow alley into a vacant lot, BRAKES hard. Raquel
and Dennis climb out. She leads him into --
EXT. MEAT PACKING PLANT - NIGHT
Industry never sleeps, and certainly not this grisly facility. Raquel
leads Dennis around the back of the plant, where a host of WORKERS
are loading refrigerated trucks with product.
DENNIS
What the fuck are we doing here?
Raquel just smiles, heads on into the plant via a loading door. The
workers ignore her.
INT. MEAT PACKING PLANT - NIGHT
Dennis follows Raquel through the bowels of the plant, catching
glimpses here and there of carcasses being rendered or hacked apart.
Through one partially open door we see what might be a line of
BODYBAGS being trundled into the back of a truck via a hook and chain
pulley-system. But Dennis doesn't have enough time to be disturbed by
the vision, because he's being pulled away by Raquel, led down --
A STAIRWELL
We are in the basement now. At the end of the hall is a steel door,
with perhaps, just the faintest HINT OF MUSIC heard coming from
beyond. Raquel knocks.
A "peep-hole" slat opens and a BLACK LIGHT shines into Raquel's eyes.
A VOICE behind the door offers a verbal challenge, speaking a
language we've never heard, laced with a devilish cadence.
Raquel responds in kind. The door opens. Raquel gives Dennis a
knowing wink, enters. Dennis follows.
INT. CLUB - NIGHT
Raquel and Dennis move past a hulking DOORMAN, making their way down
a narrow stairway. Dennis is suitably impressed.
THE CLUB
is elite, underground -- an "abattoir-chic" version of an old-time
juke joint with a greasy, dangerous vibe. White-tiled walls and
floors for easy hosing, chromed fittings, run-off gutters, drains. No
bar.
BODIES
writhe on the strobe-lit dance floor. A heavy S&M scene. Leather.
Latex. Tattoos. Body-piercings.
A D.J. wearing head-mounted spotlights orchestrates the tunes on
twin- decks. MUSIC assaults us -- a beat so heavy it could jar the
fillings from your teeth. Brutal "DARKCORE" along the lines of
Prodigy or Underground.
Raquel pulls Dennis out onto the dance floor. They sway.
A lupine-featured GAULTIER GIRL with a streak of white running
through her raven hair moves in behind Dennis, pressing up against
him. Rachel Williams as the Angel of Death -- we'll call her MERCURY.
Mercury flicks her tongue against Dennis' ear -- it's been pierced
with a silver post which clicks against her teeth. Tattooed across
her back in black is a swirling, tribal vortex.
Dennis is now sandwiched between Raquel and Mercury, the three of
them dry-humping their way to every man's glory.
The beat gets LOUDER. The action heavier. The atmosphere more
narcotic. People are stripping off their clothes, sweating like
fiends. It's a virtual orgy.
Dennis laughs, reveling in the hedonism. Everything rises to a fever
pitch --
DENNIS
(over the music)
Fuck, I need a drink!!!
Raquel just smiles -- then Dennis notices a DROP OF SOMETHING spatter
his hand. It looks like blood. Dennis looks up, concerned --
-- MORE BLOOD DROPLETS are falling. Raquel's face is sprinkled with
them now. Dennis stops dancing. What is this? Some kind of fucked up
performance art?
Raquel turns her face toward the ceiling, as if washing herself in a
summer shower, now the other club goers are looking up too --
BLOOD SHOWERS DOWN
from sprinkler heads in the ceiling, drenching the dancers. The club
goers love it, thrusting their heads back, mouths open wide to
receive the crimson offering.
Horrified, Dennis recoils, turning towards --
RAQUEL,
whose face morphs into a preternatural snarl. Her canines extend,
tapering to razor-sharp points. Her tongue flicks, lizard-like as
fingernails sharpen into claws. All this while the whites of her eyes
BLEED RED, pupils oscillating hypnotically.
RAQUEL
What's wrong, baby?
Dennis SCREAMS, pushes away from Raquel, only --
-- Mercury has fangs now too. In fact, everyone in the club does,
with the exception of poor Dennis. That's because they're all
vampires.
Dennis tries to run, but the burly Doorman blocks his exit, brutally
smashing his fist into Dennis' face.
Dennis falls, dazed. The club-goers close in around him. They make a
game of it, shoving him from one person to another, their pale faces
leering like twisted jack-o-lanterns.
The strobe lights quicken to a seizure-inducing intensity. Dennis
spins, tumbling into Raquel's arms. She shoves him forward -- Dennis
lands on the floor, falling at someone's boot-clad feet. He looks up.
A DARK FIGURE sits in the shadows, unnoticed until this moment. The
figure stands, moves into the light as time screeches to a halt --
A BLACK MAN,
towers above Dennis, wearing dark glasses and a leather longcoat -- a
sneer of cruel contempt etched upon a face tempered by a lifetime of
horror. His name is BLADE.
Blade whips open his long coat, shrugging it off, revealing an
arsenal of high-tech weapons strapped to his body:
6-point adjustable body armor, a modified CAR-15 assault rifle with
an ultra-violet entry light, two Casull .454 revolvers, a "Demon"
automatic cross-bow, a bandoleer of mahogany stakes, an Indian-style
katar punching dagger -- and last, but certainly not least, his
namesake -- a silver sword which is secured in a back-scabbard.
CLOSE ON BLADE
A gaze as cold and pitiless as a midnight sun. The vampire club-goers
stare back. Nuclear silence. And then --
All hell breaks loose. With a SNARL, Raquel charges at Blade, moving
at superhuman speed, practically a blur --
Blade draws his Casulls, FIRES in multiple directions --
MACRO BULLET SHOT
as a round roars through the air towards Raquel. A silver-tipped dum-
dum bullet which explodes on contact.
WHAM! The round punches a fist-sized hole through Raquel's chest,
continuing on into the vamp behind her! Vampire blood fountains. Both
creatures tumble forward, their bodies liquefying into puddles of
black oil which go gurgling down the run-off drains.
Blade continues FIRING, then -CLICK!- magazines empty. Next. He
holsters the Casulls, swings up his assault rifle, calmly flicks on
the UV entry light mounted above --
MERCURY
leaps twenty feet straight up into the air. We've never seen anything
move so fast. She CRASHES through a glass skylight, disappearing into
the night just as --
-- a shaft of blinding UV "sunlight" cuts across the vampires. They
rear back, skin smoking from the light's corrosive effects. Blade
opens FIRE, pumping round after round of wooden fragmentation bullets
into the crowd -- vampire genocide.
The strobe lights flicker as the mayhem mounts. Some of the vampires
try to flee, scurrying up the stairs, but the exit quickly becomes
clogged with liquefying bodies --
-- then Blade's CAR-15 jams. The remaining club-goers see their
opening, surge forward en masse --
Blade drops the rifle, reaches over his shoulder and -SCHINGGG!-
unsheathes his sword with a double-handed grip.
THE SWORD
Four acid-etched feet of blood-soaked Damascus steel. An edge so
sharp it could cleave a shadow in two.
Blade moves like lightning, hacking his way into TWO CHARGING
VAMPIRES. Blade spins again, cuts ANOTHER VAMPIRE clean in half --
ON THE FAR END OF THE CLUB,
a LATEX-CLAD VAMP makes a break for it. Blade flings his sword,
sending it spinning end over end -- THUNK! The sword punches into the
vampire's heart. The hellish creature convulses, dies.
Beat. Blade retrieves his sword, then senses --
SOMETHING BIG
rising up behind him. In a flash, Blade swings his sword downward,
cutting off the vampire's right hand at the elbow. The severed limb
falls to the floor --
-- but it doesn't slow the hulking creature down. It SLAMS into
Blade. Blade flies backwards thirty feet, tumbling over tables,
slamming into the rear wall so hard that plaster rains down from the
ceiling.
Blade suddenly finds himself wrestling with a feral-faced six-foot-
something nightmare named QUINN. The vampire rears back its head,
jaws stretching wide. Every inch of his face is covered with ritual
scarification patterns and Maori-like tribal tattoos.
Blade forces an elbow against Quinn's throat, trying to keep him at
bay. With his other hand he reaches to his bandoleer, pulls out a
stake -- CRUNCH! Blade shoves the stake through the vampire's larynx.
Quinn gurgles, clutches at his throat.
Blade rolls out from under, unholsters the cross-bow secured to his
leg. With a flick of a switch the arms of the bow -SNAP!- open,
drawing the bow-string taut. Blade FIRES --
The bolt hits Quinn in the shoulder, throwing him backwards and
nailing him to the wall. As Quinn reaches over with his other hand to
pull out the stake --
Blade FIRES AGAIN. A second bolt slams into Quinn's other arm,
effectively pinning him like a butterfly to a board.
UP ABOVE,
mounted in one of the corners, is a security camera. Blade fires a
cross-bow bolt straight into the lens.
Blade strides over, placing his sword against Quinn's chest.
BLADE
Where is Deacon Frost?
Quinn glares, trying to speak, gagging on the stake still lodged in
his trachea --
BLADE
Got something in your throat.
Blade yanks the stake free. The vampire laughs, air whistling through
his ruined larynx.
QUINN
Fuck you, Day-walker, I ain't saying
shit --
BLADE
Frost.
Quinn responds with a slew of rapid-fire vampire invectives. Blade
sees he's getting nowhere fast, calmly sheathes his sword. He unclips
a white phosphorous grenade from his combat harness --
QUINN
You won't stop him, Blade. The Tide's
rising, the Sleeper's gonna --
Blade shoves the grenade in Quinn's mouth, pulls the pin. WHOOSH!
Quinn goes up like a roman candle. Blade turns, surveying his work,
ignoring the howling pyre behind him:
All evidence of the vampires is gone -- with the exception of a few
oily-black puddles. Clothes, jewelry -- it's all been burned away by
the acidic process of the creatures' accelerated decomposition.
DENNIS sits huddled in a corner, having pissed his pants. As Blade
approaches, he cringes back --
DENNIS
Please don't --
Blade simply grabs Dennis by the jaw, tilting his head upward,
rotating it from side to side -- looking for bite marks. There aren't
any.
Blade moves on, leaving Dennis alone amidst the carnage. As Blade
starts up the stairs, he pauses in mid-step --
A COCKROACH
scurries out from underfoot.
Blade adjusts his footfall, sparing the roach. He continues on up the
stairs, disappearing in the smoky haze.
CUT TO:
INT. CITY HOSPITAL, AUTOPSY ROOM - NIGHT
CAMERA FOLLOWS a bagged corpse as it's rolled into the autopsy room
by an ASSISTANT.
ASSISTANT
Brought you a baked potato, nice
and crispy. Still warm, too.
CURTIS WEBB, the forensic pathologist (30s, white bread, a little on
the smarmy side) steps forward, unzips the bag --
It's Quinn, what's left of him, anyway. Burnt to a charcoal
briquette, limbs twisted horribly, oozing fluids.
Curtis turns his head, grimacing, wafting the air.
CURTIS
Jesus, that's rank --
Curtis turns back, makes note of the blackened stump where Quinn's
arm used to be, the ruined throat --
CURTIS
What's his story?
ASSISTANT
Paramedics said he was still screaming
when they found him. Looks like some
joker had stapled him to a wall.
CURTIS
Pretty.
CUT TO:
INT. HOSPITAL, HEMATOLOGY LAB - NIGHT
MICROSCOPE POV
of a slide-mounted blood smear stained with Wright stain (blue ink).
What we see is a collection of donut-shaped pink things (red blood
cells) intermingled with some small blue specks (platelets) and the
occasional larger, light-blue blobs (white blood cells).
KAREN JANSEN (20s), a fine-featured hematologist with a social life
in suspended animation, sits back from the microscope, stumped. Next
to her is JULIE WHITAKER, a cheerful chemtech.
KAREN
You took this off a DOA?
Curtis sits on a stool nearby, slowly nodding.
KAREN
This isn't human blood.
CURTIS
Then what is it?
KAREN
I don't know --
(re: microscope)
Look at this blood smear --
Curtis takes a look for himself.
KAREN
The red blood cells are biconvex,
which is theoretically impossible.
They're hypochromic, there's virtually
no hemoglobin in them.
(shaking her head)
Look at the PMNs, they're binucleated,
they should be mononucleated.
CURTIS
What about the chemistry panel?
Karen looks to Julie, who reaches for a computer print-out.
JULIE
Blood sugar level is three times the
norm, phosphorous and uric acid are
off the scales.
(shrugs)
Like the woman said, impossible.
Karen removes her glasses, rubbing the bridge of her nose.
KAREN
Curtis, it's three in the morning. I'm
really not in the mood for one of your
practical jokes.
CURTIS
(insistent)
It's not a joke. I've got the stiff
sitting in the morgue right now --
look, just come up and see him, okay?
Five minutes, that's all I ask.
KAREN
I thought you promised to give me some
distance?
CURTIS
This is purely professional curiosity,
Karen, I swear.
Karen rolls her eyes, lets loose a tired sigh.
KAREN
Five minutes, not a second more. And I
don't want to hear a word about "us".
CURTIS
No problem.
INT. HOSPITAL MORGUE - NIGHT
The dead of night, not a mouse in the house. Curtis and Karen, each
garbed in a mask, stand on either side of Quinn's body, which now
rests on the autopsy table.
QUINN'S BODY
A preliminary exploratory Y-incision has been made across the chest,
stretching from shoulder to shoulder, then continuing on down the
abdomen. Ribs and cartilage have been cut open to expose the heart
and lungs.
KAREN
You haven't started in on the internal
organs?
CURTIS
Just the blood sample from the
pericardial sac.
Curtis pauses, studying Quinn's disfigured face -- the features seem
much less damaged now -- almost as if the corpse were healing itself.
CURTIS
That's weird --
KAREN
What?
CURTIS
He looks different now, burns are less
extreme, some of these wounds have
closed up --
Curtis pulls out a penlight, flicks it on. He leans over Quinn,
shining the light into one of his eyes.
CURTIS
Tell me something, honestly, you ever
have second thoughts about us?
KAREN
(grudgingly)
Sometimes --
Curtis looks up from the corpse, grinning beneath his mask.
KAREN
-- but then I remember what an
ass-hole you were and I'm snapped back
to reality.
CURTIS
Jesus, Karen, you're breaking my heart
here --
Quinn suddenly bolts up from the autopsy table, sinking his fangs
into Curtis' jugular. He snaps the man's neck in two for easier
access, sucking in blood like a living vacuum.
Karen stumbles backwards, sending autopsy tools CLATTERING.
QUINN
rises from the table, flinging Curtis' twitching body aside. He curls
his blood-soaked lips back, baring viper-like fangs, emitting a
GUTTURAL GROWL --
QUINN
(crazed by thirst)
-- more -- blood --
Karen backs into the corpse drawers, but Quinn is upon her in a half-
second, wrapping a hand about her throat. His mouth opens/morphs
disturbingly wide as if to swallow her head whole, caustic saliva
dripping from his canines --
Karen tries to turn her head away, but Quinn's grip is vise-like. She
finds herself staring into his eyes -- pupils pulsing rapid-fire,
opening and closing, hypnotic --
As Quinn sinks the tips of his fangs into Karen's carotid artery and
starts to nurse --
BANG!!! A load of MAHOGANY buckshot chews into Quinn's side. He HOWLS
in pain. Another load catches him full in the face. He drops Karen.
She falls to the floor --
KAREN'S POV
The sound of RUSHING BLOOD pounding through her skull. Everything
spinning. She struggles to move, turns her head, finds herself eye to
eye with Curtis' corpse.
ON QUINN
rising, his face torn up, smoking. WHIP PAN TO --
BLADE,
standing at the entrance to the morgue, a streetsweeper auto-shotgun
in hand, sizing Quinn up.
BLADE
Now don't we look dapper?
Quinn BELLOWS with rage, ripping one of the heavy steel refrigeration
doors from its hinges, flinging it at Blade like it was lawn
furniture --
Blade rolls to the side as the door CRASHES against the wall. Quinn
runs, moving through the morgue like a human tornado, heading for the
windows at the end of the room --
SMASH!!! Out goes Quinn, taking half the wall with him. Blade rushes
to the decimated window, looks down --
BLADE'S POV
Quinn lands on the roof of an ambulance parked four stories below,
caving it in. He springs off, loping across the tarmac on three
limbs, then -SCREECH!-THWUMP!- rolling up onto the hood of an
oncoming car, before disappearing into the night --
BACK UP ABOVE,
Blade spins, SEES Karen bleeding her life away on the floor. She
reaches a hand out to him, beseeching --
Blade pulls away from her grasp, takes a step towards the exit --
then hesitates.
A flicker of doubt washes across Blade's face. He looks down at Karen
once more, wrestling with his conscience, finally making a decision.
He kneels, scoops Karen up into his arms. Just then,
TWO POLICEMEN
rush into the morgue, weapons drawn --
UNIFORM #1
Hold it, ass-hole!
Blade ignores them, turning to face the window before him. It's a
good thirty feet to the roof of the adjacent building, a parking
structure -- and damned if Blade doesn't seem to be considering the
jump.
The Police close in, agitated. Blade crouches, switches Karen to a
one-handed grip --
UNIFORM #1
I said hold it!!!
-- and jumps.
EXT. HOSPITAL/ROOFTOP PARKING STRUCTURE - NIGHT
Blade clears the impossible distance -- almost. He snags the ledge of
the adjacent parking structure with his left hand even as Karen slips
from the grasp of his right --
-- a last-second save, his fingers clamping around her wrist, is all
that stands between Karen and street pizza. She SCREAMS anyway,
dangling below him --
Blade GRUNTS, swinging Karen like a pendulum, heaving her up and over
the ledge as if she were a sack of potatoes. She lands on her
shoulder, clutching it in pain --
Blade heaves himself up, crouching beside her.
KAREN
(gasping)
My shoulder -- dislocated --
Blade places a hand on her shoulder, another around her elbow and
without any consideration to discomfort -CRACK!- brutally pops it
back in place. Karen SCREAMS again as he scoops her up once more and
heads for --
HIS '69 OLDSMOBILE 442,
which is parked nearby. Midnight-black. The definitive high-
performance heavy-metal muscle machine with an engine big enough to
power an Apollo rocket.
INT. BLADE'S OLDS - NIGHT
Blade sets Karen down in the passenger seat, climbs behind the wheel,
keys the ignition. The engine ROARS to life, belching fumes through
the dual exhaust. Blade floors it, burning serious rubber as the Olds
vanishes from sight.
BACK AT THE DEMOLISHED MORGUE WINDOW
as the two policemen stare numbly in open-mouthed astonishment.
CUT TO:
EXT. CITY STREETS - NIGHT
Blade pilots the Olds down the streets, moving through a series of
increasingly degenerating neighborhoods, coming at last to the
sprawling warehouse district.
EXT. ABANDONED FACTORY - NIGHT
The Olds approaches a mammoth industrial facility that's been
cordoned off by cyclone fencing and razor wire. Ultra-violet
floodlights illuminate the area, while an army of security cameras
keep a watchful eye.
INT. BLADE'S OLDS - NIGHT
Blade glances at Karen, cursing himself for giving into his emotions.
He hits a remote secured to the sun visor --
EXT. BLADE'S OLDS/ABANDONED FACTORY - NIGHT
A gate grinds open.
We follow the Olds as it cruises around the back of the building,
heading down a concrete loading ramp. At the bottom of the ramp, a
heavy iron door rises. Blade's Olds disappears into the darkness.
INT. ABANDONED FACTORY, INDUSTRIAL ELEVATOR - NIGHT
More UV lights flicker on. We're in a massive loading elevator which
HUMS as it ascends, eventually reaching its destination with a
BOOMING CLANG. The doors at the rear glide open. Blade guides the
Olds out.
INT. ABANDONED FACTORY, WHISTLER'S WORKSHOP - NIGHT
Set up in an old ironworks, the place looks like a cross between an
auto junkyard and an armory. Equipment is strewn everywhere --
lathes, mills, old furnaces, gutted vehicles, an ad hoc surgical
theater -- all of it jerry-rigged in a brutal, oily-tech.
Blade climbs out of the Olds. He opens the passenger door and pulls
Karen out, carries her in his arms.
BLADE
Whistler!
WHISTLER (O.S.)
Are we bringing home strays now?
ABRAHAM WHISTLER (60s)
hobbles out of the shadows, leaning heavily on a cane. Gimlet-eyed,
bitter, his right leg encased in a metal brace. Though his face is
lined with wrinkles and his hair has long since gone gray, we sense
he could kick the living shit out of any man half his age.
BLADE
She's been bitten.
WHISTLER
You should've killed her, then.
BLADE
She hasn't turned yet.
(pointedly)
You can help her.
Blade and Whistler stare each other down. Finally, Whistler turns and
heads over to the operating theater.
WHISTLER
No promises. You watch her close. She
starts to turn, you finish her off.
Blade nods, lays Karen down on the operating table. Whistler turns on
an overhead light. Karen is sheathed in sweat, ashen. She's lost a
lot of blood.
Whistler snaps on a pair of surgical gloves, probes the wound in
Karen's neck with an antiseptic swab -- there's capillary damage
around the perimeter of the wound, the tissue looks bruised,
gangrenous.
WHISTLER
Localized necrosis. She's borderline.
Another hour and she'd be well into
the change.
Whistler cracks open a smelling salt capsule and waves under Karen's
nose. As she starts to stir --
WHISTLER
Can you hear me, woman?
Karen's eyes open wide. She's scared, disoriented --
KAREN
What -- ?
WHISTLER
You've been bitten by a vampire. We've
got to try and burn out the venom,
just like a rattlesnake bite --
Whistler reaches for a massive syringe filled with caustic-looking
fluid. Karen sees the syringe, resists --
WHISTLER
Hold her.
Blade forces Karen back. Whistler readies the syringe.
WHISTLER
(reading her name tag)
"Dr. Karen Jansen". Listen close, I'm
going to inject you with an antidote
made from allium setivum -- garlic.
This is going to hurt. A lot.
Whistler sinks the needle into Karen's neck and depresses the
plunger. "Hurt" doesn't begin to describe what Karen experiences
next. Imagine undergoing childbirth while someone pumps battery acid
through your veins.
Karen SHRIEKS, her body going into uncontrolled paroxysms. The wound
on her neck begins to smoke as the antidote attacks the poisonous
vampire venom.
Karen clutches at Blade's arms, digging her nails in. She stares up
at him with unflinching intensity, like a child desperately searching
for assurance.
ON BLADE,
uncomfortable playing the roll of nursemaid. He'd like nothing more
than to be done with this, but the only thing he can do is hold Karen
while she rides out the seizures.
KAREN'S POV
growing darker by the moment. The last thing she sees is Blade
staring down at her -- then the night closes in.
INT. HOUSE OF EREBUS, MEETING ROOM - NIGHT
CLOSE ON a monitor featuring footage taken at the vampire club
massacre. Blade turns and stares into the camera, fires his cross-
bow. The screen cuts to static.
A WITHERED, CLAWED HAND
moves into frame, holding a remote. With a tap of a button, the
monitor goes dark.
PULL BACK TO REVEAL a large, minimalist conference room -- the House
of Erebus, seat of the vampire race's legislative assembly.
Gathered around a massive table are the TWELVE VAMPIRE ELDERS,
representing a "rainbow" of racial colors -- names like PALLINTINE,
VON ESPER, ASHE, BAVA. Two of them, the FAUSTINAS, are identical
twins -- lethal-looking women with alabaster skin.
Chilled carafes filled with blood are situated along the table. From
time to time, a member will pour themselves a glass, or perhaps, help
themselves to the bowls of human finger bones which serve as snacks.
At the head of the table is GAETANO DRAGONETTI, current vampire
"Overlord". Blood-red eyes, parchment skin stretched over skull-like
features. Incalculably ancient, but still deadly and virile as a
viper.
Dragonetti speaks. He uses the "secret tongue" -- the ancient vampire
language which utilizes consonants human vocal chords are incapable
of reproducing.
DRAGONETTI
(subtitled)
Blade. Once again, our interests have
fallen victim to his ridiculous
crusade. He must be destroyed.
FROST (O.S.)
(in English)
You're wrong, Dragonetti.
All heads turn. Who would dare such impudence?
DEACON FROST,
a mere "Underlord" in the vampire hierarchy, steps forward.
Strikingly handsome, younger, less conservative than his superiors,
fueled with a passionate intensity. Amongst the vampire community
he's known as an agitator. He's also the vampire equivalent of a
racial supremacist.
FROST
The Day Walker represents a unique
opportunity. We'd be fools to waste
it by killing him.
DRAGONETTI
(subtitled, taking umbrage)
Deacon Frost. You refuse to speak our
language, you insult the House of
Erebus by using the humans'
gutter-tongue, have you no respect
for tradition?
FROST
Why should I respect something which
has outlived its purpose?
This causes quite a stir amongst the other vampires. Frost might as
well have slapped Dragonetti in the face.
DRAGONETTI
(simmering)
I see. And what would you have us do
with this "half-breed"?
FROST
Study him. Unlock the secrets of his
DNA. He's the key we've been looking
for.
DRAGONETTI
He is an abomination!
Dragonetti slams his fist down, toppling a carafe, spilling blood
across the tabletop. Frost looks to the others --
FROST
Why should we spend our lives
cringing from the daylight when his
blood offers us an alternative?
Enough talk. It's time we stepped out
of the shadows!
Dragonetti looks apoplectic. ELDER PALLINTINE, a five-hundred year-
old vampire inhabiting the body of a prepubescent boy, interjects.
PALLINTINE
You're out of line, Frost.
FROST
Am I? Or am I just the first to say
out loud what we've all been
thinking?
The fact that no one answers is telling. Dragonetti glowers at the
other Elders, sensing the tide turning.
DRAGONETTI
The shadows suit us, Frost. We've
existed this way for thousands of
years. Who are you to challenge our
ways?
FROST
Someone who's sick of living off
scraps. The coming age belongs to us,
not the humans!
(to the others)
When the final war between our races
comes, who do you want leading the
charge?
Frost stabs an accusing finger at the Overlord.
FROST
Some withered up fossil ready to snap
like a brittle bone at the first sign
of change?
Dragonetti GROWLS like an beast, raking his claws across the tyro
vampire's face, knocking him to the ground.
DRAGONETTI
Get out!!!
Frost picks himself up, touches the gashes on his cheek. Looks at his
fingers, licks the blood from them.
FROST
Careful, old fang. You might wake up
one day and find yourself extinct.
Frost smiles at Dragonetti and calmly exits the room.
INT. WHISTLER'S WORKSHOP, BLADE'S CELL - DAY
ON KAREN as she comes to. Her wounds have been bandaged. She rises, a
little shaky, takes in her surroundings -- She's in a spartan room,
like a monk's cell. On the wall is a collection of knives and
daggers. Some of them wooden, their hilts inscribed with bizarre-
looking runes. In the center of these weapons rests --
BLADE'S SWORD,
hanging like a cross in a chapel, dominating all else. Karen touches
it. Then her eyes drop to a silver locket which dangles from the hilt
by a tarnished chain. She reaches for it, opens it --
The locket features a photo, old and faded. It's the black woman we
saw in the prologue, Vanessa, standing in the sunshine.
Karen moves towards the door, cautious --
INT. WHISTLER'S WORKSHOP - DAY
We hear VOICES now, coming from beyond a series of black-out
curtains. Karen pushes one aside and SEES --
BLADE
strapped into some kind of Inquisition-esque restraint chair. His
shirt is off, his body slick with sweat. Whistler finishes strapping
Blade in, then stands back, holding up a gas-powered pistol injector,
hesitant --
WHISTLER
I had to increase the dose. You're
building up a resistance to the
serum --
BLADE
(impatient)
Just do it, old man.
Whistler nods, fitting Blade with a bite guard. Then he presses the
pistol-injector against Blade's carotid artery.
Blade shakes violently, grinding his teeth through the bite guard,
veins cording in his neck. He clutches Whistler's hand, holding it
tightly as he fights his way through the hellish seizure. To his
credit, Whistler never lets go.
Mentor and student stare at one another as the mysterious serum runs
its violent course. We understand that these shared moments, oddly
private in their horror, are the glue which binds the two vampire
hunters together. Finally, Blade slumps forward in his restraints,
exhausted.
KAREN
She draws back, instinctively knowing that she's just witnessed
something she shouldn't have. She looks for an exit, SEES another
doorway. She makes for it --
INT. WHISTLER'S LAB - TANK ROOM - DAY
A dusty, darkened hole of a room, no windows, just shadows, crumbling
concrete, rust stains, and --
A LARGE TANK
filled with swirling blood plasma, choked with electrical leads and
biomedical sensors. SOMETHING floats within, suspended in the murky
fluid -- a child , two or three years of age, drifting about like a
medical oddity preserved in formaldehyde --
THUMP! The child SLAMS up against the glass. Karen backpedals,
startled. Its eyes are open now, pupils blown. It snarls, revealing a
mouthful of razored fangs, trailing mouth-slime across the glass as
it futilely tries to chew its way through to Karen.
Karen stifles a sob, turning and running right into --
BLADE,
who now blocks the exit, sword in hand. Karen retreats a step,
wary --
BLADE
You shouldn't be here.
KAREN
I'm sorry, I --
WHISTLER (O.S.)
Wandered off the beaten path, Doctor?
Whistler has entered the room from a second doorway. Karen looks from
Whistler to Blade, trapped between them --
KAREN
Who are you people?
WHISTLER
My name is Abraham Whistler.
(re: Blade)
This is Blade. As for our little
homunculus here --
Whistler limps over to the tank, rapping his cane against it. The
creature snaps at it reflexively, following the silver tip back and
forth like a fish after a lure.
BLADE
-- he's a vampire.
KAREN
You're joking --
WHISTLER
Not at all. You're looking at a prime
specimen of the homines nocturna.
Whistler toys with the feral creature, engaging in a certain amount
of sadistic delight as its efforts grow increasingly more frenzied.
Suddenly, it surges towards the top of the tank, clawing at the
lid --
Karen becomes alarmed -- but then a massive ELECTRICAL JOLT shocks
the creature back into submission.
WHISTLER
If Blade hadn't brought you here, you
would've wound up like him.
Karen brings a hand to her bandaged neck, recalling the events of the
previous night. She looks to Blade.
KAREN
Why did you help me?
Blade scowls, his gaze flickering to Whistler.
BLADE
Stupidity.
WHISTLER
(appraising her)
Maybe not. I did some checking, she's
a hematologist. Knowledge like that
might come in handy.
BLADE
It's not worth the risk. We can't
trust her.
KAREN
Why?
BLADE
Because you're tainted. The venom's
still inside you. You could still
turn on us.
KAREN
What happens then?
Blade looks to Whistler -- as far as he's concerned, the debate's
over.
BLADE
Then I have to take you out, just
like any other bloodsucker.
Blade turns and exits. Whistler and Karen follow.
INT. WHISTLER'S WORKSHOP - DAY
Beyond the grimy outer windows, we can see that the day is closing --
long shadows, amber light. Karen lingers in the doorway, reeling from
information overload.
Blade begins suiting up for his nightly hunt -- strapping on body
armor, loading ammunition. He strings the tarnished locket around his
neck as if it were an amulet that could ward off evil, then pauses to
inspect a modified pistol, sighting down the length of it.
BLADE
We hunt them, moving from one city to
the next, tracking their migrations.
They're hard to kill. They tend to
regenerate.
CLACK! Blade pulls the trigger on an empty chamber, then checks his
next weapon --
KAREN
(sarcastic)
So what do you use, then? A stake?
WHISTLER
(nodding)
Some of the old wives' tales are true
-- they're severely allergic to
silver, various types of wood. Feed
them garlic and they'll go into
anaphylactic shock --
Whistler picks up a customized rifle with a UV entry light, flicking
on the beam.
WHISTLER
-- and of course there's always
sunlight, ultra-violet rays.
Karen shakes her head, incredulous --
KAREN
And you honestly expect me to believe
all this?
BLADE
I don't care what you believe. I
saved your life once, I don't plan on
making a habit of it. You want my
advice, you'll be out of the city by
nightfall. If you're stupid enough to
stay, that's your business.
KAREN
I can't just leave. I have a life
here, a career --
BLADE
Not anymore. You've seen one of them.
You won't be allowed to live after
that.
Karen stares at Blade. Whistler gestures to the windows --
WHISTLER
There's a war going on out there.
Blade, myself, a few others -- we've
tried to keep it from spilling over
onto the streets.
(beat)
Sometimes people like yourself get
caught in the cross-fire.
Whistler shrugs. As far as he's concerned, there's nothing else to
say. Karen is still protesting, though.
KAREN
I can go to the police. I have blood
samples back at the hospital. I can
show them.
BLADE
Do it. You'll be dead before you can
file the complaint.
KAREN
That's ridiculous! No one's that
powerful.
Whistler sighs. He doesn't suffer fools gladly.
WHISTLER
You're talking about a brotherhood
that predates the Catholic Church by
thousands of years. Their survival
depends on their ability to blend in.
Chances are, you've encountered them
and not even known it. On the subway,
in a bar --
Blade slings his CAR-15 onto his shoulder, impatient. He starts
towards the Olds, gesturing.
BLADE
Get in. You�re leaving.
WHISTLER
Wait.
Whistler tosses a small metal canister to Karen.
WHISTLER
Consider it a parting gift. Vampire
mace -- silver nitrate, essence of
garlic.
KAREN
(in disbelief)
So that's it? You guys just patch me
up and send me on my way?
WHISTLER
There is one other thing. I'd buy
yourself a gun if I were you. If you
start becoming sensitive to the
daylight, if you start becoming
thirsty regardless of much you've had
to drink -- then I suggest you take
that gun and use it on yourself.
Better that, than the alternative.
Karen stares at Whistler, horrified, as we --
CUT TO:
INT. THE VAMPIRE ARCHIVES - DAY
We are deep in the narrow stacks of a sepulchral archive. Exactly
what and where this place is will become more clear later on.
But for now, the CAMERA DRIFTS through the warren of aisles. Along
the way, we catch a glimpse of a HULKING SILHOUETTE cowering behind a
series of Japanese shoji screens. Later on, we find --
FROST
tucked away in a carrel, surrounded by books and scriptures, with
only the SICKLY GLOW of his laptop to provide light.
DRAGONETTI (O.S.)
What are you doing here?
Frost pauses, SEEING Dragonetti emerge from the shadows.
DRAGONETTI
(outraged)
These archives are restricted to
members of the House of Erebus.
FROST
Please. You and the other Elders
wouldn't know what to do with these
texts if your lives depended on it.
(cryptically)
Which, of course, they do.
DRAGONETTI
You're wasting your time, Frost. Far
greater scholars than you have tried
to decipher these words. Whatever
secrets they hold have been lost.
FROST
Perhaps.
Frost studies Dragonetti, a self-satisfied grin on his face. If the
act was intended to unnerve Dragonetti, it succeeded, though the
ancient vampire would never admit it.
DRAGONETTI
What are you up to, Frost?
Frost shuts the lid on his laptop, rising, drawing intimidatingly
close to Dragonetti.
FROST'S VOICE
Wouldn't you like to know, Old Fang?
A beat as the young turk stares his elder down. Dragonetti is the
first to lose his nerve. Frost smiles and exits, leaving the old
vampire to lick his wounds.
CAMERA DRIFTS back to the hulking silhouette, which has been
eavesdropping on the conversation. It quivers in fear.
INT. BLADE'S OLDS (ON KAREN'S STREET CORNER) - DAY
Blade brings the car to a stop. Karen looks at him. His eyes are
hidden behind his glasses, his expression stone.
BLADE
Remember what we said. Keep your eyes
open. They're everywhere.
EXT. KAREN'S APARTMENT BUILDING - DAY
As Karen climbs out, Blade swings the door shut behind her. The Olds
ROARS off down the quiet residential street.
INT. APARTMENT BUILDING, LOBBY - DAY
Karen crosses the lobby, stepping into an elevator. Just as the doors
are closing, a WOMAN and TWO MEN duck in alongside her.
INT. ELEVATOR - DAY
Silence, the uncomfortableness of an elevator ride magnified tenfold.
Karen can FEEL the eyes of her fellow passengers upon her. Finally
succumbing to paranoia, she hazards a glance -- would she be able to
tell if these people weren't human? The woman turns to Karen,
smiles --
Karen surreptitiously fishes the "vampire mace" from her pocket,
clutching it -- and now one of the men turns to look at her,
nodding --
INT. KAREN'S APARTMENT BUILDING, HALLWAY - DAY
The elevator doors open. Karen hurries out, heads left, finds herself
in a deserted hallway. She looks back --
-- then skips a heartbeat as the trio also step out! As Karen raises
the canister of mace --
-- the trio turn and head down to the right. Karen breathes a sigh of
relief, shakes her head.
INT. KAREN'S APARTMENT - DAY
Karen enters quickly, bolting the door behind her. She picks up the
phone, dials 911 --
KAREN
I need the police. This is an
emergency --
As Karen waits to be connected, she moves to the back entrance and
checks the locks -- then the windows, then the fire escape --
finally, a VOICE comes on the other end.
KAREN
Hello? My name is Karen Jansen, I was
with Curtis Webb at Mid-Town Hospital
last night -- that's right, I
witnessed the attack --
(listening)
115 Aurora, apartment 3G. Yes, I'll
wait here. Please hurry.
Karen hangs up the phone and turns --
A SHAFT OF BRIGHT SUNLIGHT
streams in through a window. Karen forces herself to look at it and
winces, shielding her eyes. Again, she brings a hand to the bandaged
wound on her neck. She moves to the window, pulling the shade down,
frightened.
KAREN
Get a grip on yourself, girl.
She sinks down into a chair to wait, setting Whistler's vampire mace
aside. Then she shuts her eyes, massaging her temples. We SEE --
A BRIEF FLASH OF
Quinn, his mouth opening wide, saliva dripping from his fangs. His
pupils pulsating hypnotically. We rush into his gaping maw and --
WHAM! We're back to reality. Karen wakes with a start, looks to the
windows -- time has passed, it's getting dark outside --
-- and someone is KNOCKING at the front door. Karen reaches for the
vampire mace, then moves to the door. She looks through the peephole,
cautious --
KAREN
Who is it?
KAREN'S POV (FISH-EYE)
A POLICE OFFICER stands in the hallway -- 30s, handsome, a knight in
shining armor as far as she's concerned.
GIDEON
Sergeant Gideon. I'm responding to a
911 call.
Karen visibly relaxes. She opens the door and steps aside, allowing
Gideon to enter.
KAREN
Yes, that was me, I'm Karen Jansen --
Gideon smiles, takes a quick glance around the room, then studies
Karen's face, the bandages on her neck.
GIDEON
Are you all right?
(off Karen's nod)
I'm glad you called, Ms. Jansen, we've
been anxious to get a hold of you. You
disappeared on us for a while.
KAREN
I know. Listen -- do you have any idea
what happened to Curtis, the other
doctor?
GIDEON
(matter of fact)
Oh, he's dead. But I wouldn't worry
about that if I were you.
KAREN
(alarmed)
Why?
Gideon's smile vanishes as he unholsters his gun.
GIDEON
Because you're dead too.
Karen GASPS. She has a half-second to act -- in which she triggers a
spray of vampire mace into Gideon's face. Gideon stumbles back,
blinded, cursing, rubbing the heel of his palm against his eyes --
Karen expects pyrotechnics -- but the end result is little more than
an annoyance. A second later, Gideon is simply blinking, sniffing his
fingers, confused --
GIDEON
Garlic?
KAREN
He said it would work against
vampires --
Gideon bursts out laughing.
GIDEON
Who said I was a vampire?
Gideon shakes his head, still snickering. He forces Karen against the
wall, placing the gun against her head --
GIDEON
Thanks for the laugh. You can shut
your eyes if you want to.
CRASH!!! The front door explodes open as Blade comes flying through
it!
Gideon tries to bring his pistol up -- but Blade grips the man's hand
and squeezes. Gideon SCREAMS as his bones snap like kindling. The
pistol falls from his grasp --
Blade fires his fist into Gideon's gut again and again, then flings
the officer across the room, sending him SMASHING into a glass-cased
cabinet. Bleeding, battered, Gideon struggles to stand --
Blade is all over him, kicking the shit out of the rogue cop until he
sinks to the floor in a half-conscious haze.
Blade stands over Gideon's limp form, fists clenched, breathing
heavily, touching down after his adrenaline high. Finally, he looks
to Karen --
BLADE
You okay?
Karen nods, glances at Gideon --
KAREN
How did you know?
BLADE
Figured they'd send someone after you.
Thought I'd wait around and see who
showed up.
KAREN
You used me as bait?!
BLADE
It worked, didn't it?
KAREN
But, he could've --
BLADE
He didn't. Get over it.
Blade kneels next to Gideon. He turns the man's head, inspects the
neck, the skin behind the ear --
KAREN
But he's a policeman --
BLADE
He's a familiar. A human who works for
the vampires. See this mark?
Blade pushes aside Gideon's hair, revealing a tiny, cryptic symbol
tattooed into the man's scalp.
BLADE
That's a glyph, kind of like a vampire
cattle brand. That means Officer
Friendly here is someone's property.
Any of the other vampire's try to
bleed him, they'll have to answer to
Friendly's owner --
(studying the glyph)
This glyph belongs to Deacon Frost.
We've been tracking him for a while
now --
KAREN
Why in God's name would anyone want to
work for them?
BLADE
Because they're vampire wanna-bes. If
they're loyal, if they prove
themselves, then their masters will
turn them.
KAREN
And that's a good thing?
BLADE
For some. Live forever, never get old.
The ultimate high.
Just then, Gideon MOANS. Blade drags the man up so they're eye to
eye.
BLADE
How 'bout you, Officer? You a good
little bloodhound?
CUT TO:
EXT. KAREN'S APARTMENT BUILDING - DUSK
Blade and Karen are now standing by Gideon's police cruiser which is
parked outside Karen's apartment. Blade shoves Gideon against the
hood of the cruiser. He finds Gideon's keys, moves to the trunk,
opens it --
IN THE TRUNK --
A sophisticated medical cooling unit for transporting organs. Blade
opens the unit, coolant vapor hisses out. Inside are plastic bags
containing blood.
BLADE
Looks like our friend was
blood-running.
(to Gideon)
Where were you headed?
Gideon mumbles through a split lip and chipped teeth --
GIDEON
Mphuck you --
WHAM! Blade plants Gideon's face into the hood of the car. Gideon
GROANS, coughs --
GIDEON
Jesus -- 1227 Brookner --
Holliston Clinic --
Blade releases him, then reaches for his Casull.
KAREN
What are you doing?!
BLADE
Preventive medicine.
Karen steps in front of Blade, shielding Gideon.
KAREN
You can't do this, he's human, it's
murder.
BLADE
It's war, now get the fuck out of the
way!
Karen grabs Blade's arm, wrestling with him, trying to push his hand
away. As the two of them struggle, Gideon makes a break for it,
stumbling across the lawn. Blade pushes Karen aside, takes aim,
FIRES --
-- but Gideon ducks into an alley, disappearing from sight. Blade
spins on Karen, enraged --
BLADE
God-damnit!!! Do you have any idea
what you just did?! He'll warn them.
They'll be waiting!
But Karen's defiant, she's not backing down.
KAREN
You were going to kill him. What was I
supposed to do?! Shut my eyes and
pretend I didn't see what I saw?
Blade tears off his glasses. Karen gasps --
BLADE'S EYES
aren't human, nor are they vampire. They're something else -- emerald
green, laced with swirling flecks of red.
BLADE
Let me set you straight on something,
Doctor. What you've "seen" so far is
nothing. The world you live in's just
the sugar-coated topping. There's
another world beneath it, the real
world -- and it's a fucking bloodbath.
If you want to survive in it, you'd
better pull your head out of your ass.
Blade slips his glasses back on, leaving Karen shocked into silence.
He heads for his Olds without looking back, climbs in, guns the
engine. In seconds, he's gone, tearing off down the street in a cloud
of exhaust.
EXT. EDGEWOOD TOWERS, PENTHOUSE - DUSK
We are soaring through the air above the gleaming city skyline,
moving towards the Edgewood Towers whose windows reflect the blood-
red sinking sun.
INT. FROST'S PENTHOUSE, POOL - NIGHT
Suffused lighting, elegant tile-work featuring evocative mosaics, the
quiet strains of CLASSICAL MUSIC --
MERCURY,
the lupine Gaultier girl from the club, glides beneath the water,
surfacing at the deep end. We SEE --
FROST
lounging in a chair, studying a laptop which rests beside him. On the
screen is a digitized image -- a page taken from an ancient
manuscript, written in a secret tongue.
Officer Gideon waits nearby, cradling his ruined hand, his battered
face cast downward like a boy who's been called into the Principal's
office.
GIDEON
Look, I know you're disappointed --
FROST
Crestfallen.
GIDEON
Blade was waiting for me. There wasn't
anything I could do.
Frost nods, lapsing into brooding contemplation.
FROST
Tell me something, Gideon, what blood
type are you?
Gideon hesitates. Is this a trick question?
GIDEON
I don't really know --
FROST
Take a wild stab. A? B? O, perhaps?
I'm interested in the antigens here,
the agglutination reaction --
Gideon stammers as Frost rises. In the blink of an eye, Frost lifts
Gideon from the floor, dangling the Officer over the deep end of the
pool by his throat --
FROST
I'm going to guess AB positive.
Gideon GURGLES as Frost's fingernails pierce his flesh, drawing
blood. Then Frost releases him --
Gideon plunges into the pool. Mercury is on him in a heartbeat,
tearing him apart like a Great White consuming a piece of chum. The
water churns violently around them, clouding with red.
When it's over, Mercury rises from the pool, dripping wet, covered
from head to toe in a crimson sheen.
She kisses Frost hungrily, letting Gideon's blood flow from her mouth
to his. Frost flicks a tongue over his lips.
FROST
AB positive. Give the man a prize.
Below them, Gideon's lifeless body sinks towards the pool bottom, his
police badge twinkling like sunken treasure.
CUT TO:
EXT. CITY STREET - NIGHT
Blade's Olds cruises to a stop. We're in a low-end commercial
district -- junky heaven. Blade climbs out, pulling an automatic
rifle from the back seat, then heading into an alleyway.
EXT. BACK ALLEY - NIGHT
Blade makes his way down the alley, cautious -- he SEES mountains of
trash, boarded-up windows, overlapping layers of gang graffiti -- a
RAT crouching on a trash dumpster, gnawing on a dead pigeon --
-- then a SOUND behind Blade, the scuffle of feet --
Blade whirls, drawing his sword, CHARGING at an approaching shadow,
stopping mere millimeters from decapitating --
KAREN,
who's been backed up against the wall, her eyes wide with fright.
Blade's sword vibrates from the tension in his forearm, having drawn
just the slightest taste of blood.
BLADE
What the hell are you doing?! I could
have killed you!
Blade lowers his sword. Karen remembers to breathe. She slumps,
tracing her fingers over the line where her head almost parted with
her body.
KAREN
I remembered the address. I followed
you --
Blade shakes his head, amazed.
BLADE
Do you have a death wish or are you
just stupid?
Karen pushes away from the wall, angry --
KAREN
Look, if what you say is true, if
there's a chance I could turn into one
of them, then I've got no choice, do
I? I have to work with you. I need to
learn everything I can about them.
It's the only way I'll be able to find
a cure for myself.
BLADE
There is no cure.
KAREN
(defiant)
You don't know that.
Blade turns and moves to the end of the alley, studying the graffiti-
covered wall intently --
KAREN
What are you looking at?
BLADE
(gesturing)
What do you see here?
KAREN
Graffiti --
BLADE
Look closer.
Blade indicates a design amongst the various gang-banger tags that
looks something like a post-modern hieroglyphic.
BLADE
This isn't a gang tag, it's a vampire
marking. It means there's a safe-house
nearby.
A place they can go if dawn is coming.
Blade points to a building across the street --
THE HOLLISTON CLINIC,
your basic inner-city blood-barter establishment where desperate
transients parley their plasma into cash.
KAREN
(recognizing it)
I know this place -- it's a blood
bank.
BLADE
Owned by vampires. There's one of
these in every major city, and just
like Domino's, they always deliver.
(looking to Karen)
You telling me you're ready to walk
through that door?
Karen nods. Blade continues to stare at her, taking her measure --
there's a strength in this woman's eyes, she has the soul of a
fighter -- and Blade recognizes it.
BLADE
All right, then, listen up, Vampire
Anatomy 101. Crosses and running water
don't do dick, so forget what you've
seen in the movies.
Blade enumerates the following on his fingers:
BLADE
You use the stake, silver, or
sunlight, got it?
Blade holds up one of his Casulls.
BLADE
Know how to use one of these?
Karen takes the weapon from him, eyes all over it.
KAREN
No.
Blade takes the gun back, snorting derisively.
BLADE
Safety's off, round's already
chambered --
(cocking it)
Silver hollow-points filled with
garlic. You aim for the heart or the
head, anything else is a one-way
ticket to a pine box.
Blade hand it to her again, then starts across the street towards the
clinic. Karen follows --
INT. HOLLISTON CLINIC, LOBBY - NIGHT
Blade enters, swinging his rifle around for all to see.
BLADE
Get out. Now.
The POTENTIAL DONORS scramble for the exit. Behind the counter,
TANAKA, a male nurse, reaches for an alarm button. Blade vaults over
the counter, aiming his rifle.
BLADE
I know you're blood-running. Who's
your sponsor?
TANAKA
I don't know what you're --
POW! Blade backhands him across the face hard enough to loosen his
teeth. Karen flinches, stepping forward --
KAREN
What if you've made a mistake?
Blade pins Tanaka's head to the wall, turning it to the side --
revealing the man's glyph. It's different than Gideon's, looking more
like a Japanese kanji character.
BLADE
What's this? A birthmark?
Blade grips Tanaka by his collar, shoving him through a doorway --
INT. HOLLISTON CLINIC, SUPPLY ROOM - NIGHT
Karen and Blade SEE supply cabinets, cots, a number of locked
refrigeration units. Blade FIRES into the door handle of one of the
units, tears it open -- the fridge is stacked floor to ceiling with
plastic packets of blood.
BLADE
(to Karen)
Still think we might be wrong?
(to Tanaka)
How much are you shipping?
TANAKA
Bite me!
Blade opens FIRE, sweeping his rifle around the room, shooting
everything in sight. Glass cabinetry shatters, ampoules and
vacutainers go flying. Tanaka cowers, arms wrapped about his head.
Blade stops shooting. He leans down towards Tanaka, placing the end
of his rifle against the man's forehead. Tanaka looks like he's about
to wet his pants.
BLADE
I've got a message for your masters --
the night's no longer safe for their
kind.
Blade pulls back his rifle, leaving a red indentation mark where the
end of the rifle barrel pressed into Tanaka's skin. He starts towards
the exit. Karen follows.
CUT TO:
INT. BLADE'S OLDS - NIGHT
Blade and Karen return to the Olds. He keys the ignition, lets the
engine idle. They're parked down the street from the blood clinic.
Karen looks to Blade, confused --
KAREN
You let him go --
(off Blade's nod)
An hour ago you were ready to kill a
man for less, this one didn't even
talk.
BLADE
He will.
Blade points --
THROUGH THE WINDSHIELD --
Tanaka rushes from the clinic, climbing behind the wheel of a Mustang
parked nearby. He takes off --
Blade follows the Mustang, CLICKING on a cell-phone scanner mounted
on the dash. Numbers flash on the LCD screen as it searches for a
signal, then locks onto it. We hear a DIAL TONE, then a number being
dialed --
AUTOMATED VOICE
(filtered, on scanner)
"You've reached a number that is no
longer in service. Please consult your
operator and try again".
TANAKA'S VOICE
(filtered, on scanner)
It's Tanaka, PIN number
sixteen-zero-zero-nine --
A "real" voice comes on the line:
VOICE
(filtered, on scanner)
Yes?
Karen looks to Blade, impressed.
INT. TANAKA'S MUSTANG - NIGHT
Tanaka speeds, shouting into the speaker phone --
TANAKA
Get me Pearl!
VOICE
(filtered, on speaker)
Pearl is feeding --
TANAKA
Look, I'm not fucking around here!
That hunter Frost has been talking
about? He was just at the clinic. Tore
the goddamn place apart!
EXT. THE BLACK PEARL - NIGHT
Tokyo town. A black edifice, no windows, secured parking, no signage
except for a purple neon scroll above the entrance -- a FLASHING
KANJI, just like the glyph tattooed on Tanaka's neck.
Tanaka's Mustang pulls into the parking lot. He climbs out, flagging
away the valets, heads inside --
WHIP PAN TO
Blade's Olds stopping a few blocks down the street.
INT. BLADE'S OLDS - NIGHT
Blade kills the engine, studying The Black Pearl.
BLADE
Looks like we hit pay-dirt. This place
is crawling with them.
(pointing)
See the valets over there? They're
vampires. So is the doorman.
KAREN
How can you tell?
BLADE
The way they move, they way they
smell --
Blade continues to scan the area, pointing out a few more likely
candidates --
BLADE
The whore on the corner, she's one
too. So are the two men standing under
the streetlight.
Blade reaches into the back seat, retrieves his sword and a satchel.
He snaps open his shotgun, loads it. Karen continues to study the
vampires Blade identified.
KAREN
So many of them -- I still can't
believe they're real.
BLADE
There are worse things than vampires
out there.
KAREN
Like what?
BLADE
(pumping his shotgun)
Like me.
Blade reaches for the door --
EXT. THE BLACK PEARL - NIGHT
Blade and Karen climb out. He lets his shotgun fall within the folds
of his longcoat and starts across the street -- only to be challenged
by a HULKING DOORMAN at the entrance.
DOORMAN
I'm sorry, sir -- do you have an
invitation?
INT. BLACK PEARL - NIGHT
CRASH! The front door flies open as the Doorman's body sails through.
Blade enters, Karen at his heels --
The 'Pearl' is an all-hours strip club cum casino catering
exclusively to Japanese zaibatsu clientele. Dimly lit, the air thick
with cigarette smoke, deafening MUSIC. Go boards, pachinko machines,
sexy little MANGA WAIFS in schoolgirl outfits doling out drinks --
STRIPPERS writhe in the circular "pit" tables surrounded by HOWLING
grab-ass men. But that's nothing compared to --
The MAIN ATTRACTION,
who's doing a bump and grind down the runway, shaking a body worthy
of a schoolboy's wet dream. Her attire? A leather S&M face mask,
nipple rings, 6-inch spikes, and a pair of panties to hide her
modesty.
Blade scans the room -- just in time to see Tanaka ducking into a
back hallway. Blade pushes towards the rear of the club. Karen
follows.
ON THE STRIPPER
as she catches sight of Blade and freezes in mid-routine. The
stripper pulls off her hood. Long black hair with a streak of white
tumbles down her back -- it's Mercury.
INT. BLACK PEARL, HALLWAY - NIGHT
Blade and Karen head past the bathrooms. At the end of the hall is a
door marked "OFFICE". Just then, the Men's door opens, a DRUNK
COLLEGE KID steps out, SEES Blade --
KID
Hey --
Blade plants a hand over the kid's face, shoving him back into the
bathroom as he kicks open the office door --
INT. THE BLACK PEARL, BACK OFFICE - NIGHT
Tanaka spins around, startled, tries to throw a punch --
Blade traps Tanaka's arm, levering the man up and over. He CRASHES
into a shelving unit, taking the whole thing down with him. Karen
winces. Blade grabs a handful of Tanaka's hair, yanks his head up --
BLADE
Where's the entrance?!
TANAKA
I can't -- they'll kill me!
Blade rips off his glasses and gives Tanaka an eyeful -- his irises
pulse and glow.
BLADE
I got news for you, butt-boy. You're
already dead.
TANAKA
(terrified)
Oh God, shit -- behind the bookcase --
Blade drops Tanaka, moves to the bookcase. He searches the wall a
moment, then finds a trigger. Hits it -- the bookcase slides aside,
revealing a hidden elevator. As Blade moves to put his sunglasses
back on --
BLADE'S POV (IN THE REFLECTION OF HIS SUNGLASSES)
We see Tanaka behind him, pulling a handgun out of a desk drawer,
swinging it up --
Blade unholsters one of his Casulls faster than any gunslinger in
history. He FIRES over his own shoulder, BLOWING Tanaka back against
the wall.
Blade puts his sunglasses back on, motions to the elevator, then nods
to Karen --
BLADE
After you.
INT. THE BLACK PEARL, ELEVATOR - NIGHT
The elevator descends. Then a tone CHIMES, signaling the end of the
ride. The doors hiss open --
INT. THE VAMPIRE ARCHIVES, HALLWAY - NIGHT
Blade and Karen enter the narrow, maze-like "stacks" of the vampire
archives, weaving their way through shelves of climate-controlled,
digitized records.
KAREN
What is this place?
BLADE
Some kind of archive --
KAREN
Isn't this all a little high-tech? I
thought vampires were more into
cobwebs and coffins.
BLADE
You've been watching too much TV.
They've got their claws sunk into
everything -- finance, real estate,
politics. Probably own half of
Downtown.
Blade pulls a CD-ROM from the shelves, its spine labeled in
indecipherable vampire glyphs.
BLADE
This must be where they keep their
records --
He pauses, hearing a DISTANT WHISPER. Blade signals quiet, silently
leading Karen through the stacks towards --
PEARL'S LAIR
A vestibule of sorts, leading to a larger bed chamber constructed of
rice paper shoji screens and tatami mats. Candles glow within,
illuminating a MONSTROUSLY OBESE SHADOW beyond the translucent rice
paper walls.
The shadow speaks in a tremulous, bird-like voice -- the secret
tongue. As Blade draws his sword, the massive shadow freezes --
PEARL'S VOICE
(frightened)
Lorca, is that you?
Blade slides open the nearest shoji screen --
INT. PEARL'S BED CHAMBER - NIGHT
Nothing Karen's seen up until this point could prepare her for the
archive's curator --
PEARL,
a nine-hundred-pound androgynous vampire of Asian origin, lounging
amidst pillowed rice mats, wearing a communications headset. Think of
a cross between Divine and Jabba The Hutt. Skin the complexion of
buttermilk, so corpulent he can barely move, so engorged with blood
that he's actually sweating it from the pores of his skin.
Pearl is surrounded by a nest of monitors and keyboards which have
been affixed to counter-balanced arms -- this way, Pearl can access
information without leaving bed.
Lying next to Pearl, dwarfed by the vampire's massive size, is the
chalk-white body of a recently-drained NAKED BOY.
At the sight of Blade, Pearl's eyes widen in fear --
PEARL
(into a speakerphone)
He's here!
FROST'S VOICE
(over speakerphone)
Congratulations, Day-Walker.
BLADE
Frost?
INT. FROST'S PENTHOUSE, POOL - NIGHT
Frost paces the length of his pool, wearing a hands-free
communications headset, grinning.
FROST
In the flesh, Blade. I understand
you've been looking for me. I'm
flattered.
INT. PEARL'S BEDCHAMBER - NIGHT
As Blade listens, Pearl reaches for his trackball, attempting to
delete the document currently on his monitors -- but Blade lunges
forward, sinking the tip of his sword into Pearl's fleshy throat.
Pearl freezes.
BLADE
(eyeballing Pearl)
Don't be. You're another notch on my
sword hilt, nothing else.
Frost's DEEP LAUGHTER drifts from the speakerphone.
INT. FROST'S PENTHOUSE, POOL - NIGHT
Frost settles into his chair, enjoying the cat and mouse.
FROST
You're quick, Blade, I'll give you
that. In the space of an hour you've
crossed my familiar, destroyed a blood
bank --
(beat)
Now here you are in the heart of our
archives, terrorizing our curator.
PEARL'S VOICE
He has a knife to my throat, Frost!
He --
FROST
(cutting him off)
You're history, Pearl. Have the good
grace to die with some dignity.
(beat)
Round one to you, Blade.
INT. PEARL'S BEDCHAMBER - NIGHT
CLICK, the line goes dead. Blade tosses his satchel on the bed, opens
it. Inside is a hand-held UV lamp hooked up to a nine-volt battery.
Pearl eyes the device, fearful --
PEARL
What is that?
BLADE
A sun lamp. We're gonna play twenty
questions. Depending on your answers,
you might get to have yourself a
tanning session.
Blade looks to Pearl's monitor and SEES a digitized image, the SAME
MANUSCRIPT Deacon had been studying earlier.
BLADE
What were you in such a big hurry to
delete just now?
Pearl hesitates. Blade turns on the lamp. Pearl HOWLS as the harsh
light falls upon him. Blade flicks the light off.
Pearl cringes, GROWLING, his face smoking profusely. Exposure to the
UV rays, even for one short second, has made his face blister like a
plague victim's.
PEARL
(relenting)
It's an epistle, a letter Frost has
been translating -- it prophesizes
LaMagra's return.
BLADE
And who is LaMagra?
Pearl hesitates again -- Blade turns on the lamp for a longer time.
Pearl thrashes, covering his face. His hands blacken, the skin
sizzling away to expose the finger bones beneath. Karen has to avert
her gaze --
Blade turns off the lamp. Pearl SNARLS, his body quivering with
poisonous rage.
PEARL
LaMagra is The Sleeper!!!
Blade leans in close so he's eye to eye with Pearl.
BLADE
Where's the original, Pearl? You must
have it around here somewhere.
Pearl sweats blood, his flaking, slug-like lips quivering.
PEARL
The vault --
Blade follows Pearl's eyes to an armored door, then he stands back,
handing the UV rig to Karen.
BLADE
If he moves, cook him.
Blade approaches the vault door, sizing up its locking mechanism. He
pulls an explosive charge from his combat belt and secures it to the
door, arming it with a BEEP!
PEARL
Please, I'll give you the combination
-- you'll damage the documents --
BLADE
That's the point.
Enraged, Pearl LUNGES from his bed. Karen triggers the UV rig, flash-
frying him to a blackened crisp. Pearl quivers, his enormous body
smoking like a piece of charred meat.
Blade looks back at Karen with newfound respect. She shrugs.
KAREN
He moved.
Blade turns back to the vault, setting off the charge. BOOM! Blade
kicks the damaged door in, knocking it clear off its hinges --
INSIDE THE VAULT,
ancient papers flutter through the smoky air like wind-borne leaves.
Blade and Karen SEE a lucite-encased document -- fragments of an
ancient, calligraphied papyrus.
KAREN
What are these?
QUINN (o.s.)
Curiosity killed the cat.
Blade and Karen spin --
-- QUINN,
Mercury, and a number of other vampires stand at the entrance to the
vault.
QUINN
(grins)
Hola, amigo. Remember me?
Karen triggers the UV light, but Mercury ducks under it, ripping it
from her hands, crushing it. In a split-second, the she-demon has her
claws around Karen's throat.
As Blade reaches for his rifle, the vampires converge on him like
quicksilver. They drag Karen and Blade out --
PEARL'S BEDCHAMBER
The vampires fling Blade against the wall, pinning him.
QUINN
You took my arm, Blade. But that's
okay, I'm growing a new one --
Quinn lifts up his "arm". A skeletal forearm has grown from the
stump. It's got cartilage, sinew, and muscle, but no flesh yet.
QUINN
Nice, huh? Think I'll ever play the
piano again?
(shrugging)
You can slice him, you can dice him,
and the man just keeps on coming.
Blade struggles violently, but Quinn is upon him, pounding his fist
into Blade again and again and again -- giving him payback with
compounded interest. When it's over, Quinn steps back, winded --
Blade's head hangs down. He gasps, wincing, every breath sending a
red hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing
his head up.
QUINN
Stay with me, sweetness, I'm not
through with you yet.
Quinn pulls Blade's jacket open, sees the bandoleer of mahogany
stakes. He tugs one out, admiring it.
QUINN
Teak. Nice craftsmanship.
(to the others)
Now here's a man who takes his job
just a little too seriously, don't you
think?
(back to Blade)
Which reminds me, Blade, think I owe
you one --
Quinn stabs the stake into Blade's shoulder. Blade CRIES OUT, tries
to pull free. Karen, who's being held by Mercury, averts her gaze.
QUINN
Actually, if you want to get
technical, I owe you two.
As Quinn reaches for another stake, Blade starts to laugh.
QUINN
What's so funny, bright eyes?
BLADE
I'm expecting some company.
It's then that Quinn notices the micro ear-coil radio receiver in
Blade's ear. As we MOVE IN on it, we hear a tiny VOICE squawking from
it:
VOICE
(filtered)
Get down!
Blade kicks his feet out, sending Quinn flying backwards. He tears
free of the vamps holding him and DIVES forward, knocking Karen to
the ground just as --
BOOM!!! The wall of Pearl's bedchamber EXPLODES INWARD, knocking
Quinn and the rest of his cronies to their feet.
WHISTLER
stands in the smoking hole where the wall used to be, brandishing his
cane in one hand and an automatic rifle in the other. He balances the
rifle against his hip like an over-the-hill gunslinger and OPENS FIRE
on the vampires.
Blade rolls, snatching up a fragment of the parchment which has blown
free from the vault. Seconds later, he and Karen are fleeing after
Whistler, retreating back through his newly created exit.
INT. TUNNEL - NIGHT
The three of them find themselves ankle-deep in a flooded sewer
tunnel running parallel to the archives. Whistler pauses, wheezing
from overexertion.
WHISTLER
Christ, I'm too old for this. Somebody
get me a goddamn wheelchair.
Blade leans against the tunnel wall, GRUNTING as he yanks the stake
from his shoulder. He then pulls out a light-stick, snapping it,
illuminating the area in a GREEN GLOW -- disturbing waves of
GLITTERING COCKROACHES.
Meanwhile, Whistler pulls another explosive device from his backpack
and sets it against the tunnel wall, arming it.
KAREN
How did you find us?!
Whistler taps a tiny radio headset curled around his ear.
WHISTLER
We keep in radio contact.
KAREN
(incredulous)
You've been listening in the whole
time?
WHISTLER
You think I'd let him run loose
without a chaperone? Blade ferrets
their rat-holes out, I map them. Then
we blow them all to kingdom come.
Whistler finishes arming the explosive device. It BEEPS. He turns
back to Blade and Karen, referring to a handheld navigation device.
WHISTLER
There's a subway line due East of
here. We'd best make tracks.
INT. PEARL'S BEDCHAMBER, ARCHIVES - NIGHT
An EXPLOSION rips through the bedchamber, mushrooming outward --
INT. BLACK PEARL - NIGHT
The EXPLOSION continues expanding, sending tables, drinks, and
zaibatsu clientele flying.
INT. TUNNEL - NIGHT
As the group splashes through the water, a FIREBALL chases them down
the tunnel. They duck into an alcove, narrowly avoiding the flames.
Whistler WHOOPS with excitement, loving every minute of it. But his
triumph is short-lived, for now we hear --
-- a deafening chorus of HIGH-PITCHED VAMPIRE WAR CRIES coming from
behind. Karen hazards a look back --
THE VAMPIRES
surge down the tunnel like a pack of hungry wolves on high-octane.
There must be a dozen of them now and Quinn is right in the lead.
Our trio hustles along, but Whistler stumbles, tumbling and sliding
down a washout. The steep incline of the washout makes it virtually
impossible for Whistler to climb back up to the main tunnel.
KAREN
Whistler!
WHISTLER
Go on, I'll be fine!
Karen hesitates, but Blade yanks her down the tunnel --
BLADE
He can take care of himself! GO!!!
They race through the twisting warren of tunnels, taking one turn
after another, the vampires hot on their heels --
INT. SUBWAY TUNNEL - NIGHT
Blade and Karen stumble out into a larger subway tunnel, which widens
into a station stop up ahead. We can see the RED TAIL-LIGHTS of a
train just pulling away from the platform -- Blade and Karen re-
double their efforts, lungs burning, legs pumping like mad. Just as
the train enters the next tunnel --
-- they leap, dragging themselves up onto the back of the rear-
passenger car. Blade SMASHES his fist through the emergency exit
window, then lifts Karen up, helping her climb through into the
car --
-- but the vampires are still coming! Crawling along the tunnel walls
on all fours, limbs a blur, claws striking the concrete and spewing
out sparks. Closing fast. Too fast.
QUINN
springs forward, snagging Blade's ankle with his "good" hand. The
vampire's weight threatens to haul Blade down. Blade reaches to his
back-scabbard, unsheathes his sword --
THUNK! Blade brings the sword down on Quinn's good arm, cutting it
off at the wrist! Quinn falls to the tracks, tumbling head over heels
back into the darkness --
THE AMPUTATED HAND,
which continues to clutch at Blade's ankle, starts to melt. With a
cry of disgust, Blade kicks the thing away. He turns and climbs
through the window --
INT. SUBWAY CAR - NIGHT
Karen helps Blade inside. He sinks to the floor of the otherwise
deserted car, exhausted. He's looking ashen now. The whites of his
eyes are shot through with red.
Karen gets a good look at Blade's wounds -- the front of his jacket
is soaked in blood. She reaches for him --
KAREN
You're hurt --
BLADE
Nothing that won't heal by dawn.
Blade reaches into his jacket and pulls out the small, gas-powered
pistol-injector we saw Whistler inject him with earlier. He tries to
load one of the ampoules into it, but because of his wounds, he's not
having much luck --
BLADE
(frustrated)
I need help with this --
Karen nods, inserting the ampoule into the gun. Blade shrugs off his
jacket, holds out his arm. Karen pauses --
KAREN
What am I injecting you with?
BLADE
(weakly)
Serum -- it's a human hemoglobin
substitute.
Karen locates a vein, presses the injector against it -- Blade
tenses, grits his teeth, fights to keep his body thrashing as the
serum enters his bloodstream. He grips the wall behind him --
actually digs his nails into the metal surface -- the agony he's
going through is excruciating, like nothing we could imagine.
When it's over, he slumps forward, spent, vulnerable, flushed with
sweat. Karen stares at him --
KAREN
You're one of them, aren't you?
Blade turns away from Karen, filled with self-loathing.
BLADE
Not quite. I'm a hybrid. Half-human,
half-vampire.
Off Karen's surprised reaction, we --
CUT TO:
INT. WHISTLER'S WORKSHOP - NIGHT
The loading elevator CLANGS to a stop. Blade throws the gate open.
Karen helps him out. Now that they're safely back, the last of
Blade's strength seems to dissipate.
WHISTLER
is waiting for them, sitting at a workbench.
WHISTLER
What took you so long?
BLADE
Don't even start, old man.
Blade throws his sword aside, then moves off into the shadows,
disappearing beyond the curtains. Karen looks to Whistler --
KAREN
Why didn't you tell me the truth
about him?
WHISTLER
We weren't sure we could trust you.
Whistler sighs, removing his glasses.
WHISTLER
Blade's mother was attacked by a
vampire while she was pregnant.
Ultimately, she died, but her unborn
child lived. Unfortunately, he'd
undergone certain genetic changes
while in the womb --
Whistler reaches for a pack of cigarettes, pulls one out. He thumbs a
match, fires up. Takes a long drag --
WHISTLER
I found Blade when he was thirteen.
He'd been living on the streets,
feeding off the homeless. Apparently
the Thirst manifested itself at
puberty --
(beat)
I took him for one of them at first,
almost killed him, too. But then I
realized what he was.
CUT TO:
EXT. EDGEWOOD TOWERS, PENTHOUSE - NIGHT
Frost stands at the window, looking out at the glimmering cityscape
before him.
INT. FROST'S PENTHOUSE - NIGHT
Frost turns away from window. Quinn, Mercury, and the other vampires
from the Black Pearl stand before him. Quinn cradles his amputated
stump with his newly grown arm.
QUINN
He took my fucking hand! Again!
FROST
You seem to be in the habit of losing
them fairly often, Quinn. Maybe the
amputee lifestyle just suits you.
The other vampires laugh. Quinn stares them into silence.
QUINN
We need to find him, tonight.
Frost claps a hand on Quinn's shoulder.
FROST
Down, boy. Blade's not going anywhere.
I promise. Right now, though, we've
more pressing business --
(off Mercury's look)
It's time Dragonetti paid the piper.
CUT TO:
INT. WHISTLER'S WORKSHOP - NIGHT
Whistler studies Karen, exhaling another lungful of smoke.
WHISTLER
Blade's unique, you know. A one in a
billion anomaly. He can withstand
sunlight, garlic, even silver. But he
still has the Thirst.
KAREN
What happens if he doesn't take the
serum?
WHISTLER
The Thirst overcomes him, just like
the others. It's not something he can
control.
(sighs)
The problem is, time's running out.
His body's starting to reject the
serum. And so far, all my efforts to
find a cure have ended in failure --
KAREN
No offense, Whistler, but you're not
exactly working with state of the art
equipment here. You might have missed
something.
WHISTLER
(pointedly)
Which is why you're here. We could use
someone with your experience.
A beat passes between them and Karen knows where she stands now. In
for a penny, in for a pound. Whistler reaches for Blade's sword.
WHISTLER
This used to be mine, you know. It's
been passed down through the
centuries, from one hunter to the
next --
Whistler extends the sword, sighting down the length of it. He takes
a few practice parries -- it's obvious he used to be quite skilled in
the art of swordsmanship.
KAREN
Why do you hunt them?
WHISTLER
Habit, mostly, just like this.
Whistler gestures with his cigarette. He finally stubs it out, his
wistful reverie vanishing like so much smoke.
WHISTLER
I had a family once -- a wife, three
daughters. Then a drifter named Deacon
Frost came calling one evening --
KAREN
He killed them?
WHISTLER
Eventually. He toyed with them first.
He made me choose, do you understand?
Which order they would die in --
Karen stares at Whistler, horrified.
KAREN
How did you escape?
WHISTLER
I didn't. He was cruel enough to let
me live.
(slapping his brace)
Even gave me a souvenir to remember
him by.
Karen nods -- it's all falling into place for her now.
KAREN
And now you're using Blade to exact
your revenge?
WHISTLER
(pointedly)
Frost's bodycount keeps rising, and
I'm not getting any younger, am I?
Just then, we hear a SCREAM come from Blade's room, sounding more
like the cry of a beast than a man. Karen takes a step towards
Blade's room --
WHISTLER
I wouldn't go in there if I were you.
It's best to leave him alone when he's
like this.
KAREN
I'll take my chances.
INT. BLADE'S ROOM - NIGHT
Karen enters. It's dark, just a trace of moonlight.
KAREN
Blade?
No answer. Then Karen SEES him -- crouched in the corner of the room
like some kind of nocturnal animal.
KAREN
It's dark in here.
BLADE
You get used to the darkness.
Karen takes a step towards him.
KAREN
Whistler told me about your mother.
Blade clutches the silver locket in his hand. It swings back and
forth, like a pendulum.
BLADE
I can't close my eyes without hearing
her scream.
KAREN
Those aren't real memories. No one has
that kind of recall.
BLADE
I do. I remember from day one. People
staring at me, sensing I was
different. Watching the fear grow in
their eyes, knowing in their hearts I
wasn't human.
KAREN
If you're not human, then why do you
bleed like us?
I've seen vampire blood, you don't
have it running through your veins.
Blade looks at Karen, his lambent eyes glowing in the moonlight.
BLADE
Just get out of here.
KAREN
Blade --
Blade turns, his eyes glowing with preternatural fury.
BLADE
I said, GET OUT!!!
Karen backs away, startled by Blade's vehemence. She exits, leaving
him alone with his demons. He holds up one of his empty serum
ampoules, crushing it in his fist.
FROST'S VOICE
Rise and shine, little wing.
EXT. THE BURNING GROUNDS - JUST BEFORE DAWN
FADE IN on Dragonetti, his face covered with a black condemned man's
hood --
Frost stands before him, grinning like the Cheshire Cat. He's dressed
from head to toe in a black motorcycle suit -- boots, gloves, a
visored helmet tucked under one arm. Mercury and Quinn are standing
nearby, similarly attired.
We're on a stretch of rocky coastline, tucked away in a secluded
cove. Dragonetti has been stripped bare, chained like Prometheus to
an ancient standing stone.
DRAGONETTI
(straining)
What is this? Where am I?!
Frost steps forward, pulling Dragonetti's hood off. Dragonetti stares
at his surroundings, horrified.
FROST
When was the last time you stopped to
appreciate a sunrise, Dragonetti?
Three, four hundred years?
Frost checks his watch, then looks to the ocean. On the horizon, a
sliver of gold appears.
FROST
How do you like that? Right on time.
DRAGONETTI
(snarling)
The other elders will never let you
get away with this!
Just then, the TWELVE VAMPIRE ELDERS emerge behind Frost, forming a
circle around Dragonetti. All wear business suits, gloves, along with
high-tech "sun masks" to protect their faces from the light's lethal
rays.
They stare at Dragonetti like a silent jury. His face darkens, anger
rising -- but there's a desperation in his eyes now too. He speaks in
the secret tongue:
DRAGONETTI
(subtitled)
Don't you see, you fools?! He'll
betray you too! He's planning on
invoking LaMagra himself!
The vampires just smile and shake their heads.
FROST
The wheel turns, old fang. Guess you
just got a little too long in the
tooth.
Dragonetti's cries are cut short as Frost forces the aging vampire's
mouth open, ripping out his fangs with his bare hands. Dragonetti
GURGLES and SHRIEKS, sounding like a dying animal.
Frost turns to face the Twelve now, his eyes bright with victory. He
pulls on his motorcycle helmet, as do Mercury and Quinn.
Behind them, Dragonetti struggles furiously against his chains to no
avail as the first faint rays of daylight fall upon him, channeled
inward by the natural formation of the cove --
Dragonetti HOWLS, his skin beginning sizzle and smoke. Then he
catches fire like paper beneath a magnifying glass. He thrashes about
as his flesh starts to run from his body.
THE VAMPIRE ELDERS
watch, impassive, protected by their masks --
-- when suddenly, TWELVE FIGURES rise up behind them, clad in bike
helmets and black leather, just like Frost. The intruders grip each
of the Elders in a strangle hold, ripping their masks off.
FROST
Dragonetti was right. You were fools
to trust me.
Frost flips down the visor of his helmet even as --
THE RED SUN
rises in all its fiery glory.
One by one, the vampire Elder's heads catch fire, skullflesh sizzling
away -- burning down the line of them in successively building
intensity until all twelve EXPLODE in a conflagration of BLINDING
WHITE LIGHT.
Frost and his compatriots are blown off their feet by the sheer
intensity of the occult blast -- a blast which sends the skeletal
bodies of the Elders SLAMMING into the rock wall.
When it's over, Frost picks himself back up. We SEE that the only
thing left of Dragonetti and the others are --
THIRTEEN SHADOW SILHOUETTES
permanently etched onto the rock's surface, just like the bombing
victims of Hiroshima.
INT. WHISTLER'S WORKSHOP - DAY
Karen stands at a lab table with Whistler, preparing a number of
blood sample vials. They are surrounded by host of new medical
equipment -- from centrifuges to genetic sequencers and beyond.
Blade emerges from his room, looks to Karen. As if by silent
agreement, last night's words go unacknowledged. He straps on his
bandoleer of stakes, secures his scabbard.
WHISTLER
Going somewhere?
BLADE
China Town. I need more serum.
(re: new equipment)
What's all this?
KAREN
I made a trip to the hospital last
night, borrowed some equipment.
BLADE
(sarcastic)
For your miracle cure?
WHISTLER
She's been making real progress,
Blade.
(to Karen)
Show him --
Karen looks to Blade, who shrugs. She opens a refrigerator, removing
a syringe filled with blue fluid.
KAREN
This is sodium citrate. It's an
anti-coagulant. We use it to treat
blood-clots sometimes. Vampire blood
is thinner than humans, though. Watch
what happens when I introduce some
into a sample --
Karen gestures to the microscope. Blade takes a look --
BLADE'S POV
Vampire blood cells swirling about.
Karen injects the contents of the syringe onto the slide of cells --
the reaction is immediate. The vampire blood turns black, then begins
violently bubbling.
Blade lifts his head away from the microscope just in time -- the
blood on the slide atomizes, exploding outward in a fine mist which
bursts apart the glass lens of the scope.
Whistler laughs, thrilled with the results.
WHISTLER
Can you imagine what a dash of that
would do on your sword?
Whistler claps his hand on Karen's shoulder in approval, then limps
away, quickly busying himself with another project. Blade moves to
follow, but Karen stops him --
KAREN
Before you go, I'd like to take a
sample of your blood.
Blade grudgingly rolls up his sleeve. As Karen takes her sample,
Blade looks to Whistler. The older man brings a handkerchief to his
lips, coughing into it.
KAREN
Is he sick?
BLADE
Cancer.
Karen watches as Blade's blood flows into the vacutainer. She fills
the first, then inserts another.
KAREN
You care about him, don't you?
BLADE
We've got a good arrangement, that's
all. Whistler makes the weapons, I use
them, the vampires die -- end of
story.
Karen finishes. Blade rolls up his sleeve.
KAREN
(pointedly)
My mother used to say that a cold
heart is a dead heart.
BLADE
Your mother sounds like a Hallmark
greeting card.
Blade slips his Casulls into a shoulder holster, then shrugs into his
leather jacket, donning his sunglasses.
BLADE
I'd wish you luck, Doc, but I never
put much stock in optimism.
He heads towards the elevator.
EXT. CHINATOWN, STREETS - DAY
Blade makes his way down a street lined with vending stalls --
passing MERCHANTS peddling exotic vegetables and cheap curios,
butcher shops with rows of roast ducks in the window, tyro GANG-
BANGERS lounging at the entrance to a video arcade.
BLADE'S POV
Even though the streets are crowded, the people seem to make way for
him, avoiding eye-contact.
Blade turns into a dark alley, ducking into the doorway of a hole-in-
the-wall herbalist shop.
INT. HERBALIST SHOP - DAY
A bell atop the door JINGLES, announcing Blade's arrival. We're in a
dusty, cave-like room filled with baskets and bottle-lined shelves
featuring things like "Toad Spleen Extract" and "Barking Deer Wine".
Joss sticks burn, sending wispy tendrils of incense into the air.
At the back of the shop, an elderly CHINESE MAN in a cardigan sits in
front of a battered television, watching a boxing match. He's eating
a bowl of litchi fruit. On the counter nearby, a SPIDER MONKEY
watches attentively.
BLADE
How's it going, Kam?
KAM
(re: calendar)
You're a week early.
BLADE
I was in the neighborhood.
Kam sets his fruit bowl aside, leads Blade through a curtain into a
back room.
INT. HERBALIST SHOP, BACK ROOM - DAY
Kam hands Blade a leather valise. He opens it -- its lined with tiny
ampoules of scarlet-colored serum. Blade pulls one out, holds it up
to the light.
BLADE
Whistler says I'm building up a
resistance to it.
KAM
I was afraid that might happen.
BLADE
Maybe it's time to start exploring
other alternatives.
KAM
There's only one alternative to the
serum.
Blade nods. They both know what that "alternative" is.
BLADE
Yeah. I know.
Blade closes the valise and tucks it inside his jacket.
BLADE
Thanks, Kam.
(thinking)
One other thing. Have you ever heard
of a vampire called the Sleeper?
Kam shakes his head. Blade pulls out the parchment he took from
Pearl.
BLADE
I found this in there archives. I need
to find someone who can read their
language.
Kam studies the parchment.
KAM
I've heard about a woman named
Miracia. Some say she's a mayombero, a
Santeria witch. Supposedly she lives
in that tent community down by the
city dump. I'm told she only sees
people at night.
Blade nods his thanks and heads back through the curtains.
EXT. CHINATOWN, STREET - DAY
Blade emerges from the alley into the sunlight, then hears his name
WHISPERED on the wind.
VOICE (o.s.)
Blade.
Blade spins, scanning his surroundings -- did he really hear his
name, or was it just the wind?
VOICE (o.s.)
Blade.
Again, the taunting voice calls him. Blade's gaze finally settles
on --
A MAN
sitting on a bench in the deep shade, his face obscured by the
Chinese newspaper he's reading. There's a LITTLE GIRL sitting stiffly
beside the man -- a look of pure terror written on her face.
MAN
Afternoon, Blade.
The man lowers his newspaper. It's Deacon Frost. He's wearing
sunglasses, but otherwise, he's seemingly unprotected by the sun.
Blade reaches for his .454 --
FROST
Easy.
Frost's hand rests on the back of the girl's neck. We see his claws
extend, caressing the flesh beneath her chin.
FROST
Wouldn't want our little friend here
to wind up on the back of a milk
carton, would we?
Blade reluctantly lowers his hand. Frost smiles. He takes in a deep
breath of air, savoring it.
FROST
Beautiful day, isn't it?
BLADE
(confused)
How can you be out here?
FROST
I dabble in pharmaceuticals, medical
research. We've developed a type of
sun-blocker using octyl salicylate, a
few others things.
On closer examination we see that Frost is wearing a translucent
lotion on his face. He touches a finger to his cheek, rubs some of
the lotion between his fingers.
FROST
It's not very effective in direct
sunlight, but it's a start. The goal,
of course, is to be like you, "the
Day-walker".
BLADE
I don't buy it.
FROST
Why not? The future of our race runs
through your bloodstream. You've got
the best of both worlds, Blade. All of
our strengths and none of our
weaknesses.
BLADE
Maybe I don't see it that way.
FROST
Oh, so it's back to pretending we're
human again, is it? Spare me the Uncle
Tom routine. You can't keep denying
what you are. You're one of us, Blade.
You always have been.
BLADE
You're wrong.
FROST
Am I? You think the humans will ever
accept a half-breed like you? They
can't. They're afraid of you.
(pointedly)
The humans fear us because we're
superior. They fear us because in
their hearts they know their race has
become obsolete.
Frost watches the marketers stream past, sneering in contempt.
FROST
Look at them, just an endless stream
of cattle in a mad race to the
slaughterhouse.
Frost lifts a silver flask to his mouth, taking a swig of blood. He
smacks his lips, sighs contentedly --
FROST
The pause that refreshes --
(offering it to Blade)
Care for some? Smells good, doesn't
it? Pungent, with just an
irrepressible hint of iron.
BLADE
Pass.
FROST
You sure now? I bled a newborn for
this. You won't find a drink that's
sweeter.
It takes every ounce of Blade's self-control to keep from attacking
Frost -- and Frost senses this, pressing his sharp thumbnail against
the child's jugular.
FROST
Tell me honestly, do you really get
the same rush from that pasteurized
piss-serum of yours?
(off Blade's look)
You're surprised I know about your
serum? You shouldn't be. I know
everything about you.
Frost leans forward, grinning.
FROST
You can't keep walking the razor's
edge, Blade. The day will come -- and
soon, when you'll have to choose
between our kind and their's. If I
were you, I'd take care not to wind up
on the wrong end of the fang.
A bead of sweat runs down Frost's neck, washing away a minute amount
of the sun-blocking cream. The patch of exposed skin instantly
blackens. Frost gazes upwards at the sun.
FROST
Love to continue this chat, but it
appears I'm melting.
Frost rises, taking the little girl by the hand. Blade follows, his
hand resting on the butt of his Casull.
BLADE
You're not going anywhere.
FROST
(growling)
Watch me.
Frost's eyes flicker towards the street -- a CITY BUS is rumbling by.
In a heartbeat, Frost hurls the little girl forward --
-- out into the path of the oncoming bus!
Blade has a split-second to act. It's Frost or the girl -- and for a
moment we actually think he's going to go for Frost --
-- but then he DIVES forward, scooping the girl into his arms,
throwing themselves out of the bus' path. The bus misses them by a
hair. By the time Blade looks up again --
-- Frost is gone. Blade rises, cursing, scanning the street as
market-goers gather around him.
WHIP PAN TO --
SOMEONE sitting astride a motorcycle, watching Blade from the roof of
an elevated parking garage. The rider is clad from head to toe in a
helmet and black leather -- Mercury.
EXT. ABANDONED FACTORY - DAY
Blade's Olds cruises into the gated grounds. It zips down the ramp
way into the loading elevator.
BACK BY THE TRAIN TRACKS --
Mercury's cycle rolls into frame. She picks up a radio handset and
keys it.
MERCURY
(into radio)
This is Mercury. Tell Deacon I've
found their hiding place.
CUT TO:
INT. WHISTLER'S WORKSHOP - DAY
Blade enters through the loading elevator, finding Karen and Whistler
hard at work. She turns as he approaches -- SEES him back-lit by the
sun. She looks pale, the whites of her eyes are streaked with red.
BLADE
Any progress?
KAREN
Some. It's been slow --
BLADE
You don't look so good.
KAREN
I'm just tired, that's all. We've been
up all night.
Blade nods, not buying her explanation. He shoots a glance to
Whistler, which doesn't go unnoticed by Karen.
KAREN
Excuse me.
Karen turns, heading for the back of the workshop.
INT. WORKSHOP - BATHROOM - NIGHT
Karen enters a dingy bathroom, turning on the overhead bulb. She
studies her reflection in the mirror above the sink, then grimaces as
she peels the dressing from her wound -- the wound is clearly
infected, gangrenous.
BLADE (O.S.)
It's started.
Karen spins, startled. Blade stands behind her. He grips her jaw,
turning her head so he can better view the wound.
BLADE
You've got another day or two at most.
Karen nods, shaken. As she moves to leave, Blade reaches for her arm,
stopping her.
BLADE
For what it's worth, I'm sorry.
KAREN
You make it sound like I'm already
dead.
Blade just stares at her. Finally, she pulls away.
EXT. WHISTLER'S WORKSHOP - DUSK
CLOSE ON Karen as she moves to the grimy outer windows, watching the
sun go down, an unmistakable look of dread creeping over her.
CUT TO:
EXT. LANDFILL GHETTO - DUSK
Windy. Urban desolation. Blade stands on the perimeter of a sprawling
cardboard and plywood squatter's ghetto which has sprung up around
the city dump. CHILDREN and DOGS forage for salvageable items, while
in the distance, dumptrucks grind over the dunes of refuse.
MOMENTS LATER,
Blade is winding his way through the maze of makeshift homes and
ashcan fires. A CROWD quickly closes in around him, suspicious. A
BRUTISH MAN steps forward, challenging him --
MAN
Extranjero. �Quien es?
BLADE
I'm here to see Miracia. Kam sent me.
The man turns to his fellow squatters, WHISPERING. After a heated
debate, a GAUNT WOMAN steps forward, motioning --
WOMAN
This way.
CUT TO:
INT. WHISTLER'S WORKSHOP - NIGHT
Whistler and Karen sit at a work table. Karen is looking at a blood
smear slide through a microscope.
KAREN
All right, let's start with the basics
-- why do vampires need to drink
blood?
WHISTLER
Their own blood can't sustain
hemoglobin.
KAREN
Then vampirism is a genetic defect,
just like Hemolytic anemia?
Whistler nods.
KAREN
So what about gene therapy?
Whistler looks intrigued. Karen continues.
KAREN
Basically you'd have to re-write the
victim's DNA, alter it so that the DNA
will produce proteins capable of
generating hemoglobin.
WHISTLER
How?
KAREN
With a retrovirus. It's injected into
the bone marrow cells, it causes the
host's DNA to mutate. They've been
using them to treat Sickle-cell
anemia.
Whistler can hardly believe what he's hearing.
WHISTLER
You're serious? You actually think
this could work?
Karen pauses -- we can see in her expression that there's something
she's been holding back.
KAREN
On me, yes. On Blade, I'm not so
sure --
(gravely)
The problem is, Blade didn't contract
the vampire virus from a bite like I
did. He was born with it. The irony
is, I could probably cure every
vampire but him.
WHISTLER
Then we're back to square one, aren't
we? Sooner or later, the Thirst always
wins.
At that moment, the lights in the workshop flicker, then go out.
Karen looks around the room, alarmed.
KAREN
What happened to the power?
WHISTLER
(concerned)
I don't know, but the back-up
generator should've kicked in.
A few seconds pass. The back-up generator still hasn't activated.
Whistler moves to the window --
WHISTLER
UV floodlights are down too.
As Whistler reaches for a flashlight we hear the sound of GLASS
SHATTERING coming from the other end of the workshop. Whistler shines
the flashlight in that direction. We hear more sounds now -- water
draining, glass tinkling.
Whistler raises a finger to his lips, signaling silence. He edges
towards the black-out curtains, Karen falling in behind him.
INT. WHISTLER'S WORKSHOP - TANK ROOM - NIGHT
Whistler and Karen enter, cautious --
THE TANK
containing the vampire child has been smashed open. It's empty now,
with just the steadily draining blood seeping across the floor in a
widening pool -- and a trail of tiny BLOODY FOOTPRINTS leading back
out into the main workshop.
INT. WHISTLER'S WORKSHOP - NIGHT
Karen scans the shadows, eyes alert. We hear a WHISPER, then a
teasing, childish, GIGGLE.
Whistler moves the flashlight in a slow circle, shining the beam over
every inch of the room. And just as he's about to complete his
circuit --
THE CHILD
leaps from where it had been hiding overhead! Karen SCREAMS.
Whistler is knocked to the floor, the flashlight spinning from his
hand --
The feral child lands atop Whistler, HISSING like a cobra. Its
macrocephalic head seems to morph, twisting into grotesque
proportions. And just as it's about to strike --
ZZZZING! Whistler withdraws a silver rapier which had been hidden
inside his cane. He lunges forward --
WHOOSH! The child takes off like a blue streak, sending test tubes
and medical equipment CRASHING to the floor. It zips past Karen --
WHISTLER
Get it!!!
Karen snatches up the flashlight, chasing after it as Whistler
struggles to his feet --
Karen sweeps the flashlight around, catching only fleeting glimpses
of the child as it darts through the workshop. She reaches a shelving
unit where Whistler's weapons are stored, grabs one of the modified
pistols --
Karen tries to draw a bead on the creature. She FIRES, misses, FIRES
again -- she's getting more unnerved as the seconds tick by and the
creature is moving closer and --
-- suddenly it's right in front of her, flying through the air, fangs
bared!
The child knocks Karen back against the wall. It's at her throat,
sinking its claws into her neck. Karen chokes, forcing Whistler's
pistol under the monstrosity's chin --
-- but then the creature morphs again, transforming into a beatific
little cherubim of a child -- and Karen hesitates, because the child
seems so goddamned human now and its eyes are luminous, pulsing and
hypnotic and --
-- suddenly Whistler reaches in from behind, YANKING the vampire
child's head back, FIRING a pistol into its skull. The creature
slumps --
Karen cries out, disgusted, flinging the corpse away from her. As it
continues to writhe --
THUNK! Whistler swings his cane-rapier down on the creature, brutally
decapitating it. Finishing the job. Then he looks to Karen, winded.
WHISTLER
Understand this -- they are monsters.
Hesitate for even a moment, and you've
lost.
FROST (O.S.)
Words to live by, Whistler.
Whistler spins, eyes wide. He knows that voice.
DEACON FROST
steps into the pool of illumination thrown off by the flashlight,
followed by Mercury and Quinn.
FROST
It's been a long time, hasn't it, "old
friend"?
EXT. LANDFILL GHETTO - MIRACIA'S CABIN - NIGHT
Blade is led to a plywood cabin crowded with candle-lit altars --
garish pictures of Saints and demons abound, alongside bottles of
roots and herbs steeped in alcohol, human bones, voodoo dolls.
MIRACIA
sits on a sagging couch outside, clutching a deck of well-thumbed
Bicycle playing cards. She's ancient, with a mouthful of gold-capped
teeth and cataract-clouded eyes. Blind.
MIRACIA
Is something wrong, my friend?
BLADE
You're blind --
MIRACIA
There are other ways to see. Sit.
Blade approaches, uneasy. Miracia deals out the playing cards on a
rickety table, setting them in nine piles which take on a cross
formation.
MIRACIA
Perhaps you have brought me something
-- an offering for the orishas?
Blade tosses a handful of bills on the table. Miracia nods, then
flips over the first card in the center pile -- a one-eyed Jack. She
sighs, grave --
MIRACIA
Hold out your hands.
BLADE
I didn't come here to get my palms
read. I need something translated.
MIRACIA
Show me.
Blade removes parchment fragment from his jacket and sets it on the
table. Miracia traces her fingers over the ancient paper, touching
her fingertips to her lips.
MIRACIA
Sangre. Written in blood.
She runs her hands over each line as if it were written in Braille.
Some of the candles gutter, then extinguish themselves as the wind
around them rises.
MIRACIA
This is an old tongue, from an old
world. It concerns LaMagra.
BLADE
Who is LaMagra?
MIRACIA
The vampire God. This speaks of His
return.
Miracia's fingers search the parchment again.
MIRACIA
"-- there will come a Day Walker."
(reading)
"His blood will call the Sleeper from
beyond the Veil of Tears."
Blade stares at Miracia, shaken.
BLADE
His blood -- ?
The old woman nods, reaching for a smoldering cigarette.
MIRACIA
The Day Walker's blood is a disparador
-- a trigger, you see? For LaMagra's
return. One need only consume it and
the spirit of his ancestors will
settle upon him.
(reading)
"And the Sleeper will rise from the
shadows anew, cleansing the world in a
Tide of Blood."
BLADE
(recalling the phrase)
"The Blood Tide".
MIRACIA
(nodding)
Yes. The vampire apocalypse. It is
said that all who feel its taint will
succumb to the Thirst.
BLADE
How do I stop it?
Miracia shrugs, spreading her hands.
MIRACIA
The Great Wheel turns, my friend. The
Dark is rising. How would you fight a
shadow?
Miracia sits back, slumping into her chair. The candles have burnt
themselves down to nothing.
MIRACIA
I am tired. Dawn is coming.
BLADE
But I just got here --
MIRACIA
You've been here longer than you
think.
Blade rises, looking to the horizon. Incredibly, dawn is coming. As
he stands there, mystified, the wind picks up, sweeping the parchment
fragment out of his hand. He tries to snatch it back, but the
fragment is quickly borne away. He watches it disappear into the sky,
then turns back --
Miracia is gone. Blade glances around him, but she's nowhere to be
found.
CAMERA PULLS BACK,
isolating Blade amidst the ghostly squalor. From our vantage point,
he looks like any other homeless phantom.
INT. WHISTLER'S WORKSHOP - DAWN
Blade steps out from the elevator into the workshop --
The place has been trashed. It looks like a tornado touched down in
his absence. Blade pulls out one of his .454s, cautious --
BLADE
WHISTLER?!
-- and then he stops dead in his tracks.
WHISTLER
has been strung up by his arms against the far wall, tortured and
left for dead. In response to Blade's voice, a MOAN escapes the dying
man's lips.
Blade rushes to the wall, cutting Whistler down with his sword,
gently lowering him to the floor. As he cradles the old man in his
arms, Blade sees the primary wound -- two ragged puncture marks along
Whistler's throat.
BLADE
Jesus, Whistler, what did they do to
you?
Whistler opens his eyes, struggling to speak --
WHISTLER
Frost took her --
Whistler spasms and coughs, wincing from the pain.
BLADE
Don't try to talk --
WHISTLER
Listen. You have to -- finish me off.
You don't want me coming back.
BLADE
No, we can treat the wounds --
But Whistler is shaking his hand.
WHISTLER
Too far gone, you know that.
Blade's at a complete loss.
BLADE
Whistler, I can't.
Whistler clutches at Blade's arm, his eyes burning with conviction.
WHISTLER
Yes you can. Now get on with it.
As much as he'd like to deny it, Blade knows that Whistler is right.
He pulls a stake from his bandoleer, hesitates.
BLADE
Whistler, I --
WHISTLER
(cutting him off, more gentle now)
I know.
(forcing a smile)
Just be quick about it, will you? Do
it right.
Blade fights back tears. With a wretched moan, he turns his head and
drives the stake into Whistler's chest. Whistler GASPS. Blade wraps
his arms around the older man, holding him tight as the life runs out
of him, rocking back and forth --
After a while, the rocking stops and Blade lays Whistler on the
floor. Then something catches his eye --
A SHARP VIEW-CAMCORDER
resting nearby, labeled, "PLAY ME". Blade reaches for the camcorder,
cues the tape -- Frost's face appears on the tiny built-in screen.
FROST
Hello, Blade. By the time you watch
this, Whistler will no doubt be
winging his way to Heaven, thanks to
your capable hands. If it makes any
difference to you, he put up quite a
fight.
Frost touches a deep gash which runs across his cheek.
FROST
Now, I'm sure you're wondering about
Ms. Jansen's well-being. She's alive
and kicking -- "ambulatory", as they
like to say in the trade. Whether or
not she remains so is entirely up to
you.
(beat)
I'll make this as easy as possible for
you, Blade. You can find us at the
Edgewood Towers. We'll be waiting with
baited breath.
The tape cuts to static. Blade throws the camcorder against the wall.
It shatters into a dozen pieces.
Blade turns now, his eyes falling on the medical equipment Karen
brought from the hospital. He moves to the refrigerator, removing a
canister labeled "SODIUM CITRATE". Then he draws his sword. We can
practically see the wheels turning within his mind --
MOMENTS LATER,
Blade stands before the open flames of one of the furnaces, heating
his sword in the fire. He withdraws it -- it's molten red.
Blade turns, dousing the molten hot sword into the sodium citrate
canister. The refrigerated liquid reacts with the heat, causing the
sword to STEAM and HISS.
When Blade withdraws the smoking sword, we SEE that the gleaming
steel has changed colors, taking on a bluish tinge, just like the
sodium citrate it was immersed in. Blade smiles to himself,
satisfied.
CUT TO:
INT. FROST'S PENTHOUSE, INNER CHAMBER - DAY
Sparse decor in a Neo-Japanese vein. Minimalist lighting. The walls
are glass. Recirculating pumps send a constant stream of water
cascading down them.
Karen is escorted into the room by Mercury. She gestures to a chair
at the end of a long table. Karen sits.
FROST
leans forward out of the shadows, resting his elbows on the table,
hands steepled together.
FROST
Well, here we are, Doctor.
A cigarette appears in Frost's hand. In the blink of an eye, the
cigarette is lit, burning. The movements are so quick we barely have
time to register them.
KAREN
Why haven't you killed me yet?
MERCURY
Deacon likes to play with his food
before he eats it.
Frost laughs. Karen tries to keep calm. The longer she keeps them
talking, the longer she remains alive.
KAREN
How many of you are there?
FROST
A few thousand scattered about the
globe. In the past, we've had to
restrict our numbers for fear of
discovery. That won't be necessary
after tonight.
KAREN
What happens then?
FROST
The Blood Tide. Our long-prophesied
holy war against the humans. There's a
force, you see -- a spirit that exists
in our blood. I've discovered a way to
invoke it.
KAREN
LaMagra --
FROST
That's right. The answers were there
all along, of course, scribbled down
in the forgotten languages of my kind.
Waiting for someone with the patience
to decipher them.
My elders were foolish enough to
dismiss them as wives tales. But I
knew better.
(beat)
Imagine my surprise when Blade turned
out to be the key which would set that
force free.
Frost sits forward now, impassioned.
FROST
LaMagra isn't a physical being. He's a
spirit, requiring a flesh and blood
host in order to manifest himself.
KAREN
You.
FROST
Who better to usher in the Blood Tide?
Karen shakes her head, protesting --
KAREN
There's no need for any of this. Your
condition can be treated. Whistler and
I were working on a cure when --
FROST
What makes you think we want to be
cured? Blood is only part of the
equation. The hunt, the killing,
that's what the Thirst is really
about.
KAREN
But you use blood banks --
FROST
Only as a last resort. Preserved blood
is inferior. There's no flavor left to
it, no life.
(rising from his seat)
Fortunately, I've found a way around
that particular obstacle.
Frost moves to the end of the room. He pushes a button. With a HUM
the wall slides open, revealing something Karen wishes she'd never
seen -- living blood banks.
THREE SEDATED HUMANS
have been hooked up to IV feeds which replenish various nutrients as
their blood is drained from them. Shunts have been implanted in their
forearms which serve as taps.
FROST
Under these conditions I can keep a
donor alive for years, producing
anywhere from fifty to a hundred pints
of blood.
(admiring his charges)
Of course, this is just a pilot
program, really. Once the Tide comes,
we'll need to expand production. So
many more mouths to feed --
Karen turns away, overwhelmed by revulsion.
KAREN
You're a monster.
FROST
Why? Because we live at another
species' expense? Your people farm
cattle and veal, don't they? Fattening
them up with steroids? It's called
evolution, Doctor. Survival of the
fittest.
Frost stares at Karen with an intense, uncompromising gaze.
FROST
I have a wake-up call for the human
race. You're no longer at the top of
the food chain.
EXT. SKYSCRAPER ROOFTOP - DAY
BLADE'S POV
A telephoto view of Frost's penthouse. The windows are polarized,
blocking out the sun's harsh rays.
Blade lowers a pair of binoculars. He's standing on the roof of a
building across the street. He hefts an air-launcher rifle up into
firing position --
BANG! An iron spike trailing a steel cable rockets through the air
between the two buildings, sinking into the concrete facade of
Frost's penthouse. Blade secures his end of the rope. He slips a
pulley over the rope, grabs hold of two handles, and leaps off the
roof ledge!
WHOOSH! Blade slides towards Frost's penthouse, a good twenty stories
above street level. A second before he reaches the windows, Blade
lets go. Momentum sends him CRASHING through in a shower of glass.
INT. FROST'S PENTHOUSE - DAY
An ALARM is ringing. Sunlight streams in through the broken window.
TWO VAMPIRE GUARDS who have been caught in the sudden swath of light
are burning up before our eyes. Blade climbs to his feet --
A THIRD VAMPIRE
leaps at him. Blade spins, flipping the vampire over his shoulder,
sending him straight through one of the other windows --
EXT. FROST'S PENTHOUSE - DAY
The vampire tumbles earthward, SCREAMING as the sun's rays ignite his
body, falling like a human comet.
INT. FROST'S PENTHOUSE - DAY
Blade unsheathes his sword and heads out into the hall --
INT. FROST'S PENTHOUSE, HALLWAY - DAY
To Blade's right is the inner chamber with the "waterfall" walls. As
ANOTHER VAMPIRE approaches, Blade readies his sword --
VAMPIRE
You think I'm afraid of that toothpick
of yours?
BLADE
You should be. I've made some
improvements.
And with that, Blade thrusts his blackened sword forward, right
through the vampire's chest.
The creature SHRIEKS and atomizes -FWOOSH!- flying apart in a fine-
beaded spray of blood mist.
Up ahead are a set of steel doors with a time-lock mechanism. Blade
draws a Casull, BLASTS away at the lock, then shoulders the doors
open --
INT. FROST'S SLEEPING CHAMBER - DAY
We are in a windowless, vault-like room dominated by a series of
high-tech STAINLESS STEEL SARCOPHAGI. Think of a hyperbaric coffin,
each unit possessing a small face-plate window through which the
sleeping subject can be viewed.
Blade unsheathes his sword. He grabs the lid of the first
sarcophagus, HEAVING upward. With a PNEUMATIC HISS, the lid rises,
belching out a cloud of condensation mist.
As the mist clears, revealing the occupant within, Blade raises his
sword, ready to plunge it downward -- only it's not Deacon Frost who
rests beneath him, it's --
VANESSA,
Blade's mother!!! Although some thirty years have passed since the
events of our prologue, Vanessa looks exactly the same -- vibrant,
beautiful, full of life. Her eyes open.
VANESSA
Jason.
Blade gasps, uncomprehending.
BLADE
Mother -- ?!
Vanessa rises from the sarcophagus, tears staining her cheeks.
VANESSA
I've missed you so much, Jason.
(drawing closer)
You have no idea what I've been
through, how much I've wanted to see
you --
Blade falters, his mind reeling. What he's seeing is incomprehensible
-- his mother is dead. Yet, here she is in the flesh, reaching out to
him and --
-- flashing a mouthful of viper-like fangs! She SNARLS and strikes,
brutally raking her claws across Blade's face, knocking the sword
from his grasp --
A TRIO OF BLACK-CLAD VAMPIRES
led by Mercury step from the shadows where they'd been waiting all
along. They're armed with tasers which they fire en masse --
Blade is hit by the taser darts from all sides. He writhes as
electricity courses through him, then collapses in a heap. He labors
to lift his head, looking up at Vanessa --
BLADE
But you -- died --
VANESSA
(a hellish smile)
Deacon brought me back.
BLADE
Fight him --
As if on cue, Frost appears at Vanessa's side, wrapping a proprietary
arm about her waist, kissing the nape of her neck. She leans into him
-- an act of practiced intimacy.
FROST
She can't. She's one of my thralls
now. She has about as much free will
as a puppet on a string.
(looking at Vanessa)
You love me, don't you, Vanessa?
VANESSA
Yes.
Frost kisses Vanessa hungrily. Then he kneels and reaches into
Blade's jacket, retrieving a vial of Blade's serum.
FROST
What do we have here? Your precious
serum? I don't think you'll be needing
this anymore.
Frost crushes the vial in his fist. Blade struggles to reach Frost,
stretching a palsied hand upwards --
BLADE
Please --
VANESSA
Listen to your father, Jason. It's
going to be a better world.
Blade stares at Vanessa uncomprehending.
FROST
Don't look so surprised, Blade. You've
spent your life looking for the
vampire who fathered you. Well you can
rest easy now, you've found him.
(gripping Blade's chin)
Daddy's here.
Blade's eyes widen in shock. Frost simply laughs.
FROST
It's true, Blade. You've got my blood
running through your veins.
(smiling)
Thirty years ago. A moonlit street, a
woman on her way home alone. You were
conceived the night I tore my fangs
into your mother's flesh.
Frost swings his fist into Blade's skull. Everything goes black.
CUT TO:
INT. ARMORED TRUCK - NIGHT
FADE IN as Blade opens his eyes, still groggy, his face beaded with
sweat. Feverish. His hands have been bound tightly behind his back
with manacles and chains.
KAREN
sits nearby, watching him. From the steady rocking motion and the
SOUNDS of traffic outside, it's evident that they are in the back of
a moving truck.
KAREN
Are you all right?
BLADE
(weakly)
I've been better --
BLADE
How long have we been driving?
KAREN
(shaking her head)
I don't know. I woke up just before
you did --
As he struggles to sit up, she crosses over to him. Blade shuts his
eyes for a moment, fighting a wave of pain.
KAREN
Is it bad?
BLADE
(nodding)
We get out of this alive, maybe I'll
take that miracle cure of yours.
Karen doesn't respond. Instead she looks away. How in the world is
she supposed to tell him this?
KAREN
(quietly)
It won't work on you.
BLADE
What are you talking about?
Karen forces herself to meet his gaze.
KAREN
Your condition's congenital, the
genetic mutations occurred in utero.
All the other victims contracted
vampirism after birth.
Blade stares at Karen, disbelieving. Who could imagine a more
horrifying irony? She's crying now. She can't help it.
KAREN
I can't cure you, Blade. I can cure
myself, but I can't cure you.
(beat)
I'm so sorry.
Blade's head sinks, the last vestiges of hope draining out of him.
And then, as if the final stake were being pounded in, the truck
lurches to a stop. We hear the ENGINE being killed, then FOOTSTEPS
approaching, and then a series of BOLTS BEING SHIFTED as --
-- the back of the truck is thrown open. Frost stands there,
grinning, flanked by Mercury, Quinn, Vanessa, and a half-dozen other
VAMPIRE ASSOCIATES.
FROST
Welcome home, children.
EXT. THE BANK OF EREBUS - NIGHT
Blade and Karen are dragged from the back of the truck, which is
revealed now to be an armored car.
THE BANK OF EREBUS
rises up before them. A towering beaux-arts edifice situated in the
heart of the city's high-priced financial district -- one of the many
institutions owned and operated by the vampire enclave.
Frost starts up the marble steps towards a grand, triple-arched
entrance flanked by Corinthian columns. Karen and Blade are dragged
along after him.
INT. BANK OF EREBUS - ATRIUM - NIGHT
Frost leads his vampires into a high-ceilinged atrium, moving towards
a bank of elevators -- one of the doors of which is outfitted with a
high-tech hand-key ID system.
Frost places his palm on the ID screen. The screen GLOWS GREEN,
acknowledging his identity. In response, the doors HISS open.
INT. SECURITY ELEVATOR - NIGHT
Blade and Karen are pulled inside the elevator. The control panel
buttons have vampire glyphs, rather than numbers. Frost presses the
bottom one. The doors close with a WHOOSH and the car descends --
down, down, down.
Frost glances over at Karen, smiling amiably.
FROST
On its surface, this building houses
one of the city's oldest financial
institutions -- and for over
two-hundred years its served our
corporate needs. Look beneath the
surface, however, and you'll discover
another truth entirely --
The elevator CHIMES, having arrived at its destination. The doors
HISS open, revealing
INT. THE TEMPLE OF NIGHT
A vast, barrel-vaulted chamber lined with recessed tombs stretches
out before us -- an underground cathedral of sorts, wrought from
alabaster and marble. Restrained. Elegant. Replete with dark
splendor.
FROST
As above, so below.
Torches burn in wall sconces, casting everything in a warm, amber
glow. Frost takes in the beauty of the place.
FROST
Welcome to our hall of ancients,
Doctor. We call it the Temple of
Night.
Blade and Karen are led to the middle of the room, where a stone
altar rises up from a dais. Blade is roughly thrown to the ground. He
kneels there, eyes cast downward. Broken. His system being assaulted
by the devastating effects of the Thirst.
Quinn and Mercury pick their way through Blade's discarded gear.
Quinn picks up the punching dagger, admiring it.
Frost turns to Mercury, who's been holding Blade's scabbarded sword.
FROST
Let's see this sword of his.
Mercury draws the sword, handing it to Frost. He sights down the
length of it, testing its weight. With a flick of his wrist, he
lashes out, slashing Blade's cheek open.
FROST
Still quite sharp, I see.
Blade feebly struggles to rise. Frost clubs him on the back of the
neck with the sword pommel. Blade crumples. Karen tries to pull free,
but Quinn holds her tight.
KAREN
Blade --
FROST
You're wasting your breath, woman. He
can't hear you now. It's the Thirst,
you see? It already has him in its
grip.
Frost reaches down, dragging Blade's head up by his hair. Karen
watches on as Frost continues to taunt him.
FROST
How long has it been since you had
your serum? Twelve hours? More? You
must be quite thirsty by now.
He crouches down so he's eye to eye with Blade.
FROST
What does it feel like? Is your blood
on fire? Are you burning up inside?
Give in to the Thirst, Blade. Embrace
your true nature.
Blade shivers, grits his teeth, it's like he's going through heroin
withdrawal.
BLADE
-- go to hell --
Frost smiles, his eyes burning with an infernal glow.
FROST
I've got news for you, Blade. We're
already here.
Frost turns to the others, motioning.
FROST
Take him to the sanctuary. It's time
he was bled.
The other vampires retreat, dragging Blade along with them. Karen is
left alone with Frost and Quinn.
FROST
I'd let you watch the proceedings,
Doctor, but I'm afraid that privilege
is reserved for members of my own
race. Don't worry, though, I've made
alternate arrangements for you.
Frost motions and Quinn drags Karen towards --
THE MOUTH OF A PIT
some forty feet deep, its lichen-encrusted stone walls worn smooth
over time. As Frost gestures to the yawning darkness beneath them,
Quinn forces Karen towards the edge.
FROST
We call this the Bone Pit. It's where
we keep our mistakes, the ones who
couldn't successfully make the
transition from human to vampire.
Frost reaches out, caressing Karen's neck, puncturing the soft flesh
beneath her chin with a razored fingernail.
FROST
They'll feed on anything, given the
chance -- animals, corpses, even other
vampires.
Frost nods. Karen struggles against Quinn, but it's no good. In a
manner of seconds, she's falling --
INT. BONE PIT - NIGHT
-- making a decidedly rough landing on a heap of bones far below. She
GROANS, taking stock of her battered body.
UP ABOVE,
Deacon watches from the lip of the pit, amused.
FROST
Of course, a strapping young woman
like yourself -- well I think you just
might be considered finger food.
And with that, he's gone, stepping away from the pit.
INT. TEMPLE OF NIGHT - BLEEDING CHAMBER - NIGHT
We are in a small, elevated antechamber which is situated above the
main vampire sanctuary.
BLADE,
now weakened to the point of collapse, is being lashed to a rack-like
device by iron chains.
Mercury and her cohorts move efficiently, quickly securing him. When
they are through, the rack is hoisted up into the air via a series of
winch-driven chains.
With every turn of the winch crank, the chains are drawn tighter,
causing Blade to CRY OUT, until at last, he is suspended in mid-air,
spread-eagle.
FROST
approaches, still carrying Blade's sword.
FROST
It's been a long road, hasn't it? Such
a pity Whistler led you so far astray.
Frost cocks his head to the side, studying Blade's face.
FROST
I don't blame you, though. I want you
to know that. Even after all you've
done. I understand, Blade, I really
do. It's the human side of you which
has corrupted your reasoning, made you
weak. But we'll take care of that,
won't we?
Blade struggles to lift his head, forcing himself to match Frost's
gaze, shaking with hatred.
BLADE
I'd kill myself -- before I turned
into something like you.
Frost just smiles and shakes his head.
FROST
No you wouldn't. I'm going to bleed
you dry, Blade. All the poison that
makes you human.
(drawing closer)
When the Tide comes, you'll be begging
me put you through the Change.
Frost lifts up Blade's sword, methodically slitting Blade's wrists
one by one. He makes the cuts lengthwise, opening up the cephalic and
basilic veins with surgical precision.
Blood wells up from the fresh wounds, running down Blade's forearms,
collecting in a cistern beneath his feet.
Frost watches the steady, inexorable process, then nods, satisfied.
He looks to the others who are gathered behind him, watching on with
silent reverence.
FROST
It's done. We should ready ourselves
for the ritual of invocation.
Frost leads Mercury, Quinn, and the others from the sanctuary.
Blade struggles futilely against his bonds, crying out in
frustration, his body eventually sagging from exhaustion.
VANESSA (O.S.)
There's no use fighting us, Jason.
Blade looks up, focusing now on --
VANESSA,
who has remained behind. Blade stares at her. As terrible as his
physical torment is, his mother's betrayal is infinitely worse.
BLADE
How could you be a part of this?
VANESSA
These are my people now. I'm one of
them.
BLADE
You don't have to be.
VANESSA
You don't understand. I've killed,
I've hunted, and I've enjoyed it.
She draws closer, caressing her son's face. There's just a hint of
creepy eroticism in her action, a dash of incest.
VANESSA
I wish you could see the world as I
do. Deacon opened my eyes. There's no
turning back from that.
BLADE
I don't believe that.
VANESSA
You will. Time is on our side. Sooner
or later, the Thirst always wins.
Vanessa turns away now. Blade cries after her --
BLADE
Mother!
Vanessa pauses, looking back, smiling cruelly.
VANESSA
Your mother died the night you
were born.
And with that, she's gone, melting into the shadows.
CUT TO:
INT. THE BONE PIT - NIGHT
Karen rises, wary, taking in her shadowed surroundings.
HEAPS OF HUMAN BONES
are piled against the pit walls -- skulls, rib-cages, femurs, tibias
-- all picked clean of flesh. Some of the skulls have large, canine-
like fangs -- the remnants, no doubt, of long-deceased vampires.
Suddenly we hear a WHISPER of sorts, the soft CLINKING of bone
fragments grinding together --
Karen spins, trying to place the source of the sound. Then she hears
the SOUND again. Behind her now, closer.
REVENANT (O.S.)
Karennnnn --
Karen looks up with a growing sense of dread.
A FACE
emerges from the darkness. Pallid, cadaverous, shedding its
desiccated flesh. Lidless eyes like black marbles slick with
Vaseline. A mouth like a raw wound.
REVENANT
Karreennnnnn. I never thought I'd see
you againnnnn.
Karen backs away, realizing who she's standing before.
KAREN
Curtis?!
What used to be Curtis SNARLS, knocking Karen back into the drift-
pile of bones. It pins her to the ground, kneeling above her,
gurgling through its gutted trachea.
CURTIS REVENANT
Tell, me, Karennn -- ever have second
thoughts -- about us?
Karen SCREAMS, trying to force the revenant away from her, but it
lunges closer, lolling its distended tongue over her mouth in a
pathetic approximation of a French kiss.
She fumbles behind her, choking, grabbing hold of a human femur,
blindly swinging it upward --
CRACK! The blow shatters the Curtis-thing's jaw. It rears back,
falling to the side.
Karen crawls out from under its weight, swinging the femur again and
again --
CRACK! CRACK! CRACK! Karen pummels the howling horror, driving it
back until the femur actually splinters in half. The creature's head
hangs at an awkward angle now, its neck broken -- but still it
advances, dragging itself back up.
Sobbing, Karen retreats, clutching the splintered femur like a
makeshift dagger.
Curtis charges at her, a blur of slashing claws. At the last moment,
Karen ducks, thrusting the bone dagger up into Curtis' chest --
Curtis impales himself, right through the heart. For one split-
second, his eyes widen in surprise --
-- and then he goes into a death-spasm, vomiting up a spray of
caustic vampire blood-bile, spattering Karen. She sinks to her knees,
GASPING, as the thing that used to be Curtis shrivels up, melting
away into burbling puddle.
After a beat, Karen rises and moves to the pit wall, running her
hands over the lichen-slick surface, searching for a way out. The
mortar between the brickwork is ancient, crumbling.
Karen looks to the ground, reaching for one of the splintered femurs.
She pounds it into the mortar between two bricks -- and it holds,
working as a makeshift piton.
Karen reaches for another broken femur, lodging it a foot above the
first. She hauls her body up now, suspending her weight from the two
makeshift pitons. Again, they hold.
Trembling from exertion, Karen pulls the right piton free, hanging
solely from her left hand now. Though her handhold is precarious, she
manages to swing the right hand up again, pounding that piton another
foot above the left.
In this slow, torturous manner, Karen begins to climb her way up out
of the pit.
INT. TEMPLE OF NIGHT - BLEEDING CHAMBER - NIGHT
Blade hangs from his chains, head slack, eyes half-lidded and
lusterless. His skin has grown ashen as his life's blood has been
bled away.
Mercury appears before him, accompanied by Quinn. She bends in close
to kiss Blade lightly on the lips.
MERCURY
It won't be long now, lover.
Quinn draws alongside her, hefting Blade's punching dagger. He places
it against Blade's throat, slowly applying pressure. At this point,
Blade's too weak to even resist.
QUINN
We should finish him off.
MERCURY
(shaking her head)
No. Deacon wants him turned.
Quinn releases Blade, disgusted.
QUINN
Fucking waste, if you ask me.
As Mercury and Quinn exit, the CAMERA DROPS DOWN to the cistern
beneath Blade's feet. We follow the blood which has collected there
as it flows into a crude drain and --
INT. SANCTUARY - NIGHT
-- emerges from the ceiling of the sanctuary below. The stream of
blood is directed down the channels of a spiral column, where it
finally pools into a waiting chalice.
PULL BACK TO REVEAL
the sanctuary in full. A large circular chamber, the perimeter of
which is lined with recessed alcoves housing the remains of the
vampire ancients, set into the sanctuary walls like cells in a hive.
DEACON FROST
stands in the center of the chamber, allowing Vanessa to clothe him
in ceremonial regalia -- gleaming, centuries-old armor. He pauses,
kissing her hungrily.
Having finished suiting up, he turns to face the vampires who have
been faithful to his cause -- Mercury, Quinn, a host of others. A
hush settles upon them. There's an excitement in the air, a sense
that something remarkable is about to happen.
FROST
Tonight is the night we've waited our
entire lives for. Tonight, the
blood-dimmed Tide is loosed upon the
world. Tonight, the Age of Man comes
to an end.
The vampires bellow out a CHORUS OF CHEERS, their voices resonating
off the stone walls like thunder.
CUT TO:
INT. TEMPLE OF NIGHT - BONE PIT - NIGHT
Karen's hands appear over the lip of the bone pit. She heaves herself
up, collapsing onto the floor --
-- but there's no time to rest. Even now she can hear the VAMPIRES
CHEERING. She drags herself to her feet, letting the voices guide
her.
CUT TO:
INT. ANTECHAMBER - NIGHT
Karen slips around a corner, guarded, searching. She SEES Blade
strung up before her, seemingly lifeless.
Karen studies the chains which bind Blade, following them back to
their source at the winch. She releases the brake on the winch crank,
sending the chains RATTLING down through the overhead pulleys which
suspend them.
Blade crumples to the floor, lying still. Karen is at his side in an
instant --
KAREN
(whispering, urgent)
Blade.
Blade's eyes flicker open, fixing on her. Inhuman. He's shaking
like an alcoholic going into delirium tremens.
INT. TEMPLE SANCTUARY - NIGHT
Vanessa hands Frost the chalice containing Blade's blood. He lifts it
up for all to see. The vampires begin to chant en masse, some long-
forgotten invocation in the vampire tongue.
FROST
(grinning, to himself)
"And what rough beast, its hour come
round at last, slouches towards
Bethlehem to be born?"
Frost lifts the chalice to his lips and begins to drink.
CUT TO:
INT. ANTECHAMBER - NIGHT
Blade tries to sit up, gripping Karen's wrist --
BLADE
Get out of here --
KAREN
I'm not leaving without you.
BLADE
You don't understand. The Thirst --
He clutches his stomach, experiencing phenomenal pain.
BLADE
(gasping)
-- tearing me -- apart.
KAREN
I know. Take some of my blood.
BLADE
No --
KAREN
It's the only way. You know that.
We'll never get out of here alive if
you don't.
Blade suppresses a shudder. Simply keeping himself from attacking her
takes every ounce of his resolve.
BLADE
I can't -- I won't be able to stop --
KAREN
Yes you will. The human side of you is
stronger. I know it is.
Karen matches Blade's gaze, steeling herself. The truth is, she's
terrified.
Blade stares back at her. At this moment, he wants what Karen is
offering more than anything he's ever desired. And so he rises --
CUT TO:
INT. TEMPLE OF NIGHT - SANCTUARY - NIGHT
Frost continues drinking down the blood, when suddenly, a force
seizes his body. He throws his head back, eyes rolling to white,
flinging the chalice aside.
And as the vampire incantation reaches a fevered pitch, we SEE the
stone tomb tablets off the vampire ancestors beginning to judder --
as if some force within were trying to break free --
CUT TO:
INT. ANTECHAMBER - NIGHT
Karen turns her head to the side, baring her neck, offering herself
to Blade. Blade opens his mouth. His canines elongate. He lowers his
head --
-- and starts to feed. Karen involuntarily stiffens as Blade's teeth
puncture her skin and we --
CUT TO:
INT. TEMPLE SANCTUARY - NIGHT
Frost shakes, possessed by an unseen force. A wind picks up from
nowhere, swirling about the chamber, accompanied by a strange
HUMMING.
Suddenly, one of the tombs BURSTS OPEN. A WRAITH-LIKE SPIRIT rushes
outward in a fountain of light, penetrating Frost's body.
Then ANOTHER TOMB SPLITS APART. Then ANOTHER, and ANOTHER -- until a
torrent of SPIRIT-WRAITHS are surging into Frost, buffeting him about
like a scarecrow in a cyclone.
Mercury, Vanessa, and the other vampires back away, apprehensive,
humbled by what they're witnessing.
CUT TO:
INT. ANTECHAMBER - NIGHT
Blade moans, sinking his teeth deeper. Karen's head rolls back. Her
eyes open -- glassy, unseeing -- as a wave of ecstasy overtakes her.
She shudders, her breath quickening, falling into a synchronous
rhythm with Blade's. Her fingers dig deep into his back, clawing
downward, tearing into him --
She's not Karen anymore -- she's a red blood cell, an erythrocyte,
spinning in a river of plasma, roaring up Blade's femoral artery,
racing towards the pumping chambers of his heart which beats like the
deafening breath of God, which blots all other sounds out of
existence and we're --
CUTTING BACK AND FORTH NOW
between Frost's transformation and Blade's, each of them growing
stronger by the second, caught in an ever-increasing feedback loop of
expanding energy until --
BLADE
NO!!!!
Blade tears himself from Karen, his pulse racing as --
CUT TO:
INT. TEMPLE SANCTUARY - NIGHT
-- the invocation of LaMagra reaches critical mass. Frost is consumed
by a hellish force, unable to withstand the onslaught of spirit
energy any longer.
CUT TO:
INT. ANTECHAMBER - NIGHT
-- Karen clawing at Blade, tears streaming down her cheeks.
KAREN
Don't stop --
But Blade grips her by her shoulders, shoving her back. Karen stares
at Blade, wide-eyed, as if waking from a trance. She touches the raw
wounds on her neck, shaken --
KAREN
My God --
Blade rises to his full height. His strength has more than returned,
it's been doubled by the infusion of real blood. And there's
something else in his gaze now too -- an animal fury that was missing
before. Blade has taken one giant step closer to the darkness.
KAREN
(hesitant)
Are you -- all right?
Blade pulls at the chains manacled to his wrists, SNAPPING them apart
like toys. He flexes his hands -- fingernails lengthening to tapered
points. And he smiles, offering us a view of his canines, which have
elongated into fangs.
BLADE
(near-demonic)
Never been better.
INT. TEMPLE SANCTUARY - NIGHT
The aftermath. Smoke hangs heavy in the air, occluding the area where
Frost had stood. As it dissipates, Mercury and the others creep
forward, apprehensive --
MERCURY
Deacon?
FROST
stands with his back to us, his body trailing wisps of occult fumes.
As he slowly turns, we catch a glimpse of his eyes -- burning with an
awesome, inner fire.
FROST
No longer.
BLADE (O.S.)
Frost!!!
All heads turn --
BLADE
stands at the balcony overhead, Karen at his side. He leaps from it,
somersaulting down to the floor below, landing on his feet like a
predatory cat.
BLADE
Who dies first?
FROST
(growling, to the others)
Take him.
Quinn GROWLS, stepping forward, armed with Blade's punching dagger.
He offers his second "new hand" up for view.
QUINN
Grew another hand for you sweetmeat --
(tossing the dagger to his new hand)
-- and now I'm gonna kill you with it.
Quinn charges. Blade meets the vampire head-on, dropping into a low
kick and sweeping the vampire's legs out from under him. He spins
behind Quinn --
BLADE
Let's see if you can grow a new one
of these!
Blade hooks a finger through the metal ring at the end of his jacket
sleeve, pulling out a retractable strangle-wire which he twists
around Quinn's throat.
Blade tightens the wire, decapitating Quinn. The headless body
staggers about, then drops to the cavern floor. Blade scoops up his
punching dagger --
BLADE
Next?
Mercury and the other faithful vampires charge en masse. Blade
launches a spinning wheel kick into the first vamp's face, SNAPPING
its neck --
Mercury has Blade's .454 Casulls. She aims them at him --
MERCURY
Have a taste of your own medicine!
As she FIRES, Blade tucks and rolls, knocking one of the guns from
her hand. The guns spins across the floor, where it's scooped up
by --
KAREN,
who takes aim at an approaching vamp, BLOWING it away.
Meanwhile, Blade traps Mercury's other hand, disarming her, flipping
her over his shoulder. He hefts his Casull, BLASTING her into
eternity --
A bloodbath ensues. Blade moves like speed-personified, FIRING off
one, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down
the vampires where they stand.
It's an orgy of gunpowder smoke and showering bodily fluids and
-CLICK-CA-CHING-CLICK!- Blade and Karen have spent their bullets
and --
FROST (O.S.)
Enough!!!
Blade turns to face --
FROST,
who's advancing, clutching Blade's own sword in his hand. He thrusts
the sword forward --
Blade presses the grip-trigger on his punching dagger -CHING!- the
two side blades spread out. We hear the RASP and CLANG of metal on
metal as Blade manages to trap the sword-point between two of the
dagger blades --
For a moment, both men are eye to eye, their weapons locked together,
then, Frost forces Blade backwards --
What happens next is the most blindingly-fast sword fight ever
exposed to celluloid. Both men, fueled by super-human speed, lunge
and spin across the cavern floor in a blurred ballet of lethal moves.
Frost lands a powerful blow on Blade's shoulder, the sword-edge
biting deep into the flesh. Blade SCREAMS. Frost withdraws the sword
for another strike --
-- until Blade sees an opening and takes it, slicing Frost's left arm
off at the shoulder --
The severed arm releases Blade's sword, but the arm doesn't fall! To
Frost and Blade's mutual surprise the arm floats in mid-air, bleeding
red, quivering like zero-G liquid, then SLURPING back to Frost's arm-
stump to re-attach itself!
Undaunted, Blade slices the punching dagger into Frost's mid-section,
meeting only liquid-like resistance. The moment Blade withdraws his
dagger, Frost's flesh seals itself up again.
Blade hesitates now, uncertain -- and Frost laughs, understanding
what has happened.
FROST
You're too late, Blade. I'm already
changing. Don't you see? The Sleeper
has awakened. I'm not just Frost
anymore. I'm becoming a god now,
blood incarnate.
Even as Frost utters the words, his body begins to ripple and morph,
bleeding red, taking on the characteristics of liquid. He doesn't
walk so much now as flow. He's become a three-dimensional creature of
animated blood! A blood demon.
ON KAREN,
as she watches Frost's transformation, wide-eyed. She SEES Blade's
discarded sword, reaches for it -- suddenly, a SHADOW moves on the
periphery of her vision --
VANESSA
rushes at Karen in a near-blur. The SNARLING hellion is upon Karen in
an eye-blink, SLAMMING her down against the temple floor, pinning
her.
VANESSA
Did you think I'd forgotten you, you
little whore?
BACK TO FROST,
who towers above Blade, swaying back and forth in his new, liquid-
like form.
FROST
You can't hurt me anymore.
WHOOSH! Frost rises upwards on a spiraling column of blood, HOWLING
WITH LAUGHTER, then just as suddenly --
-- splashes back to earth, spreading out in a widening pool. In the
blink of an eye, he streams through Blade's feet, re-solidifying
behind Blade. Blade spins, swings his dagger --
Once again, Frost morphs into blood-form. He races around Blade in a
series of spouting arcs, turning from blood-form to solid and back
again in a series of split-second transformations.
Blade whirls, striking with his dagger and missing every time --
WHOOSH! Frost suddenly dissipates, SPLASHING away into a million
zero-G blood bubbles, vanishing. Blade spins, unnerved, trying to
pin-point his foe's next manifestation.
BLADE
Where are you?!
Frost's voice answers from all directions.
FROST
Everywhere.
A DROPLET OF BLOOD
spatters the floor at Blade's feet. Blade looks up --
A SHOWER OF BLOOD
rains from above, coalescing into Frost as he sweeps down on Blade
like a giant bird of prey, crushing him against the temple floor.
FROST
You want my blood so much?! Take it!
Frost's arms elongate and liquefy, flowing into two snake-like spouts
of blood -- the rest of Frost remains solid. The blood-spouts twist
around Blade's neck, melding together, completely encasing Blade's
head in a bubble of blood.
Blade claws at the blood-bubble as if it were a solid object that he
could dislodge, but his fingers just pass through it!
BACK TO VANESSA
as she wraps a hand around Karen's throat, choking her.
As Karen struggles, she frees a hand, sliding it down to her hip
pocket, digging something out -- Whistler's vampire mace canister!
She forces it up between them, triggering a jet of TOXIC MIST into
Vanessa's face --
Vanessa recoils, HOWLING, her head smoking as if it were doused with
formic acid, skin sloughing off from her skull. Karen lunges for
Blade's sword --
BACK TO FROST AND BLADE
Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles
stream from his mouth. Frost leans in close, his face a twisted mask
of insanity.
FROST
I was wrong about you, Blade. You were
never one of us. You're a traitor to
your race.
KAREN (O.S.)
Get away from him!
Frost looks up -- Karen is wielding Blade's sword. She brings it down
on Frost, severing the blood-tendrils which envelope Blade. The
blood-bubble dissolves instantly, flowing away from Blade's face. He
gasps, chokes in air --
Frost backs away, horrified. His blood-tendrils don't reform.
Instead, the lay where they fell, solidifying into crystalline
powder.
KAREN
Blade!
Karen flings the sword at Blade.
THE SWORD
spins end over end, its mirrored surface reflecting coruscating
pinwheels of candlelight as Blade catches the weapon by its hilt.
Blade rises, advancing on Frost, sword outstretched and Frost
retreats, uncertain now.
BLADE
Guess you're not quite as invulnerable
as you thought.
FROST
You're wrong -- a few minutes more, and
my transition will be complete. Even
your sword won't be able to affect me
then.
BLADE
You don't have a few minutes, Frost.
Frost eyes Blade warily, then lunges towards Vanessa, sweeping behind
her. Blade follows, but even as he raises his sword to strike, Frost
spins Vanessa around, using her body as a shield!
Blade hesitates, stopping the sword in mid-strike, catching his
mother's gaze -- her face is monstrous now, scarred by Karen's
poisonous mace. Piteous, really.
Frost smiles, for he's found a final weakness of Blade's to exploit.
FROST
(laughing cruelly)
Just as I thought. Still chained to
your mother's breast after all these
years.
In the same instant, Vanessa's features morph, taking on the angelic,
youthful vibrancy she possessed in the locket photo.
FROST
(gloating)
You're too human, Blade.
BLADE
(steeling himself)
It's because I'm human that I can do
this.
Frost's eyes widen in shock, but he has no time to react, for --
Blade is already LUNGING forward, driving the sword-point through
Vanessa's chest, on into Frost's heart! It strikes the stone behind
them, SHATTERING and --
Frost and Vanessa HOWL AS ONE, their SCREAMS rising to an unendurable
intensity as the two vampires go nova, exploding into an expanding
ball of light and ATOMIZING BLOOD.
Blade is thrown back off his feet, having to shield his eyes from the
backlash of occult energy as a near tidal WAVE of blood surges over
him --
EXT. BANK OF EREBUS - CITY STREET - NIGHT
Every door and window of the bank is BLOWN OUTWARD from the force of
the EXPLOSION. While along the street, manhole covers flip from their
moorings, spinning up into the air like dimes, being buoyed by
geysers of blood.
INT. TEMPLE SANCTUARY - NIGHT
Silence, just the steady DRIP-DRIP of liquid draining. The underworld
temple gleams with a crimson sheen now.
ON BLADE
as he stirs. He's been blown clear across the sanctuary by the force
of the blast, soaked to the quick by blood. He rises to his feet,
retrieving the hilt of his shattered weapon. At his feet --
THE SWORDBLADE
lies in pieces. Amidst them, we find the singed remains of the locket
-- Vanessa's face barely recognizable beneath the grime. Blade stoops
to pick it up.
KAREN (O.S.)
Blade?
Blade turns. Karen moves to him, searching his eyes. Which side of
Blade's soul has won out? Human or vampire?
Then she SEES the tears rimming Blade's eyes, the first he's shed in
a lifetime. Human.
They embrace, holding each other that way for a long, long time. And
we --
DISSOLVE TO:
EXT. ROOFTOP, BANK OF EREBUS - DAWN
Blade and Karen stand on the rooftop, watching as dawn slowly creeps
across the silent city.
KAREN
I never imagined I'd be so happy to
see the sun rise --
(turning to him)
It's over, isn't it?
BLADE
For them. But for me --
He lifts his face towards the rising sun, letting its warmth wash
over his upturned face.
BLADE
I feel like it's finally beginning.
And on that note we leave them -- TWO FIGURES, silhouetted against
the new day.
FADE TO BLACK.
THE END
