EXT. COMMUNITY BLOOD BANK - NIGHT
PULL BACK from a neon red cross ablaze in the cold December
night to REVEAL an inner-city, store-front clinic. Trash and
leaves blow over wet, snowy pavement.
ANGLE ON a PALE FIGURE standing across the street. He looks
feverish and strung-out, in serious need of a fix. This is
JARED NOMAK, 20s. He starts towards the clinic.
INT. COMMUNITY BLOOD BANK - ENTRANCE - NIGHT
Potential DONORS sit in a waiting area, filling out forms,
leafing through informational material. A sign in the window
reads: "Se habla Espanol". Others read: "YOU ARE MAKING A
DIFFERENCE", "GIVE LIFE", and "BECOME A PLATELET DONOR". We
overhear a bored-looking EMPLOYEE behind the information desk
quizzing someone over the phone:
EMPLOYEE
Have you recently visited a tropical
country? Uh-huh? In the past twelve
months have you gotten a tattoo, non
sterile acupuncture, or undergone any
ear, skin or body piercing?
We MOVE PAST the employee to Nomak, waiting.
NURSE (O.S.)
Jared Nomak?
Nomak looks up. We get a better look at his face now - he
has a thin scar running from his lower lip down his chin. A
childhood accident, perhaps. A NURSE smiles and motions for
him to join her. She's carrying a clipboard.
NURSE (CONT'D)
Hi. We're ready for you now.
INT. COMMUNITY BLOOD BANK - HALLWAY - NIGHT
Nomak follows the Nurse into a dimly-lit hallway. We track
their progress in a convex safety mirror suspended from the
hallway ceiling as they pass all manner of medical supplies --
centrifuges, an apheresis device, etc.
NURSE
(referring to her clipboard)
I see from your questionnaire that you
don't have any immediate next of kin?
NOMAK
Not that I'm in contact with.
NURSE
Nobody to call in case of an emergency?
NOMAK
No --
(apprehensive)
Does that mean I can't be a donor?
NURSE
It depends. We came up with some
unusual results on your blood test.
Nomak follows the Nurse to a steel door were TWO SECURITY
GUARDS await them. Both look bored, paying little attention
to the monitor which offers a view of the examining room
beyond. There is also a small window with safety glass.
GUARD #1 opens the door, following Nomak and the Nurse
inside. GUARD #2 remains behind, manning the hallway.
INT. COMMUNITY BLOOD BANK - EXAMINING ROOM - NIGHT
The Nurse ushers Nomak into the room, indicating he should
sit in a kind of reclining dental chair with arm and
headrests. Nomak notices a security camera mounted above.
NOMAK
(anxious)
How unusual?
Beat. The Nurse sets aside Nomak's file, looking
uncomfortable.
NURSE
Your blood has a very rare phenotype,
one that's quite valuable to people like
us.
NOMAK
Us? What are you talking about?
A kind-faced DOCTOR enters, nodding to Guard #1.
DOCTOR
It's a good news-bad news scenario,
Jared. Good news for us, bad for you.
The Doctor and Nurse smile, BARING FANGS. We realize now
that they are both vampires. The Guard, too. He grips Nomak
by the throat, forcing him back into the restraint chair. As
the vampire Guard does so, his hand brushes against Nomak's
jaw. The flesh on Nomak's chin briefly separates along the
scar - almost as if it were a seam.
The guard pauses - and Nomak LAUGHS. Definitely NOT the
reaction the vampires were expecting from a potential victim.
Nomak starts to shake and twitch, like he's going into some
kind of seizure. The whites of his eyes bleed red. He
throws his head back, opening his mouth as a PAIR OF RAZOR
SHARP CANINES extrude from his gums. These are longer, much
more lethal-looking than the fangs of the vampires and --
Nomak lashes out, knocking the Guard backwards. The Nurse
SCREAMS. Nomak clamps his mouth onto her throat, SLAMMING
her back against the wall.
The vampire Doctor rushes to the door, scrambling to unbolt
it. Nomak reaches for him, HOWLING with blood-drunk laughter
as he lifts the Doctor up. Nomak flings the Doctor about
like a toy, using his body to SMASH the lights, then the
security camera above.
INT. COMMUNITY BLOOD BANK - HALLWAY - NIGHT
We hear SCREAMS and HORRIBLE NOISES coming from the examining
room. Guard #2 draws a gun and looks to the security monitor
with alarm. The screen goes black. He looks to the small
window, trying to peer into the now-darkened room beyond --
SPLASH! A wave of blood smears across a window. A HAND
wipes a patch of blood away, revealing Nomak's baleful,
distorted eyes. Guard #2 starts to back away when --
BANG! Nomak slams against the other side of the steel door.
BANG!BANG!BANG! The door begins to bend, hand-shaped
impressions bulging outward as Nomak starts to peel the door
apart like it was an aluminum can.
Guard #2 has seen enough. He turns and runs even as the door
CAVES INWARD off its hinges. Forward momentum sends the door
sliding across the hallway floor where it trips up the Guard.
ON THE DOORWAY
as Nomak steps into the hallway. Because of the lights
above, there are alternating pools of light and shadow in the
hall. Nomak advances towards us, his face coming in and out
of darkness.
NOMAK
Vampires --
With each pool of light, his awful smile seems to distort
further and further, until his mouth seems to be widening all
the way back to his ears.
NOMAK (CONT'D)
I fucking hate vampires.
On the floor, the vampire Guard CRIES OUT in fear, helplessly
raising his hands to defend himself. Nomak HOWLS and leaps
towards him/us, blacking out the screen with his hurtling
form as we --
CUT TO:
EXT. INNER-CITY BACK-ALLEY - NIGHT
BOOM! A second-story door flies open and FIVE VAMPIRE thug
wannabes come spilling out. They race down a flight of
stairs, tripping and tumbling over themselves. In descending
order, they are: RUSH, a pimped-out Vanilla Ice clone wearing
Karl Kani gear, followed by JIGSAW, ST. CLOUD, T-BAG and
SEGURA.
BLADE
exits just behind them, eschewing the stairs completely and
vaulting over the railing. He unholsters his MACH pistol as
he drops, FIRING it as he lands in a cat-like stance on the
snowy ground below --
BA-BANG! A silver-tipped bullet punches through T-Bag's
chest. He turns to ash even as his fellow vamps dash through
the disintegrating cloud that used to be his body. The
embers melt the snow where they land.
A super-charged foot chase ensues, with hunter and prey
moving at speeds in excess of anything a human would ever be
capable of. We're talking thirty-five, even forty miles an
hour.
ON BLADE
Running like a bull, condensed vapor streaming from his mouth
and nostrils. Splashing through puddles of icy water
storming through barriers of plywood and razor wire, leaping
over mountains of garbage bags.
ON THE VAMPIRES
as they flatten a length of cyclone fencing like it was crepe
paper. They scramble up an obstacle of waste bins, leaping
into the air --
BACK TO BLADE
pulling out his twin-bladed boomerang as he runs. He flings
the weapon. It twirls around, catching --
ST. CLOUD IN MID-LEAP
and cutting the vampire completely in half. As the
disintegrating halves of St. Cloud fall to the side, Blade
storms over the waste bin.
EXT. INNER-CITY - SECOND ALLEY - NIGHT
The remaining vampires stumble into a narrower alley where a
GROUP OF BUMS are warming themselves over a series of oil
drum fires.
Jigsaw slips, TRIPPING over one of the burning oil drums,
catching himself ablaze. He doesn't give a shit. He keeps
on running, barreling his way into --
INT. NOODLE FACTORY - NIGHT
-- the back entrance of a cramped, sweat-shop. Some kind of
noodle factory filled with steam and equipment and YAMMERING
FOREIGNERS and --
-- here comes Blade, hot on the vampires' heels, shouldering
workers aside and --
EXT. NOODLE FACTORY - NIGHT
-- Rush and the remaining vamps spill out onto the street
where a number of motorcycles are waiting for them -- two BMW
R1200 motorbikes and a tricked-out Panhead Harley chopper
with ape-hanger handlebars.
Rush and Segura leap atop their BMWs. Jigsaw rolls into a
puddle of water, dousing himself, then jumps onto his
chopper. As the vamps peel out --
BLADE
Bursts from the factory. Segura revs his BMW, trying to run
him down. At the last second, Blade pivots aside like a
matador. Segura circles around for another try.
Blade leaps, somersaulting through the air, then lands on the
back of the bike behind Segura. SHINGGG! Blade pulls a
retractable garrotte wire from the sleeve of his jacket and
wraps it around Segura's throat.
With a violent twist, Blade decapitates Segura. As the
vampire's headless body turns to ash before him, Blade leans
forward and takes the controls of the speeding motorcycle.
WHOOSH! Blade speeds after the other vamps.
EXT. STREET - NIGHT
Rush and Jigsaw gun their bikes for all they're worth. Up
ahead, a line of construction barricades are blocking the
way. The vampires power on through the barricades, then
abruptly brake --
THE OVERPASS
before them is under construction. There's a twenty-foot gap
in the road where a portion is missing, pieces of re-bar
poking out from the ends of the prefabricated sections.
Rush and Jigsaw consider their options, but then they hear
the ROAR of Blade's engine as he comes SCREAMING over the
rise in the road!
Fuck it. Rush powers his chopper forward, making the jump,
burning rubber as he lands on the far side. Jigsaw torques
his handle and follows, rocketing towards the gap.
ON BLADE
as he snaps his hand up -- a trio of Japanese throwing stars
appearing between his fingers like a magician's cards. He
flings the stars at Jigsaw's bike --
The throwing stars hit Jigsaw's back tire and the bike goes
down, vomiting SPARKS as it slides forward. Jigsaw is flung
forward like a ragdoll, out over the gap in the overpass and
-- WHUNK! Jigsaw is impaled on the protruding re-bar! He
HOWLS, instantly disintegrating as Blade makes the jump!
UP AHEAD
Rush cuts onto an on-ramp, powering his way onto the freeway.
EXT. FREEWAY - NIGHT
Hyper-speed. Rush slouches low, trying to cut wind
resistance and will his bike faster. He hazards a look back.
BLADE
is gaining on him like demon of speed.
Rush pulls a TEC-9, FIRING back at Blade. It's no good.
Blade is nearly upon him, unsheathing his sword from his back
scabbard --
Blade JABS his sword forward into Rush's rear-wheel. The
bike locks up, flips over, BURSTS INTO FLAMES. The whole
screaming wreck slews forward, SHOWERING SPARKS --
RUSH
goes flying onto the road, rolling over and over, one of his
legs SNAPPING at a bone-breaking angle. As he lies there
MOANING, Blade circles around, sweeping past Rush's decimated
bike, retrieving his sward from the burning wreckage.
Blade kills the engine on his own bike and dismounts. Rush
is pathetically trying to drag his broken body to safety.
Blade approaches, placing his boot heel on the back of Rush's
neck, forcing his face against the asphalt. He unholsters
his MACH, pointing it at the vampire's bleeding head.
Blade's opening line:
BLADE
Tell me where he his now and I'll
consider you a loose end.
CUT TO:
EXT. MOO-COW CREAMERY - MILK FACTORY - NIGHT
CLOSE ON a peeling wall mural -- smiling 30s cartoon cow
winking at us, licking her chops. The logo reads: "TASTY".
Blade's matte-black Charger RUMBLES into view and parks in
front of the abandoned milk factory. Blade steps out,
heaving an equipment sack onto his shoulder.
INT. WAREHOUSE - NIGHT
THREE LACONIC VAMPIRE TOUGHS are playing poker at a card
table, dealing out novelty nudie cards. We hear a NOISE.
One of the vampires approaches a reinforced door. He slides
open a viewing slot and peers through. Nobody outside. The
vampire turns back to his poker buddies, shrugging --
VAMPIRE
Nobody's th--
Before the vampire can even finish his sentence, Blade's
SWORD punches straight through the door into his chest. He
gasps and turns to ash as the sword disengages back out
through the door and --
CRASH! The door explodes open, sending clouds of burning
vampire embers every which way. In walks Blade, grinning
wickedly, MACH ready --
As the other two vampires rise - POW! A silver hollow-point
hits the first one in the neck. POW! Another hollow-point
takes out the second. The vampires drop, turning to ash.
Blade holsters his MACH, striding through vampire ash piles.
The place is eerily quiet here, in stark contrast to the
mayhem of the last few minutes. Just the steady, low-pitched
HUM of machinery.
Blade starts forward. Up ahead, a FAINT GLOW is emitting
from behind an area that's been sectioned off with canvas
tarps. Blade sweeps one of the tarps aside --
THREE LARGE TANKS
are hidden inside. The first two are empty. A MAN is
suspended within the third, bobbing weightlessly in a sea of
red plasma. His long, gray hair floats about his face,
shrouding his weathered features. We're not sure if he's
sleeping or dead.
BLADE
Old man, old man, what've they done to
you --
Whistler's ace drifts around into view. Blade shakes his
head in sadness. He looks about for a way to extract
Whistler, doesn't see any obvious means, then --
CRASH! Blade kicks through the glass. Blood and fluids
flood out around him as Whistler's limp body tumbles partly
down, but he's still suspended by the wires and medical
leads. Blade unsheathes his sword, severing the wires --
Whistler falls into his arms. Blade cradles him, then -- the
gunsmith's eyes abruptly snap open, flooding with rage.
Blade staggers back as the HOWLING horror that used to be his
mentor wraps his hands around Blade's throat, forcing him to
the ground. Whistler ROARS, revealing a set of jagged fangs.
WHISTLER
Why didn't you finish me off?!?! I told
you --
Whistler SLAMS the back of Blade's head against the concrete
floor again and again, punctuating his words with each SLAM --
WHISTLER (CONT'D)
-- TO -- FUCKING -- FINISH -- ME -- OFF!
Blade knees Whistler in the balls. Whistler lets go, cupping
his groin as Blade heaves him aside.
Blade strips off his gauntlets. Whistler springs at him
again. Blade sinks his fist deep in Whistler's stomach. As
Whistler doubles over, Blade twists Whistler's hands behind
his back, cuffing his wrists together with a pair of titanium
manacles.
Blade pulls a restraint hood from his equipment bag and
quickly slips it over Whistler's head, cinching it tight.
Another beat. Whistler doesn't stir. He's down for the
count. Blade pauses a moment, catching his breath as he
leans on Whistler's still form. He's exhausted.
BLADE
Come on, Whistler.
He rises, heaving Whistler's body over his shoulder.
BLADE (CONT'D)
Let's go home.
EXT. THE CITY - NIGHT
Blade's battered Charger knifes through the snow-dusted urban
blight like a shadow. Boarded up businesses, tent cities,
doorways bombed with graffiti throwups -- wherever this
godforsaken Gomorrah is, it's definitely a notch down on the
misery scale from the city Blade used to call home.
Up ahead, the sprawl levels out, giving way to an ice-bound
harbor wreathed in fog.
INT. BLADE'S CHARGER - NIGHT
Blade drives on, inured to the sqaulor. He made peace with
the darkness a long time ago.
EXT. SHIPYARD - NIGHT
The Charger weaves its way through a maze of scrap metal and
rusty shipping containers, homing in on a sprawling warehouse
that's been cordoned off by cyclone fencing and razor wire.
Utlra-violent floodlights illuminate the area, while security
cameras keep a watchful eye.
INT. WAREHOUSE - INDUSTRIAL ELEVATOR - NIGHT
More UV lights flicker on. We're in a massive loading
elevator/platform which HUMS as it ascends, eventually
reaching its destination with a BOOMING CLANG. The doors at
the rear glide open. Blade guides the Charger out.
INT. SCUD'S WORKSHOP - NIGHT
Santa's workshop by way of Soldier of Fortune. Industrial
equipment is strewn everywhere. Mills, old furnaces, gutted
vehicles, an ad hoc surgical theater. We also notice the big
rig which Scud had been piloting. Because of various leaking
overhead pipes, the floor is slick with a sheen of water.
Blade kills his Charger, looking around as he climbs out.
BLADE
Scud!
Blade's voice ECHOES throughout the cavernous room.
SCUD (O.S.)
Lock up your daughters, people --
ANGLE ON SCUD
A handlebar moustached, weed-sucking stoner. Thrift-store
chic, wearing a Jimmy Walker "Dyn-O-Mite!" T-shirt.
SCUD (CONT'D)
The Dark Knight returns.
Scud is lowering himself down from the ceiling on a rope and
pulley system where he'd been suspended in a safety harness,
doing some kind of electrical wiring job. He reaches the
floor and unclips himself. We notice he's wearing a surfer's
charm around his neck that's been strung with vampire fangs.
Scud pulls a half-smoked roach from behind his ear, using a
lighter in the shape of a woman's torso to fire up. The
flame jets from a hole in one of her tits. He takes a
Spicoli-sized hit and offers the roach to Blade.
SCUD (CONT'D)
Little toke of the smokage, B?
Blade slaps it from his hand.
BLADE
Knock it off. We've got work to do.
Blade opens the trunk. Scud joins him.
WHISTLER
is inside. Blade unfastens the hood, slipping it off.
Immediately, Whistler sits up, LUNGING at Blade!
SCUD
Fuck me!
Blade gets Whistler in a headlock, choking him as he drags
him out of the trunk. It's like trying to wrestle a rabid
pit bull. He looks to Scud, annoyed.
BLADE
You going to stand there crapping your
pants or are you going to help me?!
Scud steps forward, tentative. Together, he and Blade drag
Whistler kicking and SCREAMING across the workshop, forcing
him into a small, cell-like room.
INT. SCUD'S WORKSHOP - CELL - NIGHT
WHAP! Blade throws Whistler onto the concrete floor, pinning
him as Scud quickly slips a series of chains around him which
have been secured to the wall. The opposite wall is covered
by a series of steel shutters. As Whistler continues to
thrash, Blade affixes a muzzle to the older man's mouth.
SCUD
You got something in mind, Blade?
BLADE
Ultra-rapid detox. They use it on
heroin addicts, make 'em go cold-turkey
in one night.
Blade pulls out a pneumatic syringe, plunging an ampoule of
amber-colored fluid into the bottle mount.
BLADE (CONT'D)
Gonna try and OD Whistler on a
retroviral cure.
SCUD
I don't know about this, man --
Blade injects Whistler with the syringe. Whistler HOWLS in
pain, nearly throwing Blade and Scud off him.
BLADE
(to Scud)
Get back!!!
Scud scurries away. Whistler's struggles have taken an even
more violent turn. Blade beats him back down.
Finally, Blade steps on Whistler's neck, pinning his head as
he draws a shotgun from a holster beneath his armpit. He
shoves it in Whistler's SNARLING FACE.
BLADE (CONT'D)
If there's anything of you left in
there, Whistler, listen up now. Come
morning, those shutters are going up.
Either you'll be cured, or you'll fry.
Blade raises his foot from Whistler's neck, quickly backing
out the door. Whistler THROWS himself at Blade, nearly
tearing the chains from the wall as --
INT. SCUD'S WORKSHOP - NIGHT
BOOM! Blade slams the cell door closed. The door is heavy
steel. Nevertheless, Whistler kicks against it, threatening
to tear it off its hinges. Blade throws a heavy cross-bar
over the door. Then he steps back, joining Scud.
WHUMP!WHUMP!WHUMP! Whistler hammers the door again and again
and again. But the crossbar holds. Blade glances at Scud,
who's looking winded and shaken by the ordeal.
BLADE
It's going to be a long night.
Scud nods and exits. Blade drags a chair across the floor,
setting it in front of the door. He sits down, shotgun
resting across his knees, holding vigil. And off that grim,
stoic image we --
CUT TO:
EXT. CITY DUMP - DAY (20 YEARS AGO)
Daylight bleaches the image, almost whiting it out. A WINO
sifts through refuse, collecting bottles. Three MUTTS are
tethered to his side with rope. He reaches for a bottle,
cuts himself on a piece of glass. As he inspects his wound,
his dogs GROWL. The Wino looks up --
A BLACK KID (14) is standing atop a mountain of refuse --
wiry and intense, perched there like a predator. The Wino
glances at his wrist again, the blood, then back up at the
black kid. Unnerved, the Wino starts to back away, then
turns -- BUMPING right into the black kid, who has moved
beside him with uncanny speed. (NOTE: this all happens
within a single, continuous shot.)
The boy SLAMS the Wino against the trestle wall and SNARLS,
baring FANGS. And just as he's about to tear the man's
throat out --
A HAND reaches in from off-screen, pulling the boy back.
It's WHISTLER, twenty years younger and spryer, with a head
full of RAVEN BLACK hair.
Whistler throws the boy into the light, forcing him onto the
ground. He shoves a .45 against the boy's face and is just
about to pull the trigger when he stops, NOTICING overhead
sun reflected in the boy's eyes. Whistler looks up and SEES
the sun at high noon, then glances back at the boy in
understanding. He smiles.
WHISTLER
Daylight. Son of a bitch.
CUT TO:
INT. SCUD'S WORKSHOP - DAWN
Blade wakes up, lifts his head. A shaft of sunlight shines
directly down onto him, reflecting back at us from his now
adult eyes. Blade hasn't moved. He sits in the chair in
front of the cell door which is now silent. He stands,
unlocking the cell door. He heaves the cross-bar away. The
door GROANS as he opens it.
INT. SCUD'S WORKSHOP - CELL - DAWN
Blade enters. It's dark. We can just make out Whistler's
figure huddled in the corner like some kind of caged animal,
his lanky, gray hair obscuring his face.
Whistler doesn't stir. Blade crosses over to the steel
shutters. For the briefest moments, he hesitates. Then he
hits the switch, readying his shotgun. With a HUM, the
shutters rise, throwing a SHAFT OF BLINDING SUNLIGHT over
Whistler.
Nothing happens. Blade lowers his shotgun. Whistler slowly
raises his head, fixing Blade with a bloodshot eye.
BLADE
How do you feel?
WHISTLER
Like a fucking heifer took a dump in my
mouth.
INT. SCUD'S WORKSHOP - BATHROOM AREA - LATER
Whistler stands bare-chested before a corroded mirror,
splashing water from a sink over his face, rinsing off
shaving cream residue. He inspects his features -- he's
cleaned himself up a bit, trimmed his beard, etc.
He pulls on a fresh shirt, then turns to face Blade, who
stands behind him.
WHISTLER
You came back for me.
BLADE
Did you think I wouldn't?
WHISTLER
Took you long enough.
Blade smiles. That was as close to a thank-you as this old
junkyard dog is ever going to give.
INT. SCUD'S WORKSHOP - BACKSTORAGE AREA - DAY
Whistler has fired up a Lucky Strike. He's moving through
the storage area where much of his old equipment has been
shelved, pulling tarps off, checking things. Blade follows.
BLADE
Let's just hope you've kicked the Thirst
for good. I'll be watching you close.
You start to back-slide --
WHISTLER
You put a bullet in my brain. Wouldn't
expect anything else.
Whistler takes a long drag, expelling the smoke slowly,
studying the cigarette in his hand.
WHISTLER (CONT'D)
I'll say one thing for doing time as a
suckhead. Seems to have knocked that
cancer of mine back into remission.
Blade nods. Then Whistler stops, obviously frustrated.
WHISTLER (CONT'D)
Where the hell's my lathe?
Just then we hear the SOUND of an industrial lathe firing up.
Curious, Whistler exits into --
INT. SCUD'S WORKSHOP - DAY
The workshop proper. Scud is working at Whistler's old
lathe, bopping his head along to MUSIC which is playing on a
nearby TV. The them song to SPEED RACER. Now he's wearing a
Ron Jeremy T-shirt that says "Daddy".
TV (O.S.)
Here he comes, here comes Speed Racer!
He's a demon on wheels. He's gaining on
you so you better look alive. He's busy
revving up the powerful Mach Five --
Whistler cocks an incredulous eyebrow at Blade, who has
fallen in beside him. Scud kills the lathe and approaches.
SCUD
Whistler. Cool beans. Nice to meet
you, man. Heard a lot. I'm Josh
Frohmeyer. You can call me Scud,
though. That's what most people do.
Scud offers his hand. Whistler doesn't take it. Scud shoots
an uneasy glance at Blade, raising an eyebrow in question.
Is Whistler okay, or not? Blade nods. Whistler moves over
to the Charger which has its hood up.
WHISTLER
Tell me something, Skid --
SCUD
Scud.
WHISTLER
Whatever --
(checking the motor)
What'd you do to the Charger?
SCUD
The pimp-mobile? Just made a few after
market modifications. Nitrous-oxide
injection system, forged aluminum
pistons and crankshaft, higher flowing
fuel pump.
WHISTLER
Gave it a more aggressive exhaust
profile ramping.
SCUD
Fuck yeah. Whole package'll crank this
betty up another three-hundred
horsepower.
WHISTLER
(cutting him off)
And you'll burn the damn thing out
before your next fucking oil change.
Whistler just looks to Blade and shakes his head.
WHISTLER (CONT'D)
Where'd you dig up this shit-bird
anyway?
SCUD
Look, what's your problem?
Whistler gets in Scud's face. Scud looks to Blade for help,
but he just watches, letting the two of them sort things out.
WHISTLER
My problem, shitbird, is that I tried to
blow my fucking head off and wound up
sucking blood clots for the last year
and a half! Now you're standing there
choking your chicken like we're all
walking around some fucking candy-ass
vampire sitcom!
Scud attempts to show some balls, but stammers all the same.
SCUD
Hey, you think I don't know what's at
stake here? We practically compromised
our whole operation to save your
puckered old ass! And for what?
WHISTLER
(grabs Scud's shirt)
Our operation?! Our operation?! I
built this operation, you fucking turd
stain.
Just then, however, an alarm starts BEEPING. Scud checks a
display as Blade readies his MACH.
SCUD
Motion sensors. Looks like Zone Three.
BLADE
Human?
Scud checks a series of thermal signature displays.
SCUD
Body temp's fifty so I'll guess suck
head.
Scud looks to a bank of security monitors -- the views break
into static as a FIGURE rushes past them. He tries a few
keyboard commands.
SCUD (CONT'D)
I don't understand, I'm not getting
anything on the surveillance cams.
Whistler makes a few adjustments on the nearest monitor.
WHISTLER
They're fried. Whoever's out there is
using magnesium flares. Seems like
they've got your security system stopped
out pretty well.
Whistler moves to a rack of weaponry. As he reaches for CAR
15, Scud moves to stop him.
SCUD
Whoa, whoa, easy cowboy - I'm not
trusting you with a weapon just yet.
Whistler SMACKS Scud in the face with the butt of the CAR-15
and pushes past him. We hear a CRASH.
ANGLE ON
TWO BLACK, LATEX-CLAD, NINJA LIKE INTRUDERS
Running on all fours, racing upside down across the ceiling
at break-neck speed. Then they drop, somersaulting down
fifty feet, landing in a cat-like stance.
BLADE
Hit the God-lights.
Scud, with his nose now bleeding, activates a series of
stadium-style lights secured to the ceiling. The entire
place goes white with UV light, the image nearly blowing out.
CLOSE ON FIGURES' FACES
They are wearing metal goggles with iris shut to mere pin
prick openings.
Whistler trains the CAR-15 on --
THE FIRST LATEX CLAD FIGURE
Who is now removing something from a satchel. Whistler
FIRES. The Intruder drops the object and cartwheels away.
In the blink of an eye, the Second Intruder has launched
himself at Whistler, hand-springing off the floor, then
kicking him in the mid-section. As Whistler falls back, the
Second Intruder presses forward.
ON BLADE
Unsheathing his sword, rushing at the First Intruder.
WHAP! The Intruder traps Blade's forearm, pivoting, planting
a boot in Blade's ribcage. Obviously, the Intruder is a
serious martial arts student.
WHAP!WHAP!WHAP! The two of them go at it, unleashing a
flurry of kicks, blocks, and punches. The Intruder gets
Blade in a back-choke. He twists out of it, throwing the
Intruder over his shoulder, who neatly cartwheels, springing
back off the wall at Blade again --
Blade ducks beneath one of the Intruder's kicks, then traps
the Intruder's foot, giving it a savage twist. CRACK! Blade
backhands the intruder with a blow so strong that it knocks
the Intruder to his knees. Then the Intruder reaches for a
short sword. In a heartbeat, the sword is out and against
Blade's throat. Just as Blade's sword is not against the
Intruder's. It's a stalemate.
SECOND INTRUDER
Stop!!!!!
Blade and the First Intruder freeze. The Second Intruder
steps away from Whistler, whom he clearly had the drop on,
and tosses the CAR-15 to the ground.
SECOND INTRUDER (CONT'D)
We didn't come here to fight. We came
to deliver a message.
Blade looks back to the First Intruder. Then slowly
withdraws his sword. The Intruder does the same. Blade
turns off the God-lights. The UVs fade and normal lighting
returns. Scud and Whistler pick themselves up off the floor.
BLADE
Take off your masks.
The Intruders remove their masks. The first is ASAD, a
cautious Sufi Muslim possessing a restrained nobility.
The second is a woman, NYSSA. 20-something, with emerald
eyes and strong, darkly exotic features. Both are Vampire.
ASAD
My name is Asad. This is Nyssa. We
represent the Shadow Cabinet. The
ruling body of Vampire nation. They're
offering you a truce. They want to meet
with you.
SCUD
(wiping blood from his nose)
Bullshit.
Blade holds up his hand, silencing Scud's outburst. He nods
for Nyssa and Asad to continue.
Nyssa slowly crouches and reaches for the object she dropped
- a CD. She tosses it to Blade. Still keeping an eye on
them, Blade slips the CD into a reader. We SEE a slide-show
of video capture shots taken from a surveillance camera.
Nomak tearing into the blood bank staff, etc.
NYSSA
For decades you've been the thing we've
feared the most. But there's something
else loose on the streets now --
CLOSE ON
The final still. A blurry, horrific shot of Nomak's half
turned face and back. We get a sense of distorted, inhuman
physiognomy.
NYSSA (CONT'D)
Something worse than you.
CUT TO:
EXT. BLADE AND SCUD'S WAREHOUSE - ROOFTOP - NIGHT
Blade, Whistler, and Scud stand near the ledge, while Asad
stands a few yards off, talking on a phone. Nyssa stands
even further away, watching them with distrust.
SCUD
This whole deal's giving me a serious
case of the butt-willies.
WHISTLER
Look, kid, they obviously found your
base of operations. If it was a trap,
why flip their dicks by announcing
themselves?
BLADE
I agree. We play along for now, we
might wind up learning something about
how their world ticks.
WHISTLER
(grinning at Scud)
Either that or feeding the worms.
Asad finishes his call and approaches them.
ASAD
They're ready to see you now.
As if on cue, we hear the THRUM of helicopters. Seconds
later, two Bell Jet Rangers appear above them, illuminating
them in their searchlight.
CUT TO:
EXT. SKY - NIGHT
We track the helicopters across the night sky. We SEE
Whistler and Asad in one, Blade, Scud and Nyssa in another.
INT. JET RANGER - NIGHT
Blade and Nyssa sit in the rear of the first helicopter.
Nyssa is studying Blade.
BLADE
What?
NYSSA
They tell bedtime stories about you.
Blade the big, bad boogie-man. Frankly,
I'm disappointed.
(Blade raises an eyebrow)
That you were willing to come along so
easily, I mean. Without any assurances.
Blade smiles and opens his coat, gesturing to a bandolier of
plastic explosives secured to his chest.
BLADE
Semtex explosive. Enough to level a
city block. How's that for assurance?
The helicopter abruptly banks right, dropping down low.
EXT. HELICOPTER - NIGHT
The Bell Jet Rangers touch down outside a terraced, Frank
Lloyd Wright structure overlooking the ocean. As Nyssa and
Asad lead Blade, Whistler and Scud towards the facility we
SEE a circular crimson logo encircling a double-helix.
Scud notices a series of RED LIGHT DOTS on his arms and
chest. He looks up to see DOZENS OF VAMPIRE MARKSMEN on the
roofs above, training their weapons on them.
INT. ELEVATOR CAB - NIGHT
The group rides down. The elevator stops. The doors open.
INT. DAMASKINO'S STRONGHOLD - 4-WAY INTERSECTION - NIGHT
Nyssa and Asad lead them into a hub out of which multiple
corridors project. They take the central corridor.
INT. STEEL CORRIDOR - NIGHT
The corridor ends at a pair of steel security doors. Nyssa
stands before a biometric scanner, allowing a beam of light
to play over her face. The scanner acknowledges her identity
and the doors HISS open, revealing a series of security doors
beyond these which successively open into --
A FINAL DOOR
Oak, set into a stainless steel wall. Incalculably ancient,
elaborately carved. Brought over from the "Old World."
NYSSA
The House of Erebus you encountered
before were nothing but feudal lords.
The true power of the Vampire Nation
lies here --
As they move towards the final door, Whistler shivers. Scud
watches as his breath escapes from his mouth in a frosty
plume. Asad takes notice.
ASAD
Few warmbloods have seen what's beyond
this door.
He pushes the doors open into --
INT. DAMASKINO'S LAIR - NIGHT
A crescent-shaped room filled with antiquities: quarry
columns from Middle Kingdom Egypt, stacks of arcane volumes,
Medieval frontispieces. A Borgia-esque Renaissance portrait
staring down at us with a severe gaze. Towering over all of
these is a massive Greek Cross carved from stone. MUSIC
echoes around them -- Boito's Faust. Standing in the midst
of this is OVERLORD ELI DAMASKINOS, wearing a robe of black
silk.
NYSSA
Father --
Damaskinos holds up his hand. He waits for the music to
crescendo, then turns, his face still hidden in shadow.
DAMASKINOS
I hope you don't mind the cold. When
one such as myself reaches an advanced
age, certain precautions are needed in
order to preserve the flesh.
ASAD
Blade, this is Overlord Eli Damaskinos.
DAMASKINOS
(in vampire dialect; subtitled)
Welcome, Daywalker. I thank you for
coming. I've been anxious to meet you
for quite some time.
Damaskinos draws closer now, stepping into the light. Bright
eyed with smile like moonlight gleaming off a knife blade.
His skin is impossibly pale, almost marble-like, with
traceries of blue blood pulsing underneath.
DAMASKINOS (CONT'D)
And the late Abraham Whistler. I trust
your time amongst our numbers was
agreeable?
Whistler glares at Damaskinos. The two men stare at each
other a moment, sizing one another up.
DAMASKINOS (CONT'D)
(smiling knowingly)
It has been said, you may have enemies
whom you hate, but not enemies whom you
despise. Be proud of your enemy: then
his success shall be yours, too. In
that regard, I should thank you.
BLADE
For what?
STEVENS (O.S.)
Eliminating Deacon Frost.
CARTER STEVENS, an officious-looking familiar who has been
quietly watching from the wings now steps forward.
STEVENS (CONT'D)
All that unseemly business with LaMagra.
You did us a favor.
(offering his hand to Blade)
Carter Stevens.
As Blade and Stevens shake, Blade notices a vampire glyph
poking out from beneath the familiar's shirt cuff.
BLADE
You're human.
STEVENS
(with a smile)
Barely. I'm a lawyer.
ASAD
Mr. Stevens works with the National
Institute of Health.
(off Blade's look)
Given that they monitor the nation's
blood supply, a strategic alliance
seemed prudent.
STEVENS
We also finance a number of humanitarian
organizations -- the National Institute
of Infectious Diseases for one, the
Human Genome Project...
BLADE
Why?
NYSSA
Survival.
Blade and the others turn to Nyssa, who uses a complex
mechanical key to activate a holo-projector mounted above the
table. As she focuses the image, a 3-D DIORAMA of vampire
viral nucleocapsids swirls into view. The nucelocapsids
begin attacking human red blood cells.
NYSSA (CONT'D)
As you may know, Vampirism is an
arbovirus, one that's spread through the
saliva of parasitic organisms --
(motioning to the hologram)
In this case, vampires are the vector.
The virus replicates within the human
bloodstream, evolving its host into an
entirely new life-form.
(beat)
Unfortunately, viruses evolve too --
As Nyssa talks, one of the viral nucleocapsids changes,
mutating from its original, elegant design into a harsher,
more menacing form.
The mutated nucleocapsid begins feeding on the original
vampire capsids, causing a chain-reaction of mutation. In
seconds, the holo-image is filled with throbbing, microscopic
horrors which then mutate into --
NYSSA (CONT'D)
We've dubbed this new virus the Reaper
Strain. And like any good pathogen, it
appears to have found a carrier -- a
"Patient Zero".
A rotating 3-D image of Jared Nomak's face. Eyes red, his
skin in full "blood mode" blush.
NYSSA (CONT'D)
His name is Jared Nomak.
DAMASKINOS
Thiavolos, as we used to say in Greece.
The Devil. Pure Thirst. Nothing more.
He was born a vampire, but he is an
anomaly.
(to Blade)
Like you. Unlike the rest of us,
however, he feeds on not just humans,
but vampires as well.
BLADE
Seems like he's doing me a favor, then.
NYSSA
You're missing the point. Their vampire
victims don't die. They turn. They
become carriers. If the Reapers
continue unchecked, there could be
thousands of them before the month is
over. Do the math.
Blade turns to Damaskinos.
BLADE
(vampire dialect; subtitled)
You want me to hunt them for you.
DAMASKINOS
(vampire dialect; subtitled)
Not alone.
ASAD
We've been training a small tactical
unit -- the Bloodpack. We want you to
lead them.
WHISTLER
Just how long has this little social
club of yours been together?
NYSSA
Two years.
BLADE
Then they weren't created to go after
your "patient zero".
NYSSA
No. They've been training to hunt you.
CUT TO:
INT. SCUD'S WORKSHOP - DAWN
Blade, Whistler and Scud enter through the loading elevator.
Blade turns to Whistler.
BLADE
What do you think?
WHISTLER
Sounds like a plan.
BLADE
What do you really think?
WHISTLER
(lighting a cigarette)
These guys are shitting bricks cause
they're no longer on the top of the food
chain. They're going to fuck us the
first chance they get.
Whistler moves away. Blade shrugs off his jacket, begins
putting away his weapons. Scud lingers, apprehensive.
SCUD
So you're going to do this?
BLADE
Keep your friends close and your enemies
closer. Isn't that how the saying goes?
Scud follows Blade's gaze, watching Whistler, who has
collapsed into a chair at the far end of the workshop. The
grizzled hunter pulls off his leg brace, then massages his
bum knee. Scud nods in Whistler's direction.
SCUD
I'm worried about him.
(off Blade's look)
Look, I know he's your friend, but just
watch him, okay? Nobody goes cold
Turkey from the Thirst in a night.
BACK ON WHISTLER
Surrounded by the salvaged parts and massive gears of long
discarded machinery, half-hidden in shadow. A shaft of
morning sunlight cuts in through one of the windows, slowly
moving across the floor towards his position. He shifts in
his chair, moving slightly --
Away from the light.
CUT TO:
EXT. GAS STATION - NIGHT
It's late. An ice-encased streetlight HUMS and flickers.
The pumps are vacant. A heavy blanket of sooty snow covers
the grounds of the station. The fluorescents of the mini
mart are the only beacon of light in an otherwise fog-bound
night.
INT. MINI-MART - NIGHT
A KOREAN WOMAN (30s) mans the counter. Her TODDLER sits in a
circular safety walker nearby. The kind that rolls and is
affixed with toys to keep a baby occupied. The woman glances
at two surveillance monitors. On the first monitor we see --
A CAR
pull up to the pumps outside. A MAN gets out, slides his
credit card through the reader, starts pumping gas.
ON THE SECOND MONITOR
We SEE a FIGURE standing at the back by the Slurpee machine.
The figure turns, approaching. It's Nomak. He sets a
package of gum on the counter, looks to the baby. He smiles,
wriggles his finger. The child COOS and smiles back.
Unnerved by Nomak, the Korean woman quickly rings the
transaction, gives him his change. He removes a stick of gum
from the pack, carefully unwraps it, slides it into his
mouth, watching the child all the while. Finally, he nods to
the woman and leaves. The door CHIMES as he exits.
Beat. The woman looks to the surveillance monitors again.
THE FIRST MONITOR
The car is still there, but the man pumping gas is gone.
Puzzled, the woman steps from behind the counter and moves to
the glass doors, looking out --
HER POV
The car's driver side door hangs open. Even more disturbing,
the hose for the gas pump lies untended on the icy ground,
spilling fuel from its nozzle.
EXT. GAS STATION - NIGHT
The Korean woman cautiously exits the mini-mart. No one is
in sight. She hurries to the abandoned car, disengaging the
lock on the pump handle, then setting it back in its cradle.
She looks to the open driver's door. A FEW DROPLETS OF BLOOD
have stained the snow just outside it. Then she sees --
A GHOSTLY FIGURE
Standing off in the fog-bound shadows. The woman looks back
to the mini-mart, then back again to where the figure was
standing. But the figure is gone! Growing increasingly
anxious, the woman hurries back.
INT. GAS STATION - NIGHT
The woman shuts the door, locks it. But she's still just a
target standing inside a well-lit glass box. She moves to
the safety walker, scoops up her child.
After another moment's indecision, she slides the accordion
style gate down over the doors and windows. Then she turns
off the lights. Feeling somewhat more secure, the woman
moves back around the counter and SEES --
An unwrapped stick of gum resting on the tray of the baby
walker. It wasn't there before. With a rising sense of
dread, the woman backs away, bumping right into --
NOMAK
He smiles cruelly, the scar/seam in his chin just beginning
to part. The woman gasps, turns to run --
and bumps into THREE MORE REAPERS. Gaunt and feral-looking.
All three with shaved heads.
No eyebrows, and hairline scar/seams running down their
chins. As one, the reapers descend on her. We hear the
child's TERRIFIED WAIL and we --
CUT TO:
EXT. THE CITY - NIGHT
A sulfur-colored moon shines its baleful light down upon the
icy cityscape as NOMAK'S ROAR echoes through the canyon of
buildings.
INT. SCUD'S WORKSHOP - BLADE'S SLEEPING AREA - NIGHT
Blade is just finishing injecting himself with serum. He
sighs, falling back into the chair he's sitting in, waiting
for the shakes to subside. He unwraps a piece of rubbing
tubing which he'd been using as a tourniquet, flexes his
hand.
The door to his room opens. Scud stands there in silhouette.
SCUD
Um, we've got company.
INT. SCUD'S WORKSHOP - NIGHT
Blade emerges into the workshop proper with Whistler and
Scud.
NYSSA AND BLOODPACK
Stand before us. They represent an assortment of ages and
races, their one unifying characteristic being a callous,
almost fanatical disregard for human life. In short, these
guys are the most stone-cold motherfuckers we've ever seen.
WHISTLER
Well if it isn't Snow White and the
Seven Suckheads.
Their leader, DIETER REINHARDT (30s), is a square-jawed,
chiseled Austrian. Next to Reinhardt is SNOWMAN, a wire
albino, LIGHTHAMMER, a massive Blackfoot Indian, and PRIEST,
a bald-headed modern primitive with copious piercings and
facial tattoos. Rounding out the bunch is CHUPA, a blunt
featured Puerto Rican, and VERLAINE, a familiar-looking
curvaceous beauty with bee-stung lips that exudes a predatory
sexuality.
(NOTE: Verlaine looks familiar because she is the twin sister
of Raquel, the bodacious vamp played by Traci Lords that
Blade killed in the opening scene of the first film.)
REINHARDT
Check it out, troops. Count Chocula.
The vampires LAUGH. Asad quiets them with a look, then
gestures to them in turn.
ASAD
Blade, this is Reinhardt. That's
Snowman, Lighthammer, Priest, Chupa and
Verlaine.
Reinhardt advances until he and Blade are nose to nose.
REINHARDT
Tell me something, Chief. Can you
blush?
A tense beat. Then Blade flashes a broad smile.
BLADE
Alright, you want to play this game?
Blade pulls out one of his silver stakes. In response, the
vampires reach for their weapons. But Blade merely twirls it
around his fingers. Then tosses it to Reinhardt.
BLADE (CONT'D)
You've been training two years to take
me out. Here I am, the big, bad vampire
hunter. So do it.
NYSSA
What the hell are you doing, Blade?
BLADE
We're going to be working as a unit, you
people will be taking orders from me.
(spreading his hands wide)
So let's get it over with. I'll give
you a free shot, Reinhardt.
Reinhardt looks to Nyssa, uncomfortable.
BLADE (CONT'D)
Why are you looking at her for? You
need permission? I'm giving it to you.
CHUPA
Take him, cabron!
Blade grabs Reinhardt's wrist, pulling the stake against his
chest, fixing the vampire with the deadliest of poker gazes.
BLADE
What's wrong, Reinhardt? You need a
fucking manual?
VERLAINE
Do it, Reinhardt. Do it!!!
Reinhardt tenses, thrusting the stake forward -- but Blade
has already whirled out of the way, trapping his hand, then
violently twisting it backwards.
Before Reinhardt even knows what's happening, Blade swings
him around into a headlock. In his free hand he's got a
tiny, barbed flechette. The barbs spring open like a tick's
gripping mandibles as Blade drives the flechette into the
base of Reinhardt's skull. Reinhardt HOWLS in pain, but
Blade just tightens his grip, choking off Reinhardt's air.
BLADE
Listen up, Adolph, I just popped an
explosive charge in the back of your
head. Silver nitrate. Rigged to blow
if anyone tampers with it. I'll be
keeping the detonator on me at all
times. You so much as look at me
crosswise and I swear you'll be macking
your girlfriend's pie with a fucking
neck stump! Got it?!
Reinhardt lets loose a choked GRUNT. Blade releases him,
dropping the GASPING AUSTRIAN to the floor.
BLADE (CONT'D)
Any questions?
No one says a word.
CUT TO:
WHISTLER
Hefting a heavy ordnance case on the table. Blade and
company sit on one side, the Bloodpack on the other.
WHISTLER
(opening a case of bullets)
Glaser safety rounds in .38, .45, and
9mm caliber. Foil capsules at the tip
filled with silver nitrate grains. They
pack a major kinetic energy dump. And
since you suckheads don't like sunlight,
we've modified the entry lights with UV
filters --
Whistler flicks on the entry light. Then notices that Chupa
isn't paying attention. The vampire is looking at Snowman
who is saying something in sign-language. Chupa snickers.
Whistler picks up a massive gun with a modified C-mag
(hundred round cylindrical mag). It has a strange electromag
assembly barrel with shockwave ports running along it.
WHISTLER (CONT'D)
This puppy here? Hyper-velocity
railgun. Spits up silver-tipped iron
core needles at six thousand butt
humping feet per second. Like this --
Whistler FIRES -- BA-BANG! A SONIC BOOM rocks the workshop,
SHATTERING a number of windows and computer monitor screens
as a wad of needle rushes just millimeters past Chupa's face,
embedding in the wall behind him.
CHUPA
Hey, hey! The fuck you doing?!
WHISTLER
Getting your attention, Paco.
CHUPA
Well you've got it, warmblood. Now what
the fuck are you gonna do with it?
Blade clears his throat and stands.
BLADE
If you girls are finished flirting, I'd
like to get started.
MOMENTS LATER
Blade, Whistler, and the Bloodpack are silently suiting up
for war -- strapping on body armor, securing stakes and
knives, CLICKING ammo cartridges into their various weapons.
We SEE them lacing up combat boots, checking rifle sights,
entry lights. Blade dons one of his EDTA pneumatic
gauntlets. Whistler loads custom rounds into a shotgun.
Then he reaches to clip on an ammo vest. But his hands are
shaking slightly and he can't seem to clip the locking
mechanism together. After a beat, Blade reaches over and
does it for Whistler. Like a son helping his father. A beat
passes between them, Whistler and Blade looking at one
another. Then Whistler nods, satisfied.
As Blade crosses towards Asad and Nyssa, he stops by
Verlaine, sizing her up.
BLADE (CONT'D)
Didn't I kill you already?
VERLAINE
(cold)
That was my sister.
Beat. Blade smiles coldly.
BLADE
This the part where you beat your chest
and vow revenge?
VERLAINE
Something like that.
BLADE
Save it for the director's cut.
Blade moves on, stopping before Nyssa.
BLADE (CONT'D)
Where to first?
NYSSA
The House of Pain.
CUT TO:
EXT. ROOFTOP - NIGHT
Blade, Whistler, and the Bloodpack are gathered on a rooftop
overlooking a derelict city block.
THE HOUSE OF PAIN
Rises before them, a Gothic Revival hotel marred by graffiti
scrawls and boarded up windows. There's a large neon "HOTEL"
sign on the side of the building.
NYSSA
From what we can gather, the Reapers
hunt in packs, targeting places where
vampires congregate. So far, they've
attacked bloodbanks, safehouses,
underground clubs like this --
WHISTLER
I don't see any traffic, no vampire
glyphs --
Whistler lifts up a pair of night-vision binoculars and scans
the building.
WHISTLER'S POV (THROUGH BINOCULARS)
He scans the graffiti scrawls, doesn't see anything.
NYSSA
Look closer. Because of your efforts,
we've had to re-think our habits,
tighten our security.
WHISTLER'S POV (THROUGH BINOCULARS)
Whistler switches to infra-red. A previously unseen Vampire
GLYPH is now revealed, hidden amongst the haphazard graffiti.
Just beneath the glyph are a pair of loading doors set flush
into the concrete sidewalk.
WHISTLER
(lowering binocs; to Blade)
Let's put this clusterfuck in gear.
Reinhardt reaches for Whistler, stopping him.
REINHARDT
You're not going anywhere, greenjeans.
You won't be able to pass for us.
WHISTLER
Like I give a shit.
Before things can escalate, Blade steps between them.
BLADE
(to Whistler; sotto)
He's right. They'll smell that you're
human. Stay here, watch our backs.
WHISTLER
(bristling)
I don't like it.
BLADE
I'm not giving you a choice, old man.
Whistler considers Blade's words, then reluctantly nods.
Blade rejoins the vampires. Reinhardt grins.
REINHARDT
You don't keep that dog of yours curbed,
Blade. We might have to do it for you.
Blade pulls out the remote for the flechette in Reinhardt's
head, holding it up for view.
BLADE
Keep pushing, asshole.
INT. HOUSE OF PAIN - UNDERGROUND ENTRANCE - NIGHT
Nyssa leads the group into a loading area. The only light is
coming from a series of burning trashcans. VAMPIRE SENTRIES
crouch on the steps, watching, smelling Nyssa's group as they
move past. Adjacent areas are walled off with sheets of
vinyl. We hear the pulsing, bass-heavy beat of MUSIC coming
from beyond the sheeting, beckoning us onward.
INT. HOUSE OF PAIN - UNDERGROUND HALLWAY - NIGHT
The MUSIC is louder. Neon-lit, corridor-long steel counters
line both walls, displaying various surgical instruments
offered as party favors. As Blade's scans the area, we SEE
the deadly instruments reflected in his sunglasses. Nyssa
looks to him.
NYSSA
This is our world you're entering. You
may see things -- feeding.
(off Blade's inscrutable face)
Just remember why you're here.
BLADE
(cryptic)
I haven't forgotten.
They reach a steel loading door emblazoned with warning signs
-- the kind that is split horizontally, one-half retracting
into the ceiling, the other into the floor.
PRIEST
So what are we looking for, exactly?
ASAD
Anyone who looks suspicious.
On that portentous note, Nyssa hits a button. The hydraulic
doors open on into --
BLADE
You gotta be kidding me.
INT. HOUSE OF PAIN - BALLROOM - NIGHT
A high-ceilinged ballroom packed with SWAYING BODIES.
Retrofitted into a trance-dance hall. Off to the sides,
people are being pierced, tattooed, ritually scarred. Silver
trays piled high with razor blades are passed through the
writhing crowd. Everyone looks suspicious.
AN ELABORATE S&M STAGE SHOW
is under way. Joel Peter Witkin channeled by Julie Taymor.
A SHE-VAMPIRE hangs from the ceiling, her body supported by
steel pins which have been hooked through her flesh. THREE
PVC-clad spindly FIGURES minister to her.
TWO VAMPIRES
French kiss, exchanging razor blades with their tongues.
BLADE
(to Nyssa)
What is it with you people and pain?
NYSSA
We need it. Sensations are addictive
and pain cuts the deepest.
(off his look)
Tattoos, piercings, tribal scarring --
because we regenerate, none of it's
permanent. So we have to take it to the
next level. To remind us we're alive.
The Bloodpack fans out through the trancing crowd.
ON BLADE
Drifting through the press of flesh. Feral faces flash by
us, distorted by the stroboscopic lights. A SHE-VAMPIRE
latches onto him. He shoves her aside, keeps scanning faces.
It takes every ounce of his restraint not to cut loose.
BLADE
You reading me, Scud?
EXT. STREET - NIGHT
A nondescript van with primer blotches is parked nearby.
SCUD (O.S.)
Loud and clear, B.
INT. OPERATIONS VAN - NIGHT
The interior of the van has been outfitted into a mobile "op
center". Scud sits in a cluttered nest of electronic
ephermera, munching on a bag of White Castle hamburgers.
He's watching a video feed from a camera mounted on Blade's
gear, listening to the Bloodpack's CHATTER coming in from
various audio channels. In the background, he's also got
Barry White's "Love Machine" playing.
SCUD
Everything's copacetic in the Mystery
Van. How you doing, Whistler?
EXT. ROOFTOP - NIGHT
Whistler is atop the roof of a nearby building, outfitted
with a sniper rifle on a tripod.
WHISTLER
Walking on sunshine, toke-boy.
WHISTLER'S POV (NIGHT VISION BINOCULARS)
The view pans from the hotel entrance to Scud's van.
Whistler puts down the binoculars, lights a cigarette. He
takes out a knife and slices open his palm. He stares at the
blood, his hand slowly trembling.
INT. HOUSE OF PAIN - BALLROOM - NIGHT
Blade works his way through the crowd. The beat is getting
heavier now, the crowd more energized. He briefly makes eye
contact with Nyssa, but then she's gone again, disappearing
into the sea of flesh, ducking past one of the vinyl sheets
into a corridor beyond. Chupa, Asad, Snowman and Priest
remain behind, searching the crowd.
As Blade walks, he notices a series of grates beneath their
feet. We shift our POV --
INT. HOUSE OF PAIN - DRAINAGE AREA - NIGHT
-- and we are below Blade, looking up at him through the
grate. We are in a blood-encrusted drainage area just
beneath the ballroom that slopes inward towards a large,
octagonal iron culvert. As we watch, a section of the
culvert rises, a pair of RED EYES peering out from the
darkness within.
INT. HOUSE OF PAIN - STAIRCASE - NIGHT
Blade follows Nyssa up a narrow staircase into a corridor
lined with gangrenous, peeling wallpaper. Some of the room
doors are shut, some open. Clearly, many are occupied.
INT. HOUSE OF PAIN - KITCHEN - NIGHT
A 1930s industrial kitchen filled with corroded equipment.
Reinhardt, Verlaine, and Lighthammer work their way inward,
searching the area. Lighthammer carries massive war hammer
like his namesake.
Reinhardt nods to Verlaine, who opens a walk-in, shining her
entry light over an assortment of rusting meat hooks.
INT. HOUSE OF PAIN - FIRST CORRIDOR - NIGHT
Blade checks more doorways, catching half-glimpses of FLESH,
LEATHER, and STEEL. He hears SOBBING, MOANS, WHISPERS.
Then, a distinctly HUMAN WHIMPER catches his attention.
Nyssa opens a door onto an empty room. A vacant stainless
steel examination table gleams in the center, waiting.
Blade pushes open another door. We SEE a fearful YOUNG WOMAN
crouching in the corner of a soiled room. A corpulent
VAMPIRE in a leather apron is hosing down the floor.
CORPULENT VAMPIRE
Close the fucking door, buddy.
Blade makes eye-contact with the woman. She's clearly human.
Blade tenses. The corpulent vampire is getting irate when --
CORPULENT VAMPIRE (CONT'D)
I said, close the f--
THUNK! Blade throws a sliver stake into the vampire's
forehead. Even as the vampire turns to ash, Blade motions
for the girl to leave and we're out the hallway again, Nyssa
turning around.
NYSSA
What was that?
BLADE
(poker-faced)
Nothing.
We SEE the woman duck out the room behind him.
INT. HOUSE OF PAIN - KITCHEN - NIGHT
Reinhardt, Verlaine, and Lighthammer. A Styrofoam cup rolls
across the floor, blown by a breeze. Reinhardt pauses,
notices another walk-in freezer door ajar, moves in that
direction.
Unseen behind them, a door BEHIND THEM slowly swings open.
INT. HOUSE OF PAIN - BALLROOM - NIGHT
Chupa, Asad, Snowman and Priest. THREE SHADOWED FIGURES are
lurking near one of the exits -- skinhead types, each with a
hairline scar running down their chin.
Asad silently motions to snowman and the others, indicating
figures. Snowman signs something back. The vampire trio
starts towards them.
INT. OPERATIONS VAN - NIGHT
Bored to shit, Scud plucks a joint from behind his ear. As
he fires up his woman torso lighter we HEAR SOMETHING just
outside the van. Scud kills the Barry White, listening.
Silence. Then, a FAINT SKITTERING.
SCUD
Um, Whistler, you out there?
No response.
SCUD (CONT'D)
(more urgently)
Whistler?
Still no response. Scud reaches for a handgun and creeps
into the front of the van. He looks out the windshield --
nothing. He looks left, then right - nothing.
Unnerved, Scud returns to the back of the van. He reaches
for the handle of the rear door and abruptly jerks the door
open, aiming the gun out --
There's nothing outside the van. But then Scud hears the
SKITTERING AGAIN. His eyes shift apprehensively to the floor
of the van below him.
INT. HOUSE OF PAIN - FIRST CORRIDOR - NIGHT
As they near the end of the hall, Blade notices a drop-down
attic door in the ceiling above. He unsheathes his sword and
uses the tip to unlatch the trapdoor. The counter-weighted
door CREAKS and LOWERS, unfolding a sectioned ladder. We see
darkness beyond. As Blade cautiously mounts the stairs --
Nyssa's attention is drawn to a billowing piece of vinyl. A
BLURRY FIGURE is visible behind it. Then it moves away.
Nyssa ducks past the vinyl.
INT. HOUSE OF PAIN - BALLROOM - NIGHT
As the music reaches a crescendo, Asad notices MORE SHADOWY
FIGURES by another exit. And even MORE by a third. Snowman
signs to Asad again, more urgently this time, as the first
potential Reaper begins to turn and we are --
INT. OPERATIONS VAN - NIGHT
-- back with Scud. He ducks his head outside, looking
beneath the van. Nothing there. Relieved, Scud shuts the
rear door, laughs to himself.
A PAIR OF CLAWED HANDS
Suddenly rip down through the ceiling of the van, peeling it
up and back like it was tinfoil! A REAPER with a bloody
bandage covering his eye SNARLS down at us.
INT. HOUSE OF PAIN - BALLROOM - NIGHT
The first skinhead figure spins towards us. It's a Reaper.
All three of them are, eyes wide with bloodlust as they leap
at Asad and the others.
Suddenly, the Reapers are everywhere, blocking the exits,
ripping into their vampire victims, tossing them aside like
toys. Vampires scream and run, some taking to the walls as a
means of escape, some racing across the ceiling.
INT. HOUSE OF PAIN - FIRST CORRIDOR - NIGHT
Blade stops half-way up the ladder as he hears GUNFIRE. He
drops back to the floor, then notices that Nyssa is gone. HE
pushes through the vinyl curtain and finds -- Nyssa forced
back against the wall, wrestling with --
SCUD (O.S.)
(filtered; panicked)
They're here!!!!
-- Nomak, who swings his head around towards Blade! Blade
FIRES his MACH pistol point-blank into Nomak's face, blasting
the Reaper backwards --
But Nomak is back on his feet in a split-second, SMASHING
through a window onto the fire escape beyond. Blade rushes
to the window, looks out --
BLADE'S POV
Nomak is scaling his way straight up the neon hotel sign,
jumping from one letter to the next with lightning speed.
INT. HOUSE OF PAIN - KITCHEN - NIGHT
A Reaper EXPLODES out from the walk-in, rather than the door
behind them. He leaps atop Reinhardt, SLAMMING him to the
floor. Lighthammer swings his hammer, missing the Reaper,
taking out a chunk of the wall instead.
Lighthammer swings and misses again, taking a chunk out of
the floor. Verlaine empties her automatic rifle into the
Reaper even as --
The Reaper turns on Lighthammer, catching the war hammer,
Reaper's lower jaw disengages and splits open, revealing a
freakishly enlarged esophagus lined with serrated, sharklike
teeth.
All of this takes a split-second. No time for Lighthammer to
react as the Reaper latches its grossly expanded mouth onto
his throat and begins draining him before our eyes. The
Reaper SHUDDERS and the whites of his eyes bleed red as an
ecstatic wave washes over him. His pale flesh, pulsing with
engorged veinwork, becomes flushed, turning crimson as --
LIGHTHAMMER
Ohmygodhe'sfuckingkillingmehe's --
Lighthammer's face becomes increasingly pallid! His face
begins caving inward, shrinking as every millimeter of blood
is vacuumed out of him.
BLOOD VESSELS
Are popping up beneath the Reaper's briefly translucent skin,
becoming engorged and dilated. The veins continue to swell,
racing up his neck, then branching out over his face, chest,
and arms -- like an instant network of varicose veins.
Verlaine retreats, horrified. Reinhardt scurries backwards,
then scrambles to his feet, running for his life into --
INT. HOUSE OF PAIN - BALLROOM - NIGHT
Chaos. Vampire patrons flee. The Bloodpack FIRE, unleashing
a hailstorm of bullets, cutting into vampires and Reapers
alike as --
EXT. FIRE ESCAPE - NIGHT
Blade steps out onto the icy fire escape. CRASH! Nomak has
dislodged the "H" from the hotel sign. It comes HURTLING
towards Blade, who ducks back into the center of the "O" to
avoid being hit. The "H" continues falling, SMASHING down
into the street near the Mystery Van where --
INT/EXT. OPERATIONS VAN - NIGHT
Scud unloads his handgun into the Reaper atop the van. The
Reaper should turn to ash, but it doesn't! Scud flees,
DIVING into the front of the van, ducking behind the wheel.
He keys the ignition --
WHAM! Now the Reaper is atop the hood, SMASHING his feet
through the windshield. Scud SCREAMS as he slams the van
into the drive and floors the pedal --
WK-KRUNCH! Scud CRASHES the van against the side of a
building, pinning the Reaper between the van's front bumper
and the crumbling wall. He keeps his foot on the gas pedal,
GRINDING the van's wheels.
This gambit should cut the Reaper in half, or at the very
least, fatally wound it -- but it only enrages it further.
The Reaper stretches forward across the van's crumpled hood
and resumes BATTERING away at the cracked windshield --
SCUD
UV headlights, c'mon, come on!!!
Scud fumbles for the headlights. They won't go on! Then he
notices a mess of wiring haphazardly duct-taped together. He
reaches for the wiring, fiddling with it --
SCUD (CONT'D)
FuckmefuckmefuckmeFUCKME!!!!
INT. HOUSE OF PAIN - BALLROOM - NIGHT
The Reaper nearest Priest turns in his direction. We
recognize her as the Nurse from the bloodbank. She LEAPS at
Priest --
Priest fires a Glaser round through the she-Reaper's head.
The Reaper twists in mid-leap, falls to the floor, then picks
herself up again. Like Scud's Reaper, she seems unaffected
by the custom-made ammo.
ON THE OTHER MEMBERS OF THE BLOODPACK
Having similarly disastrous results. The Reapers are
shrugging off their firepower. Asad leaps, snapping a
Reaper's neck with a spinning heel kick, but the Reaper keeps
coming!
BACK TO THE PRIEST
Alarmed, reaching for a specialized shotgun instead. The
Reaper continues forward, moving so fast she almost seems a
blur as BA-BOOM! BA-BOOM! Priest pumps his shotgun
repeatedly. Two projectiles fire out, chained together by a
length of titanium cable. The cable catches the Reaper in
the mid-section, cutting it clean in half!
The upper half of the Reaper falls, then rights itself,
landing on its clawed hands.
Impossibly, the she-Reaper keeps coming! She skitters
towards Priest on his hands like the half-man from Todd
Browning's "FREAKS".
The half-Reaper launches itself at Priest, hitting him in the
chest, knocking him back to the floor. Priest panics as he
struggles with the thing, trying to fend off its claws and
fangs as it locks its mouth into his arm. He SCREAMS.
CUT TO:
EXT. VAN - NIGHT
As Scud continues to fiddle with the faulty headlight wiring,
the windshield finally SHATTERS beneath the Reaper's pounding
fists. It latches onto Scud's collar and pulls him forward
over the wheel even as the seam/scar in its chin splits apart
and the Reaper's enlarged maw flowers open. Scud is just
centimeters away from having his face being bitten off when --
-- the wires SPARK and the headlights come on, illuminating
the Reaper in a wash of UV light! The effect is
instantaneous. The Reaper HOWLS and lets go, then promptly
BURSTS INTO FLAMES.
Scud cups his ear, shouting via the comm system.
SCUD
Use your entry lights! They can't stand
the UV!!!
INT. HOUSE OF PAIN - BASEMENT - NIGHT
Asad hears Scud's message as he continues fending off a
Reaper's attack. Then he manages to get hold of his rifle.
He FLICKS on the UV entry light, aiming it at the Reaper's
face. The Reaper's head catches fire. Asad SHOUTS to the
others --
ASAD
Use your entry lights!
One by one, the members of the Bloodpack CLICK ON the entry
lights mounted atop their guns. It's working -- the UV beams
are the only thing that seems to be driving the Reapers back.
EXT. HOUSE OF PAIN - ROOF - DAWN
BOOM! Blade kicks open the roof access door. He hurries
outside, followed by Nyssa, who hesitates when she SEES --
THE SUN
beginning to rise beyond the cityscape horizon. Nomak is
already at the opposite side of the building, moving fast.
BLADE
(into com-link)
Whistler! He's heading across the roof!
Take him!
Nyssa falls back into the shadows as Blade continues onward,
unsheathing his sword.
BLADE (CONT'D)
Whistler!!!
EXT. ROOFTOP - NIGHT
Whistler's sniper rifle and binoculars have been abandoned
and --
EXT. HOUSE OF PAIN - ROOFTOP - DAWN
We're back with Blade as he chases Nomak across the roof.
UP AHEAD
Nomak abruptly stops, having reached the end of the roof.
The nearest neighboring rooftop is too far away and the drop
from this last ledge looks unsurvivable, even for someone
like Nomak.
As Blade cautiously advances, Nomak turns around and smiles --
a wolfish grin, unnaturally wide. The Reaper's face is
beginning to smoke beneath the rising sun's rays. In
response, a polarized nictomembrane slides down over Nomak's
irises -- like something you'd see on a crocodile to protect
its eyes from harsh light.
NOMAK
Is the enemy of my enemy my friend or my
enemy? What do you think, Blade? What
am I to you?
Nomak LAUGHS, then LUNGES, scooping up a rusty iron bar that
lies nearby. He swings it at Blade. Blade parries and steps
backward, taking a blow to the head in the process, then
another to the side.
The two of them exchange a flurry of blows back and forth
until their weapons lock and they are face to face. Nomak's
back is to the rising sun, now. His whole body is beginning
to lightly smoke.
Both men are trembling, straining against their weapons,
using every ounce of strength to keep the other at bay. And
just when it looks like Nomak is gaining the upper hand --
NOMAK (CONT'D)
Athelfiki singenia ex amato.
-- Blade pivots the flat edge of his sword upwards, catching
the light of the rising sun, reflecting it directly into
Nomak's eyes!
Nomak SCREAMS and rears back, his face catching fire. Then
he stumbles backwards and falls -- right off the ledge of the
roof! Blade hurries to the roof's ledge and looks down --
But the Reaper is nowhere in sight. Dumbfounded, Blade
retreats, haunted by the conviction that Nomak is still
alive.
INT. HOUSE OF PAIN - BALLROOM - DAWN
Blade has returned to the scene of the melee. The Reapers
have fled, leaving Nyssa and the others to lick their wounds
and survey the carnage. Quite a few full-body ash outlines
marking the passing of various vampires. Blade approaches
Nyssa. She notices his wounds.
NYSSA
You're hurt.
BLADE
(brushing off her concern)
I'll heal.
NYSSA
What about Nomak?
BLADE
He escaped. You didn't tell me they
were immune to silver and garlic.
NYSSA
I didn't know.
Beat. Tense. Does he trust this woman? No way.
BLADE
We lose anybody?
NOMAK
Lighthammer and --
Just then, we hear an unearthly SCREAM.
ANGLE ON
Priest, being held down by Chupa and Snowman. He's thrashing
about, clutching his wounded, infected arm.
PRIEST
Oh god, oh God it hurts! It hurts, it
hurts, fuck, it hurts. Ugh!
Priest lets loose an agonized SCREAM as Blade and the others
gather around him. He's undergoing a horrific change, taking
on the gaunt, vein-engorged features of a proper Reaper. He
SNARLS and WAILS, GNASHING his teeth like a rabid animal.
Reinhardt and his team look uneasy. Shaken by their
teammate's downward progression.
BLADE
how long since he was bitten?
NYSSA
Minutes.
Blade draws closer. Already, the flesh on Priest's chin is
splitting as a seam begins to form.
BLADE
It's already changing him --
Reinhardt paces, annoyed by Priest's WAILING.
REINHARDT
Jesus, can't you get him to shut the
fuck up!?
NYSSA
(gravely)
His blood cells aren't producing oxygen
anymore. His own body is suffocating
him. These things are like crack
addicts. If they don't feed every few
hours, they'll feed on themselves.
As if in response, Priest starts convulsing. His flesh
tightens, drawing taut around his increasingly skeletal form.
His screams become unbearable, twisting into a high-pitched
ululation that's making the Bloodpack's skin crawl.
REINHARDT
Somebody put him out of his misery for
fuck's sake!
VERLAINE
You kill him! I'm not killing him!
Asad pulls out his handgun and empties the clip into Priest's
body -- but Priest keeps SHRIEKING.
Unnerved, Reinhardt unsheathes a machete, decapitating Priest
even as the others protest.
The headless body continues thrashing, still making noise
from it's open throat! If anything, it seems to be
redoubling its efforts. It LURCHES forward, jerking itself
free from Chupa and Snowman's restraining arms.
CHUPA
Mierda!!
The juddering horror that used to be Priest staggers to its
feet. Reinhardt and his men panic, stumbling backwards. The
headless monstrosity LUNGES STRAIGHT AT --
BLADE
Without batting an eye, he draws his MACH pistol, briefly
aiming at the on-rushing creature's chest, then adjusting his
aim to one of the blacked-out windows above and behind it.
BAM!BAM!BAM! Blade shoots out the window and BLAZING SHAFT
OF SUNLIGHT slices down through the darkness, spotlighting
Priest like an ant beneath a magnifying glass.
FWASH!!! The headless body is incinerated in mid-step. It
collapses to the floor, just inches before Blade. One of its
blackened claws feebly grabs Blade's boot, then grows still.
Beat. You could hear the pin drop in the silence that
follows, every one of the Bloodpack thinking some variation
of "there but for the grace of God go I". Asad lays a hand
on Nyssa's shoulder, steadying her.
Blade shifts his foot, causing the cinder-like hand gripping
his boot to crumble to dust.
WHISTLER (O.S.)
If this is the best you turd-stains have
to offer, I'm not impressed.
Blade looks over to see Whistler, who is just entering. He
moves over to him, angry. Chupa follows, equally pissed.
BLADE
I thought you were supposed to be
watching our backs.
WHISTLER
Ran into a little Reaper trouble myself.
CHUPA
(approaching, hostile)
Oh yeah? Like how little? In case you
hadn't noticed, we lost two men while
you were out farting around.
WHISTLER
(poking Chupa in the chest)
You need to ratchet those 'nads of yours
down a few notches, paco.
Chupa flushes with anger and flicks his knife across
Whistler's shoulder, opening a gash. Whistler goes ballistic
and PUNCHES Chupa in the face. A brief tussle ensues before
Blade and the others can separate them. As Chupa is pulled
away by Asad, he looks back at Whistler.
CHUPA
Listen, hillbilly, you are a cunt-hair
away from cowboy heaven.
WHISTLER
Ain't no thing but a chicken wing,
buttercup.
BLADE
(still suspicious)
Where were you, Whistler?
WHISTLER
I'll show you.
INT. HOUSE OF PAIN - DRAINAGE AREA - CONTINUOUS
Whistler, Blade and the surviving members of the Bloodpack
are now gathered around the octagonal iron culvert just
beneath the ballroom. Whistler turns on a flashlight. We
HEAR something moving in the darkness. The group tenses,
then Whistler's flashlight beam reveals --
A REAPER
Cowering by the culvert. One we recognize. The other
vampire guard from the bloodbank, now transformed. He's
shrunken and emaciated, pale. And although he's obviously
dying, he still HISSES, his fanged mouth snapping
ineffectually at them. His arm has been trapped -- pinned
under one of the sectional culvert coverings. It looks like
he's been trying to gnaw it off in order to escape.
REINHARDT
What the hell?
WHISTLER
I found him like this. I think he was
trying to crawl back into that culvert.
Blade looks to the culvert in question. He pulls back one of
the sectioned covers. The opening is about two feet wide,
just large enough for a man to gain access.
INT. SEWER/OUTFLOW AREA - CONTINUOUS
Blade drops into the sewer line. The area is claustrophobic,
damp. There are torn pieces of insulation hanging from the
ceiling, saturated and dripping with blood.
Blade crouch-walks further in. We hear WIND. He shines his
FLASHLIGHT. A portion of the brick wall looks like it's been
clawed open.
NYSSA
(calling down)
Everything okay?
Blade retreats back to the drain-pipe, pulling himself back
up. We HOLD for a beat, then drift up to the blood-saturated
strips of insulation. SOMEONE is crouched in the shadows
there, clinging to the ceiling upside down.
It's NOMAK, red-eyes shining in the darkness.
CUT TO:
INT. DAMASKINO'S LAIR - BATHHOUSE - DAY
We are in a previously unseen portion of Damaskino's vast
bedroom. An elegantly tiled pool area has been partitioned
off by a series of latticed screens. In the counterpoint to
this are a series of muted monitors tuned to the pulse of the
world -- CNN, MSNBC, C-SPAN, etc.
Damaskinos sits in a robe, finishing a meal, his eyes
flicking over the monitors -- tracking current events, market
fluctuations. We get the sense that the man is a true
polymath. That he owes his five thousand-plus years of
existence to resourcefulness rather than luck.
Stevens enters, waiting to be acknowledged.
DAMASKINOS
(vampire dialect; subtitled)
Yes?
STEVENS
(vampire dialect; subtitled)
They've made contact with the Reapers.
DAMASKINOS
(vampire dialect; subtitled)
Any casualties?
STEVENS
(vampire dialect; subtitled)
Two so far.
Unconcerned, Damaskinos slices into a piece of raw meat.
DAMASKINOS
(reverting to English)
An inevitability, I suppose. Nyssa was
not among them, I trust.
STEVENS
No. This is a dangerous game, you're
playing, Damaskinos.
DAMASKINOS
Any game worthy of being played is. One
must be patient. In this way, I have
outlived my enemies. All of them.
Damaskinos steps beyond the screens now, into the pool area --
and although we can't see the water from this angle, we can
see patterns of ruby light flickering off the tiled walls.
Stevens follows, uncomfortable.
STEVENS
Blade's too volatile. You're not going
to be able to keep manipulating him --
Damaskinos steps into the steaming liquid, which we now see
is BLOOD. His robe spreads out, floating on the surface.
DAMASKINOS
You worry too much, Stevens. I have
assurance from our friend inside that
events are unfolding as scripted.
STEVENS
As scripted? You've already lost two of
your own. How many more are you willing
to sacrifice?
Damaskinos sinks until he's waist-deep in the crimson fluid.
DAMASKINOS
As many as it takes.
(pointing)
Do you see that jar over there?
Stevens looks to a shelf where a gold and crystal Coptic jar
rests. A HUMAN HEART floats within.
DAMASKINOS (CONT'D)
It contains my human heart --
(touching a pale scar on his
chest)
Something I relinquished a long time
ago. Only a fool would appeal to it
now.
CUT TO:
INT. SCUD'S WORKSHOP - CELL - NIGHT
The dying Reaper has now been chained inside the cell. It
WHEEZES and MOANS, clearly in agony. Blade and Nyssa stand
watch. Blade grips the Reaper beneath its jaw, turning its
face towards us.
BLADE
Recognize him?
NYSSA
(nodding)
From the surveillance footage in the
bloodbank. He was one of the guard's
Nomak attacked.
BLADE
Which means he turned about seventy-two
hours ago.
NYSSA
Right. So why is he dying? He doesn't
appear to have any broken bones, no
entry wounds of any kind -- what's
killing him?
BLADE
Time.
Blade nicks the Reaper's carotid artery with a knife. CLEAR
SERUM oozes out, no red blood cells at all.
BLADE (CONT'D)
No hemoglobin left.
Their metabolisms are too fast. They
burn out. That's why they're having to
feed so often. Their systems are self
destructing.
NYSSA
If that's true, what about Nomak? He's
been alive longer than the others.
BLADE
Nomak's different. He's the carrier.
(shaking his head)
There's something driving him beyond the
Thirst. Something we're missing.
As they watch, the Reaper shakes through its final death
throes, then grows still, the nictomembranes over its eyes
slowly sliding down.
MOMENTS LATER - A SERIES OF ISOLATED CLOSE-UPS
A pair of GLOVED HANDS spreads apart the Reaper's eyelids.
In response, the protective nictomembrane slides mechanically
down over the pupil.
NYSSA (O.S.)
They appear to have a nictating membrane
here, like you'd see on a crocodile or
camel. Shields the eyes from sunlight.
The hands now part the Reaper's mouth, probing the seam in
the chin, then splitting the mandible apart to reveal the
enlarged esophagus. The fingers push back on the gums and
the pressure-sensitive fangs extend even further in response.
NYSSA (O.S.) (CONT'D)
A bifurcated mandible. More developed
masseter muscles and zygomatic bones
around the mouth allowing for a much
larger, stronger bite --
PULL BACK TO REVEAL
Blade, Nyssa, and Scud are gathered around the autopsy table.
The rest of the crew linger further back.
NYSSA (CONT'D)
Epidermal layers are thicker, tougher --
Nyssa begins the Y-incision along the chest. Once again,
CLEAR SERUM oozes out. She cracks open the thoracic cavity.
SCUD
Ho-lee shit.
We SEE inside the abdominal cavity. A complex, pinkish/gray
parasitic organism has taken over every organ visible.
NYSSA
I've never seen anything like this. The
Reapers are as different from us as we
are from you.
(probing the organism)
It's almost as if the virus is re-wiring
their bodies, creating new, parasitic
organs which consume the old ones.
BLADE
Like cancer with a purpose.
NYSSA
Exactly. Look at the digestive system.
It's been drastically simplified. Super
charged. And this --
She pulls back the lungs -- a calcified structure encasing a
fibrous mass rests where the heart would normally be. She
taps the calcified structure with a scalpel.
NYSSA (CONT'D)
The heart is completely encased in bone.
She tries to cut into the bony shell and the scalpel snaps.
Scud WHISTLES, impressed.
SCUD
Good luck getting a stake through that.
Blade studies the Reaper corpse, then looks to the Bloodpack.
BLADE
We've got six hours till sunrise. Be
ready by then.
ASAD
What happens at sunrise?
BLADE
We take up the hunt again.
CHUPA
You gotta be fucking joking.
BLADE
You've seen what we're up against.
Daylight's the only advantage we've got.
They'll be more vulnerable then.
REINHARDT
(pointedly)
And so will we.
BLADE
Look, I care about the humans who are
dying, not you, got it?
REINHARDT
(snarling)
Spare me the race card, OJ. We're not
going out into the sun. It's too risky.
BLADE
You don't have a choice. You're just
going to have to protect yourselves as
best you can.
Blade spins and leaves. Whistler follows. Nyssa watches
them disappear into Blade's room. Reinhardt and the other
vampires approach her.
REINHARDT
You buying any of this chocolate Elvis
bullshit?
Nyssa just stares him down, obviously conflicted.
CHUPA
This guy doesn't know what the fuck he's
doing. We already lost Priest and
Lighthammer, who's gonna be next? Fuck
him. Fuck his rules. First chance I
get, I'm chowing down on that fucking
HeeHaw sidekick of his.
Snowman signs something to Verlaine.
VERLAINE
What do you think, Asad?
ASAD
(pointedly)
I don't think. I follow orders.
Asad looks to Nyssa once more -- perhaps he's even concerned
now. She's still staring in the direction Blade left.
INT. SCUD'S WORKSHOP - BLADE'S SLEEPING AREA - NIGHT
Blade sits in the shadows, wrapping a piece of rubber tubing
around his arm, injecting himself with pneumatic syringe of
serum. He shivers, convulses violently, then throws back his
head in relief. When he does so, he SEES --
Whistler standing in the doorway. They eye each other a
moment as Blade unwraps the tubing from his arm, puts away
his syringe and serum. Whistler lights a cigarette, then
nods through a window towards Nyssa and the others.
WHISTLER
You ask me, you and Miss Muffet are
getting a mite too cozy for my taste.
BLADE
I wouldn't worry about it.
Blade moves to walk away, but Whistler stops him.
WHISTLER
I am worrying. Seems to me, you're
starting to get confused as to which
side of the line you're standing on.
BLADE
Pretty hollow words coming from a man
who spent the last year running with the
enemy.
WHISTLER
What the hell is that supposed to mean?
BLADE
It means I'm starting to wonder if the
vampires still have their hooks in you.
You've been acting strange ever since I
gave you the cure. Reckless, quick to
anger --
(beat)
You said it yourself, Whistler. Those
vampires knew our defense system
backwards and forwards. Where'd they
get their intel?
Whistler steps closer, his voice dropping to a lethal,
whisper.
WHISTLER
I'm compromised?! Me?! I'm not the one
playing stink-finger with Vampirella out
there!
Blade stares back at Whistler, calm as a viper.
BLADE
You're out of line, old man.
The two comrades in arms stare each other down. Then,
finally, Whistler backs away.
WHISTLER
(quietly)
We'll see.
Whistler turns and strides exits. We HOLD ON Blade, torn,
conflicted, watching Whistler retreat.
EXT. BLADE'S WAREHOUSE/SHIPYARD - NIGHT
We SEE a FIGURE emerge from the shadows -- CHUPA.
EXT. CITY SLUM - NIGHT
Chupa walks the night, scanning shadows.
CHUPA'S POV (VAMPIRE VISION)
Like heat-vision, only tinged with crimson. There are DRUG
DEALERS and bottom feeding WHORES trolling for tricks out
here, BEATING HEARTS and BRANCHING ARTERIES highlighted on
their ghostly silhouettes.
Chupa moves to the mouth of an alley, nodding to a DEALER.
DEALER
Lookin' to get hooked up?
CHUPA
What you got?
As the dealer glances around to see if anyone's watching --
DEALER
Horse, Hawaiian ice. Whatever you want.
Chupa sniffs the air, glancing at a pulsating vein on the
dealer's neck, and smiles.
CHUPA
Whatever, huh? Well I'm all off the
hook on that bitch.
Chupa steps into the alley with the dealer.
DEALER
So what's it gonna be?
CHUPA
Fear.
Chupa is at the dealer's throat before he can finish,
flashing his fangs, shoving him backwards. Then --
CHUPA (CONT'D)
I like a little adrenaline chaser.
WHAP! A HAND
Grabs a fistful of Chupa's hair, jerking his head back. It's
Blade. He yanks Chupa off the dealer.
BLADE
What do you think you're doing?
CHUPA
Trying to feed, puto baboso!
The dealer takes off as Blade swings Chupa around. They
exchange a couple of blows, then Blade knees him in the
balls, twisting him around by his arm, dislocating it.
Blade releases Chupa, shoving him forward. Chupa's broken
arm dangles awkwardly. Furious, Chupa reaches for his .45
with his good hand -- only to hear the CLICK of another gun
as it's placed against the back of his head.
ANGLE ON NYSSA
Standing behind him, looking grim and determined.
NYSSA
Do it and you die.
(Chupa considers options)
You heard Asad. Until this is over,
these people are our allies.
CHUPA
Oh I haven't forgotten about Asad. I'm
just wondering if you have.
Chupa re-holsters his gun, then jams his dislocated arm up
against the wall and resets it. He backs away. Nyssa
watches him leave, looks to Blade.
NYSSA
He's right about one thing. We do have
to survive.
BLADE
You don't have to hunt to do it.
NYSSA
Really? What are we supposed to do,
then? Starve ourselves because we fee
on others in order to live? What about
that scumbag you just let off the hook?
A nothing. A drug-dealer. How do you
justify saving people like that?
Blade doesn't answer, just moves away. She follows.
NYSSA (CONT'D)
You know the Thirst better than any of
us. You're barely managing to tread
water yourself. Living in a constant
state of pain, having to shoot up that
serum of yours. That's not what I call
surviving, Blade.
Off Blade's stony expression we --
CUT TO:
INT. SCUD'S WORKSHOP - NIGHT
The back of the workshop. Scud takes a hit of weed then
resumes working on one of the UV entry lights -- it's been
taken half-apart and tweaked-out with cables and a crystal
prism. Whistler is there too, loading magazines.
WHISTLER
(observing Scud)
The hell are you fiddling with there?
SCUD
(proud, succinct)
Tweaked the phosphor rod, modified the
collimated beam, wanna concentrate the
light, get something like a UV laser
going.
WHISTLER
(shaking his head)
You're wasting your time, already been
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