Spoiler Episode #14: "Love in Vein"
Compilation of Dark Angel - S2 Spoilers provided by RAMS
PAGE 3
SCENE 3
3 EXT. THE VERTICAL CLUB - NIGHT
TRACKING a long, long line of people waiting in the rain to get in the terminally upscale Vertical Club. Towards midline, we join Max's funk in progress. Cindy can feel Max's glare --
OC: What?
Max just remains petulantly silent when -- VRRRROOOM!
MAX AND CINDY'S POV -- FRONT OF CLUB
as four motorcycles lurch to a halt, aggressively REV to announce their arrival, then the riders dismount. Bypass the line and head in --
BACK WITH MAX AND CINDY
MAX: (re: the foursome) I guess they're tight with Boom Boom, too
BACK WITH THE FOURSOME -- THE BLOODS (LATE TEENS, EARLY 20'S)
amped, striding through the entrance: two guys, two girls, dewy side of 21. The guys (PUSH and JONATHAN) in black jumpsuits, wife-beater tees underneath. The girls (RAIN and LIDA) in the jumpsuits minus the tees -- commando-style, open and cleavage-friendly. All have complexions lithe and pale as kidsking.
Push (Type A personality cubed, shaved head) offers a fist to Jonathan (James Dean Hair, James Joyce spectacles)--
PUSH: Down to the marrow, brother --
JONATHAN: (bumping fists) Down to the marrow--
ANGLE ON TWO DOORMEN
in suits (sleek and refined), DOOR MAN #1 checking a name list for a couple at the front of the line --
DOOR MAN #1: Tarney party of two. Ah. Here it is.
PAGE 4
SCENE 3 contd
-- when the Bloods blow past --
DOOR MAN #1: (discreatly calling to them) Excuse me? Excuse me? We have a reservation policy --
Rain (blond, college girl pageboy, plasma-red lipstick) turns back, deadpans --
RAIN: We're the entertainment --
-- shares a reckless giggle with Push as The Bloods bound in. The two doormen, flustered NOW --
DOOR MAN #1: Miss? MISS! You can't --
Doorman #1 jerks his head inwards to Door Man #2 who trails after the Bloods. Door Man #1 smiles nervously to the couple --
DOOR MAN #1: It's a twenty-five dollar cover charge --
WAY BACK DOWN THE LINE - MAX AND CINDY
Max, eminetly not into it, tugging at her choke collar.
MAX: The line's not moving.
OC: It's moving, it's moving.
MAX: Five minutes ago we were even with that fire hydrant --
OC: See? And now it's behind us.
MAX: I'm going home. Mad respect to Boom Boom --
OC: Will you just chill? Word. I'm gonna go up front, see wazzup. And if I come back and find you bailed --
PAGE 5
SCENE 3 contd
MAX: Yeah, yeah.
OC: STAY. Five minutes and we're gonna be --
MAX: I know, I know, kickin' it, kickin' it --
4 INT. THE VERTICAL CLUB - NIGHT
Decor: Think back-lit, steel and glass, grays and pastels -- swank, as if the Pukse missed this oasis of excess. Dance music cranked. Patrons in their do-me best. All eyes nervously on --
The Bloods, turning the place into their own Nietzschean rave party--
ANGLE ON PUSH
leaping up on the winding bar, does a backflip, prances down the length of it --
PUSH: Never fear, The Bloods are here! Strive, reach, take, people! Ouwww! Hey, there, creature of the night.
-- with a pickpocket's dexterity he snatches up money on the bar as he proceeds, pointing at various startled women --
PUSH: -- I want you! (points to another) And I want you! I want all of you! (and another) Concubinage!
But a young guy takes offense, gets a lightening kick to the head from Push and flops to the floor. Push spreads his arms apart like Sinatra hitting a high note --
PUSH: What a crowd!
ANGLE ON JONATHAN - IN MID AIR
jumping, landing smack in top of a table for six, the patrons scattering.
PAGE 6
SCENE 4 contd
Smiling, looking other-wordly wired, as if someone poured hot soup on his brain stem, he snatches up the purses left behind, then beckons
RAIN
leaping on the table with him. They kiss seductively, then jump together to the next table, as --
5 EXT. THE VERTICAL CLUB - AT THE DOOR - CONTINUOUS
Where Cindy argues with Door Man #1 --
OC: Here! Take my purse as collateral! God as my witness, I'm not playing you, just let me go talk to Boom Boom --
DOOR MAN #1: I'm sorry, ma'am, but it wouldn't be fair to the others who are patiently waiting in line --
6 INT. VERTICAL CLUB - PUSH
jumping off the bar, converges with Jonathan and Rain, as they're wilding their way through the club, kicking chairs, scooping up drinks, raising hell --
ANGLE ON LIDA
noticeably less amped than the others, she seems remote, edgy; suddenly tosses a wallet-full of cash to Jonathan --
ANGLE ON PUSH
points to a woman's diamond earrings --
PUSH: Can I have those? Oh, never mind --
-- and he impulsively RIPS them from her earlobes. As the woman recoils, Rain indolently licks the blood from the side of the woman's face. Disgusted, Lida shoves Push towards the door --
LIDA: What're you doing, Push? You lost it!!
PAGE 7
SCENE 6 contd
JONATHAN: You lost it -- you're the one who's crashing --
ANGLE ON DOOR MAN #2
accompanied by BOOM BOOM, the bouncer (black, built like a linebacker) both looking stern and out of patience, circling towards the Bloods --
JONATHAN: (spotting the bouncer) Let's jack the house money and be gone from this drek--
7 EXT. THE VERTICAL CLUB - CONTINUOUS
as Cindy tries a different approach with Door Man #1 --
OC: Fine. You won't let me in to use the ladies room, I'll use the street, right here --
BLAM! The Bloods blast out of the front door in a stampede of CHAOS.
OC: (reacting) Mother of God --!!
Jonathan rams his fist through the glass enclosure occupied by Door Man #1, smacks him, reaches in, grabs all the money he can hold just as BOOM BOOM hustles out in pursuit and -- WHAM! -- walks into a backwards BOOT from Push, goes airborne to the pavement--
OC: Boom Boom!
But now Push is all over Boom Boom, pummeling him in an orgy of rage; Cindy's anger kicks in before her fear does --
OC: HEY! KUNG FU, ASS FACE!
But Rain, making a break for the bikes, flicks Cindy aside like a discarded bean can.
JONATHAN: (proffering the money) Push! For The Master! Let's go!
PAGE 8
SCENE 7 contd
Cindy, dazed, on the ground, watched Lida struggle to yank Push off of Boom Boom --
LIDA: NO! You'll kill him! Come on!
CINDY'S POV
Lida and Push both have BARCODES on their necks --
OFF CINDY'S REACTION -- A SERIES OF SHOTS:
THE BLOODS
on their bikes, HOWLING like banshees, rooster-tailing it away from the club --
PUSH: DOWN TO THE MARROW, BROTHER!!!!!
JONATHAN: TO THE MARROW!!!!!
RAIN: Woooohoooo!!!
LIDA
on her bike, sniffling in dread
MAX
SPRINTING against the hysterical, but extremely well-dressed crowd scattering away from the club until she finds --
MAX: Cindy! What happened --?
At Cindy's side, helps her up. Cindy tries to joke, but --
OC: Nazi line jumpers.
WINCES when Max cradles her arm... goes serious/wary now --
OC: Max... they all had barcodes--
SMASH CUT TO:
MAIN TITLES
PAGE 16
SCENE 11 contd
MAX: Logan?
No reponse. She slides up to his work area, takes in the Logan-ness of it all. Her eyes wander across his desk, She sees --
A PHOTO OF HERSELF
in happier times, taped to the side of the desk. Makes her smile a little. Spots his computer now. Drawn in.
E.C.U. THE MONITOR
revealing police print-outs, security cameras, crime scene photos, etc., all depicting residue of The Bloods' amped mayhem...
12 INT. EMERGENCY ROOM CLINIC - DAY
Lida, wandering in. Dazed, skin pallor of driftwood, eyes swimming. She shambles up to the reception desk, plants her hands to steady herself. Whispers to the DESK NURSE --
LIDA: Please... I... need help... I'm, I'm sick --
DESK NURSE: Are you injured?
LIDA: No.. I said I'm sick --
Overwhelmed with paperwork, the desk nurse hands Lida a clipboard --
DESK NURSE: Have a seat and fill this out. When you're finished go down the hall, first right, Examination Room 12, just past the vending machines. A doctor will be in to see you as soon as he can.
As Lida trudges to the seats, the nurse carefully picks up the phone...
23 EXT. A NEIGHBORHOOD SOMEWHERE - A HOUSE - DAY
Behind a tree, Alec rebuttons Joshua's shirt so the buttonholes match with the buttons.
PAGE 18
SCENE 15
15 EXT. NEIGHBORHOOD - THE HOUSE - DAY
Joshua, on the front porch, waiting patiently while A MAN (late 40's) signs for his envelope. The man wears an eye patch. Hands Joshua the slip.
EYE PATCH MAN: There you go.
JOSHUA: (hands him the envelope) There you go.
EYE PATCH MAN: Nice helmet.
JOSHUA: Nice.. eye patch.
ANGLE ON ALEC
watching from behind the tree, delighted, mutters to himself --
ALEC: He's a natural.
16 INT. EXAMINATION WAITING ROOM - LATER
CLOSE ON LIDA
in a fever daze, opening her liquidy eyes to
A ROOMFUL of misery waiting to be seen: The sick, injured, tripping, psychotic, etc. As she scans the room, a shard of recognition tears at her consciousness because seated among the infirm she sees
THREE, YOUNG, SALLOW FACES, deadly and alert -- it's JONATHAN, PUSH, AND RAIN, their gazes narrowed on her.
Lida BOLTS --
17 INT. HOSPITAL CORRIDOR - TIME DELETE
We pick up Lida, trying to run but too weak to get away from the three bloods, swarming around her --
LIDA: No! Let me go!
PAGE 19
SCENE 17 contd
PUSH: Dumb-ass play, Lida. Can't believe you want to go belly-up in a freakin' hospital bed --
LIDA: (to Rain) I trusted you, you sold me out!
RAIN: I did it for you -- Master wants to help you, he's the only one who can, you know that --
LIDA: I don't care!
She resists, swoons, makes it hard for them --
PUSH: We just sipped, Jon-Jon. Kiss her, maybe she'll come around a little --
LIDA: NO!!!
CUT TO:
18 INT. E.R. ROOM ENTERANCE
The E.R. nurse, pointing down the hall for --
MAX
trotting down the hall, coming around the corner to see, down at the end of the hall --
THE BLOODS, hustling Lida, no longer struggling, but limp-tripping, needing to be trundled by Jonathan and Push--
MAX VISION scopes in on THEIR BARCODES --
MAX: WAIT!!!
The bloods ignore her, double-time it through the front door --
PAGE 22
ACT TWO
ACT TWO
FADE IN:
20 INT. MAX'S CRIB - DAY (DAY TWO CONT'D)
The door opens and Max shoves Rain into the apartment, guides her to a chair and sits her down in it.
MAX: Talk.
Rain gingerly touches her swelling eye with a shaky hand.
RAIN: Can I get an icepack or something?
MAX: No. Why do you have a barcode on the back of your neck?
RAIN: You have one.
MAX: We're not talking about me.
RAIN: Might be a more interesting conversation... 'cause I ain't telling you jack.
MAX: You're gonna tell me all about whatever weird-ass crap you and your friends are into, or you're gonna need an icepack for your hair.
Rain says nothing, just looks Max definatly in the eye.
MAX: That sick girl in the hospital -- what was wrong with her?
Still nothing from Rain. Max decides to change her tack. She goes to the freezer, wraps a couple of ice cubes in a paper towel and hands the makeshift icepack to Rain. She sits across from the girl as she applies the ice to her eye.
MAX: Look, I know you're scared...
RAIN: I'm not scared of anything.
PAGE 23
SCENE 20 contd
MAX: Maybe you should be.
RAIN: (full of bravado) Maybe you should be.
MAX: Why, are you going to hit my fist with your face again?
Rain looks away, knowing she can't bluff Max.
MAX: Look, I know how you and your friends get off --
Rain braces reflexively (just what does super-bitch know?) the dissembles again...
RAIN: Sure you do.
MAX: -- stealing, smacking people around for the hell of it, idle destruction -- I mean, gee, you almost sound human --
RAIN: -- but stronger. At least we're not letting it go to waste. And what's it to you, anyway?
MAX: What's it to me? You had a choice. (shows her barcode) I didn't okay?
Rain looks back at Max, the mention of choice putting a little chink in the armor. She counters with an arrogant shrug.
MAX: Now. Do I have to kick your narrow butt all over this room again or are you gonna be a good little bad ass and tell me what I want to know?
RAIN: No need for that. (beat)
PAGE 24
SCENE 20 contd
RAIN: You'll find that out when he comes for me.
MAX: "He?"
Rain just looks at Max in the eye and smiles...
CUT TO:
21 INT. ABANDONED CHURCH COMPOUND - DAY
PAN THE WALLS. We're in the abansoned rectory. Old photos on the wall: Ground breaking ceremonies. Priests with public figures, smiling children, happy parades, etc.
CLOSE ON LIDA
curled up fetal-like in an old, oxblood leather chair, Push and Jonathan standing at her side. Averting her eyes, she shakes, a deep and painful withdrawal attacking her like an animal.
LIDA: I made a mistake. I... know that now. But... I wanted to try. And...make it on my own..
Finally, she looks up at --
MASTER B
sitting behind a desk fit for a film producer. He is tall, his face human, but chiselled -- and not in the classic sense. We mean hewn and veined, like tangerine sections. Black irises, flaring nostrils. Public appearances are not an option.
MASTER B: You must've been terrified. Knowing how impossible that is.
LIDA: I'm sorry...
MASTER B: You're sorry. (to the others) She's sorry.
He lifts a THIN, FACETTED GLASS WAND, the thickness of a pencil, about a foot long, indolently twirls it -- Lida can't keep her eyes off it.
PAGE 25
SCENE 21 contd
MASTER B: Can I ask you something? Do you know what love is? Hm?
LIDA: ... I thought I did...
MASTER B: (not listening) I do. I tried to leave you all. I tried to give all of this up. I did. As much as I burned for it, as much as I ached for all of you, I wanted to go away. Never feel the sip of someone's passion again. I thought, boy, if I could get over that--
B stands now, has the wand, moves obliquely towards her chair...
MASTER B: -- I could get over anything. I could endure, conquer, be a man, stand up to all and any kind of abuse and punishment, be buried in the Great Wall of China forever. And then it hit me. If it took that much strength, that much will to leave all of you, what's the point? We were meant to be together.
LIDA: Please, Master, please... Don't turn me away, please.
B drags the wand across the arm of her chair... lets it rest there. She cluthes it --
LIDA: I need some...
MASTER B: How am I supposed to trust you after this?
LIDA: You can! You can! I promise.
MASTER B: Well... I think you need time to think it over.
PAGE 26
SCENE 21 contd
LIDA: (really TERRIFIED now) NO!!!
B paternally embraces her for a moment --
MASTER B: Will you stop? I'll be up there, I won't forget you. I'm here, remember?
The Master turns to WALLACE and ROLLINS, two young Bloods -- motions upwards, as --
22 INT. STORAGE ROOM/CHURCH ATTIC - TIME DELETE
Boom! The door closes on Lida, near apoplectic with fear. POUNDS on the thick door, falls back, reeling in pain, turns and nearly swallows her heart at the sight of --
PEOPLE, HANGING
or are they? At closer glance, they're choir robes, hung in a row. Lida collapses in tears...
23 INT. THE CHURCH PROPER - A LITTLE LATER
Push and Jonathan, sitting in pews, wonder cast over their faces as they watch Master B "exercise" --
MASTER B (o.s.): So, tell me about this little firebrand you ran into.
PUSH: She had a barcode. Like yours.
JONATHAN: She took out Rain in, like, two seconds.
MASTER B, shirtless, running, blurring up on the walls--
MASTER B: And what happened to the big strong men who were supposed to watch out for the weaker sex?
Push and Jonathan look at their feet, ashamed. Master B comes off a wall, huffing, puffing, sweat making his translucent skin glow, touches Jonathan's shoulder--
PAGE 29
SCENE 24 contd
BACK TO SCENE
Max instantly starts moving for the door --
MAX: I gotta go.
OC: (don't leave me alone!) Where you going?
MAX: To find her buddies. Try to keep her temperature down, throw her in the shower if you have to.
OC: Max--
But Max is out the door. Off Cindy, trying to figure out how to deal with the convulsing girl in her apartment --
25 INT. HALLWAY - DAY
Joshua knocks at an apartment door; a beat later, an EFFEMINATE MAN opens the door, a large TABBY in his hands.
JOSHUA: Jam Pony Messenger.
EFFEMINATE MAN: Oh! My! God! My Franklin Mint plate collection! I can't believe it's here already.
Joshua has no ide what he's talking about, extends the clipboard --
JOSHUA: Sign, please.
EFFEMINATE MAN: Here. You hold Montgomery Clift.
The Man hands the cat to Joshua who, being friendly, courteous, and kind, reluctantly takes it. The Man signs and carries on --
EFFEMINATE MAN: You just made my year, you lumbering hulk of a man, you. Hang on, you deserve a tip and a half.
PAGE 30
SCENE 25 contd
The Man retreats into the apartment, leaving Joshua holding the cat.
JOSHUA: Friendly, courteous, kind... nice kitty...
ANGLE - EFFEMINATE MAN'S DOORWAY
As he's digging in his wallet for money, he hears HISSING, CAT HOWLING, SCREAMS FROM JOSHUA --
EFFEMINATE MAN: What's going on out there?
He opens the door and sees --
JOSHUA
his helmet crooked, his hands scratched and bleeding, claw marks on his coat.
JOSHUA: No tip. Keep the cat.
Joshua flings the cat into the apartment and slams the door shut. He starts moving down the hall he sees a spandex-clad man (Dylan) wheeling his bike down the hall -- he's witnessed most of Joshua's encounter with the cat.
DYLAN: Hey, man. How's it going?
JOSHUA: I was... making delivery. Cat bit me.
Dylan realizes Joshua is a fellow bike messenger, warms up --
DYLAN: Montgomery Clift. Someone should make Chow Mein out of that little rat. He get you bad?
Joshua holds out his arm -- it's bleeding.
JOSHUA: Pretty bad.
DYLAN: I got just the thing. A little herb will take that pain right away.
PAGE 31
SCENE 25
The Messenger digs in his backpack, produces a small pipe, lights it, hands it to Joshua. Joshua hesitates --
DYLAN: Take it. I got more.
JOSHUA: Pipe... like father.
DYLAN: Dad used to hit the pipe, huh?
JOSHUA: Father smoked pipe.
DYLAN: There ya go. Like father, like son. Toke up, dude.
As Joshua takes the pipe, a curious expression on his face --
CUT TO:
26 EXT. ABANDONED CHURCH - DAY
Max pulls up to the church, sees the sign that identifies it as St. Thomas Aquinas. The windows are boarded up, making it impossible for Max to get through them quitely. Then she sees a high window -- it's open. That's her entry point.
27 INT. ABANDONED CHURCH - DAY
Max sneaks into the upper balcony of the church, where a dilapidated organ rots from disuse. She hears FAINT VOICES, moves to the edge of the balcony to investigate.
She looks down, sees Master B and handful of Bloods milling about. The Master sits in the midst of the others, seemingly looking at something on his arm.
MAX VISION - LOOKING DOWN INTO THE CHURCH
She spots B... sees his barcode... peers over to his arm... he has that cylindrical wand of glass, which he runs up and down his arm... is he looking for a vein to pop that thing into? The Bloods watch in eager anticipation.
BACK TO MAX
starts down the steps from the balcony towards the main floor.
CUT TO:
PAGE 32
SCENE 28
28 INT. BIKE MESSENGER BAR - DAY
Joshua and Dylan ENTER the seedy, smoke-filled bar, and Dylan instantly spots his friends at a table --
DYLAN: Guys, hey! Over here, Josh.
Dylan leads Joshua to a table, where a GUY sits with a GIRL, both of them looking pretty baked. Dylan introduces Joshua --
DYLAN: Janis and Kurt. This is Josh. He works over at Jam Pony.
KURT: Oh, dude -- how do you deal with that Nazi, Reagan, as your boss?
JOSHUA: No Nazis. Alec is my boss. He gave me this helmet. Gives me ten percent.
Normally this would elicit a big "huh?" from everyone. But they're all stoned, so --
JANIS: Right on.
KURT: Sit down, man -- you're like eight feet tall, you're freaking me out.
Joshua and Dylan sit.
JANIS: You hungry, dude?
JOSHUA: Hungry, like, a lot... dude.
JANIS: Great. We got some buffalo wings coming.
JOSHUA: (confused) Buffalo wings?
JANIS: Yeah -- chicken wings.
PAGE 33
SCENE 28
JOSHUA: (thinks he's getting it) Ah... chicken.. buffalo in his cocktail.
DYLAN: Want some pretzels while we wait?
Dylan offers the bowl of pretzels to Joshua, who stuffs pretzels under his helmet, producing rain of crumbs... The stoners burst out laughing uncontrollably. Joshua smiles -- doesn't quite know what's so funny, but he plays along. The WAITRESS approaches, sets a tray of wings on the table.
WAITRESS: One order of buffalo wings, manga hot.
Through their laughter, the stoners indicate to Joshua: Help yourself. Joshua grabs a pair of wings, throws them into his mouth, bone and all... smiles.. then smoke virtually comes out of his ears. The stoners can't breathe from laughing. Dylan hands him a glass of water; Joshua pours it into his mouth --
DYLAN: You're alright, Josh.
Off Joshua, eyes watering --
CUT TO:
29 INT. ABANDONED CHURCH - DAY
Max sneaks-and-creeps through the main floor of the church, approaching the altar area where the Master and the Bloods are gathered. She hides behind a pew and watches as --
MAX'S POV
-- the Master jabs the glass straw into his arm. A stream of blood spurts up the "straw", as...
MASTER B: Please -- allow me to share, let me serve you all. You've found what everyone else is searching for -- strength in a fear-stricken world.
A gorgeous female Blood approaches. B extends his arm. She takes it, sips deep from the Master's blood. Swallows. Sips again, then walks to Push. Kisses him, passes blood to his mouth, rivulets running from the corners of their lips.
PAGE 38
SCENE 31 contd
WITH MAX
as she leaps up, eluding the first Blood's grasp, swings and CRASH! Flies through the STAINED GLASS window. And...
32 EXT. ABANDONED CHURCH - DAY
Max comes crashing through the window, SLAMS onto the roof, rolls off onto the ground. High above, Master B and the Bloods peer down from the broken window...
THE BLOOD'S POV
as Max sprints away.
CUT TO:
A THICK CLOUD OF WHITE SMOKE that clears to REVEAL Joshua's Helmet, smoke billowing out from underneath. And a spat of COUGHING as...
DYLAN: Yo, dudehead, easy...
We're --
33 INT. BIKE MESSENGER BAR - DAY
Where the stoners have become impossibly intrigued by the helmeted man (JOSHUA). The floor is littered with PEANUT SHEELS.
JOSHUA: Joshua dudehead, that's the plan.
KURT: You are so baked.
JOSHUA: Joshua hugry again.
Joshua reaches down, grabs a large handful of UNSHELLED PEANUTS, manages to convey them to his mouth. Noisy CRUNCHING follows.
KURT: Oh man, now you're bumming me. I mean, that's nasty.
JOSHUA: Sorry.
PAGE 39
SCENE 33
Joshua SPITS out the peanuts on the table. But it doesn't work very well. He starts grabbing at his mouth under the helmet, accompanied by spitting noises.
JANIS: Hey, bigfoot. Just take off the helmet.
JOSHUA: Keep on. Safety first.
Dylan leans in to look at Joshua, his face right up to the helmet.
JOSHUA'S POV - THROUGH THE VISOR
as Dylan's face comes point blank, trying to look inside the dark visor.
DYLAN: You know, I read that when two things rub together they exchange, you know, atoms? So if you're like always wearing a helmet, after a while your head becomes part helmet and your helmet become... part head.
BACK TO SCENE
Joshua inadvertently lets out a kind of muffled BARK.
JOSHUA: (worried bark) Woof.
KURT: Dude, you gotta take off the helmet.
JOSHUA: Can't.
JANIS: Sure you can.
JOSHUA: People scared of what is different.
DYLAN: Whoa, wait, You think we'll be scared of you?
PAGE 40
SCENE 33
Joshua nods his head "yes."
KURT: Everyone here's totally cool. Beyond cool.
DYLAN: You're not going to scare anybody, I give you my word. (then) As a bike messenger.
Joshua looks from one to the other with his head/helmet. As he slowly starts to unsnap his helmet and the Stoners lean in, riveted...
34 EXT. BIKE MESSENGER BAR - DAY
A long beat before DISTURBED YELLS stream from the bar. A second later, Joshua emerges at full gallop. As he WIPES past camera lunging for his bike...
CUT TO:
35 INT. MAX'S CRIB - DAY
The door flies open, Max rushes in.
MAX: Ok, where is she?
LOGAN (o.s.) : Max.
MAX: Logan?
Max steams towards Logan's voice, toward her own bedroom, almost colliding with...
MAX: What are you doing here?
OC approached from behind Logan.
OC: I called him, boo. We got ourselves a problem.
Max follows them into...
PAGE 41
SCENE 36
36 INT. MAX'S CRIB - BEDROOM - DAY
Rain lies SHAKING on the bed, barely conscious. Like Softie was, in the hospital.
OC: She started up two hours ago.
MAX: Just like the girl in the hospital. (at Rain) Who I never found, by the way. Your pals jammed me up.
Rain doesn't react.
LOGAN: Jammed you up how?
MAX: There's at least a dozen like her. They've got this bizarre mosquito ritual where they suck up the blood of some Manticore creation then, well-- (turning to OC) -- you saw it.
OC: They get loco.
MAX: Right. And this time they were after me.
LOGAN: Well that confirms what I was thinking. It sounds like a drug effect.
MAX: Yeah. Instant asshole.
LOGAN: What I meant is, maybe we're looking at some kind of withdrawal here. That girl probalby went to the hospital to detox.
MAX: You mean they cut her off?
PAGE 42
SCENE 36 contd
RAIN (o.s.): She cut herself off.
They look at Rain, DT'ing on the bed. Her voice faint and parched.
RAIN: She thought it was a game you could leave partway through. She thought 'forever' didn't matter.
OC: What's she talking about?
RAIN: Once you're inside, you're always inside. In the family, not in the world.
Rain CONTINUES OVER as...
37 INT. ABANDONED CHURCH - ATTIC - NIGHT
Master B closes the door behind himself. Locks it.
RAIN (v.o.): He gave us his life. And we give him ours.
ANGLE ON LIDA
who looks up at B, his head backlit like an evil angel. She looks up, weary.
LIDA: Please, please.
She drops to her knees in front of him, begging.
RAIN (v.o.): But the bargain's forever. It has to be -- there's no other way.
Master B cups her head, his hands loose around her neck.
38 INT. MAX'S CRIB - NIGHT
Where Logan, Max and OC listen closely.
MAX: The girl in the hospital?
PAGE 43
SCENE 38
RAIN: We die without him -- we can't live without his blood.
MAX: She obviously thought she could.
RAIN: She was wrong.
MAX: You dragged her back to him.
RAIN: We tried to rescue her. But it was too late.
Rain CONTINUES OVER as...
39 INT. ABANDONED CHURCH - NIGHT
B and Lida in the same tableau, Lida oddly inanimate.
RAIN (v.o.): Once the shaking starts, it's already too late.
B releases his hands from Lida's neck and she collapses dead against the wall, livid choke marks RINGING her neck. He looks around, makes sure no one is watching. And exits.
40 INT. MAX'S CRIB - NIGHT
Max hardens.
MAX: Who says it's too late?
RAIN: He does. Up front. He tells everyone up front. Once the shaking starts, you're gone.
Which bodes poorly for Rain.
RAIN: She killed herself. And now I'm dead, too.
Rain loses consciousness. Max SHAKES her roughly, trying to bring her back.
PAGE 53
ACT 4
ACT FOUR
FADE IN:
49 INT. MAX'S CRIB - KITCHEN - NIGHT (DAY TWO CONT'D)
Logan, sitting alone at the kitchen table while..
50 IN THE LIVING ROOM - CLOSE ON DOCTOR CARR
His turn to check in on Rain. STAY ON HIM as what he sees hurries his approach to the couch. Bends close --
DOCTOR CARR: LOGAN!
51 INT. ABANDONED CHURCH - NIGHT
A gathering of all the Bloods, in an impromptu semi-circle, amped up, vigilant as a murder of crows. They've all sipped but
ELIZA
who takes a deep pull from the rod in B's arm as he reclines on a wide couch and talks..
MASTER B: Here's what I know. It doesn't matter what kind of blood courses through your veins. Yours, Mine, The President, the Pope, Joe Blow from Kokomo...
Eliza finishes, takes her place in the semi-circle with the others, while B takes a moment to rest...
MASTER B: We all need it to survive.
Master B extracts the rod from his arm, meticulous as a deacon he wipes it clean with a velvet kerchief, rises with the rod, meanders towards...
MASTER B: You can't replace it with money, power, prayer, or good intentions. Not even love, though wouldn't it be sublime to think so?
MAX
hanging by her bound hands, a rope strung from the choir balcony overhang.
PAGE 54
SCENE 51
Her legs are likewise bound together so they can't kick, her feet dangling about six inches above the ground.
Master B nears her, sidles close to her figure.
MASTER B: There's an artery rrrright... here.
Using the glass rod as a kind of pointer, he runs it across the top of her thigh.
MASTER B: The Femoral artery. Sever it and a human male will bleed to death in seven minutes. Of course, the girls die a little faster... less blood to begin with. Now, it's too late to save her -- (to the Bloods) She killed our Rain -- (back to Max) But why don't you tell me where she is so at least she can die with her family around her?
MAX: Why don't you take the glass pixie stick and cram it up your ass?
Master B can't help but chuckle, lunges for Max and plants a kiss on her cheek, almost out of fondness, then whirls to face his followers ---
MASTER B: You see? Isn't that exactly one of the things I've tried to teach here? Never enter an agreement with anyone who has less than you.
MAX: Oh, please. You can do me a big favor and cut that artery now --
MASTER B: (defiant, re: his precept) That's right --
MAX: Really? Because I don't see a whole hell of a lot here other than --
PAGE 55
SCENE 51
MASTER B: ENOUGH!
B cuts Max off with a SHOUT so loud it startles even the feeling-no-pain Bloods --
MASTER B: MORE! There's more her than you'll ever have! You're on the fringe, sister, you're on the outside looking in.
MAX: I can't believe I let something like you out in the world --
Now Master B comes close, hisses in Max's ear --
MASTER B: (sotto) You're a freak, a mutant with tangled genetics and a barcode just like me. The only difference between us is you're hunted -- I'm in demand.
Max impulsively shouts to the gathering --
MAX: HE'S USING YOU! HE'S USING ALL OF YOU!
ANGLE ON THE BLOODS
some look defiant, others, specifically Jonathan, are beginning to look uncomfortable...
MASTER B: Using them? I give them life! They need me to survive! (under his breath) The jealous bitch. (BOOMING again) I'm keeping these beautiful people alive!
MAX: They're prisoners.
MASTER B: (ignoring her) -- and you'd rather see me dead.
PAGE 56
SCENE 51
MASTER B: Oh, come on, admint it. Wouldn't you?
MAX: (mimicking him) Oh... (mock-mulling) ...yeah.
B changes his grips on the glass rod -- clutches it at his side like a knife now --
MASTER B: Well, that makes you a danger to them, to my friends, doesn't it?
He cocks the rod back, shrugs apologetically --
MASTER B: Sorry --
RAIN (o.s.): STOP!
The entire gathering turns to see
RAIN
looking remarkably healthy. Color in her cheecks, her eyes clear. Covering her is Logan with a gun. B back-pedals like a Russian Circus Bear --
MASTER B: Rain! You're alive! A miracle!
RAIN: (pointing at Master B) He's lying!
JONATHAN: What?
RAIN: We don't need him? You're not gonna die! Not any of you!!
Wallace starts backing away, relieved... others follow...
WALLACE: I'm outta here...
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