Spoiler Episode #6: "Two"
Compilation of Dark Angel - S2 Spoilers provided by RAMS
ACT I
PAGE 5
SCENE 4 CONTINUED
ALEC
I was willing to deal -- you
shoulda let go when you had the
chance.
MAX
I shoulda let your head explode
when I had the chance.
She throttles for the checkpoint, waves her ID
MAX (CONT'D)
Jam Pony Messenger.
ON ALEC:
watching her go. He moves off ot find another way past the
checkpoint.
AT THE CHECKPOINT
Gillespie eases himself back into his chair, takes a pill
from a bottle in a brown bag. Turns his attention back to a
small, portable TV set. Hears a NOISE nearby. He tries to
ignore it... but there it is again.
He stands, moves to check it out... sees a FIGURE digging in
a nearby trash can. He's tall, broad-shouldered, with a mane of wild hair.
GILLESPIE
Hey-- let's see some ID.
The Figure ducks behind a nearby dumpster --
GILLESPIE (CONT'D)
I said lemme see your ID.
THE FIGURE'S POV
watching Gillespie approach, pulling at his nightstick. The
Figure's breathing is heavy, raspy.
GILLESPIE (CONT'D)
So help me if I have to come back
there to get you, you're coming out
in a stretcher, you hear me?
Gillespie moves closer... closer... That's when the Figure
POUNCES with a feral GROWL. We glimpse the briefese look of
horror on Gillespie as he goes down --
(CONTINUED)
PAGE 6
SCENE 4 CONTINUED
ANGLE ON A NEARBY WALL
where we see the SHADOW of the Figure standing over
Gillespie, tearing at him -- animal-like SNARLS mixing with
Gillespie's futile SCREAMS...
SMASH CUT TO:
MAIN TITLES
PAGE 14 SCENE 7 CONTINUED
Normal calls out to her, giddy as a schoolboy.
NORMAL
Good catch, Maxie!
(to himself, as they go)
Rock star...
CUT TO:
SCENE 8 EXT APARTMENT STOOP - DAY
Max and Alec on a delivery. They ring the doorbell as Max
lectures Alec --
MAX
You say "Jam Pony Messenger" or
"Delivery for Ms. Such-and-such",
you do not say "your eyes are like
the sky after a storm." This is a
job, not a dating service.
ALEC
I wasn't hitting on her, I was just
being polite.
MAX
You were angling for a tip.
The door opens to reveal MRS. LE PERA, an Italian grandmother type. Alec turns on the charm, reading off the package --
ALEC
Good morning Missus... Le Pera.
How are you today?
MRS. LE PERA
(leery)
Fine.
ALEC
We have a delivery for you, we just
need your autograph over here.
He hands her a clipboard to sign on. Then he takes a deep
breath --
ALEC (CONT'D)
Is that cornbread I smell cooking?
Mrs. Le Pera looks up from the clipboard, her face lighting
up at the mention of her cooking.
(CONTINUED)
PAGE 15 SCENE 8 CONTINUED
MRS. LE PERA
Yes, it is.
ALEC
That is the most fantastic smell.
Reminds me of the summer I spent at
my grammy's -- she was the best
cook.
MRS. LE PERA
Would you like a piece?
ALEC
Would --? Oh, man! If it wouldn't
be too much of an imposition.
Mrs. Le Pera hands the clipboard back to Alec, retreats
inside to get the cornbread.
MAX
Your grammy?!
ALEC
I picked it up on TV.
MAX
Why do you have to do that?
ALEC
What? I'm just trying to be
pleasant to our customers.
Mrs. Le Pera returns with two pieces of cornbread on paper
towels. As she hands them to Alec and Max --
MRS. LE PERA
One for you, and one for you. And,
since your such nice young
people...
She hands them each... a quarter.
ALEC
Thank you so much, Mrs. Le Pera.
You have a nice rest of your day
now, ok?
She waves a big wave and smiles a big smile as she retreats
inside with her package, closes the door. Alec holds up --
ALEC (CONT'D)
A quarter.
(CONTINUED
PAGE 16 SCENE 8 CONTINUED
-- and takes a big bite of his cornbread before climbing on
his bike. Off Max, stuck with Mr. Brownnose --
CUT TO:
SCENE 9 INT. CRASH - NIGHT
Max sits with Original Cindy while Sketchy and Alec play
foosball.
ORIGINAL CINDY
So he made all his runs, he didn't
get lost or runover or mugged, and
he was fast enough that you got to
take an hour lunch. I'm not
seeing the downside.
MAX
The downside is, he's just
always... there. He's driving me
crazy with the talking and the
laughing and the... breathing!
ORIGINAL CINDY
Shugga, you got issues.
Alec finishes beathing Sketchy, comes over to the table, grabs the empty pitcher.
ALEC
Ladies -- let me get the next one.
Skippy there owes me about eighty
bucks worth of beer.
MAX
That's alright, you don't have to --
ORIGINAL CINDY
Never say no to a free drink.
Alec takes the empty pitcher, calls out to Sketchy, who joins him at the bar.
MAX
He's up to something. I just know
he's got something up his sleeve.
ORIGINAL CINDY
I know. Free beer -- that man's
just flat out evil.
(CONTINUED)
SCENE 9 CONTINUED
MAX
(not entirely convinced)
'Course not. Just promised him I'd
drop by, that's all. Later
She goes. Off Cindy
CUT TO:
Scene 10
INT. JOSHUA'S HOUSE - NIGHT
Max comes into a darkened house, calling out--
MAX
Joshua?
No reply. He's not here. Off Max, now genuinely concerned.
CUT TO:
SCENE 11 EXT. STREET (OR MARKETPLACE) - NIGHT
A YOUNG COP on patrol. He hears a noise coming from inside a
closed up VENDOR'S STALL. Moves to investigate.
SCENE 12 INT. STALL - CONINTUOUS
The shaggy Figure from the teaser is ransacking it for food.
Senses hte approaching Cop. Peers through the wooden slats
to look. The raspy breathing grows louder, more excited.
YOUNG COP
Anybody there?
THE FIGURE BURSTS OUT
Spintering the wood in its path.
Leaps on the Cop with a snarl, taking him to the ground --
COP'S POV
Jagged, urgent. Sharp teeth tear down at camera from a
contorted, angry version of Joshua's face --
WIDER
as the Young Cop tries to fend off his attacker, but it's no use.
(CONTINUED)
SCENE 12 CONTINUED
A hand reaches into his mouth for his tongue -- we hear a
sickening RIP, and the Cop's screaming turns into a choked,
drowning gurgle as blood fills his mouth.
SMASH TO BLACK.
END OF ACT I
PAGE 22 SCENE 13- CONTINUED
A long moment as Max considers...
MAX
I went by Joshua's last night. He
wasn't there.
LOGAN
Where is he?
MAX
I dunno. He never came home.
LOGAN
You don't think...?
MAX
No, I'm just worried about him,
that's all.
LOGAN
There's something else, isn't
there?
MAX
No.
LOGAN
Tell me. I can't help if you don't
tell me.
MAX
There's nothing to tell, all right?
I gotta go.
And she does. Off Logan --
CUT TO
SCENE 14 EXT. MARKETPLACE - DAY
Sketchy on a run to a bad part of town. As he hops off his
bike, a THUG steps in front of him. But this is no ordinary
thug. This is BRITISH EDDY. His eyes are red where they
should be white, a white iris/pupil in the middle.
EDDY
Can I help you, little man?
SKETCHY
No, I think I'm cool.
EDDY
Nah, I think you need some helping.
(CONTINUED)
PAGE 23 SCENE 14 CONTINUED
Sketchy now turns to see a pair of other THUGS -- TUCK
is bald, a long scar outlining the entire top of his head, a
metallic plate sticking out from the edges. BIRD'S hands
feature metal knuckles where real knuckles should be , a
jagged spike protruding from the right middle knuckle like a
permanently extended middle finger. Off Sketchy's increasing panic --
CUT TO --
SCENE 15 INT JAM PONY - DAY
Alec sits on the counter, regaling Normal with a story --
ALEC
So he nails me right in the face, like,
three times, right? And I'm just
smiling, waiting for my opening.
That's when -- WHAM! One punch,
right in the jaw. Down he goes.
Normal laughs, relishing the story.
NORMAL
Now what about Sammy the
Superfly -- how'd you get around
that jab combination?
As Sketchy enters, looking like he's been in a fight.
ALEC
Superfly's not as fast as he --
(sees Sketchy)
Hey, what happened ot Skippy?
Normal sees Sketchy, is more aggrivated at the interruption
than concerned for his employee.
NORMAL
(moving off)
Probably went to sleep under a dump truck
again.
ALEC
(approaching Sketchy)
Hey -- what happened?
SKETCHY
I got the snot beat out of me,
thank you very much.
(MORE)
(CONTINUED)
PAGE 26 SCENE 17 CONTINUED
Gillespie points at Joshua's picture on the paper -- then to
the back of his neck.
LOGAN (CONT'D)
The man in this picture... he had a
barcode on his neck?
Gillespie nods. Off Logan, now more convinced than ever --
CUT TO:
SCENE 18 INT. TUNNEL - CONTINUOUS
Max is moving through the silent tunnel, the only sound the
DRIP, DRIP, DRIP of water and that of her footfalls. She
passes a STAIRWELL leading up to the surface, continues down
the tunnel. Suddenly her CELL PHONE RINGS. She fishes it
out --
MAX
Yeah.
INTERCUT WITH:
SCENE 19 INT. LOGAN'S VAN - DAY
Logan talks on the phone --
LOGAN
Max, it's me. I just talked to the
cop that survived the attack the
other night.
MAX
Yeah?
LOGAN
Showed him that picture of Joshua
from when he turned up in that
tabloid, he ID'd him.
MAX
That's impossible.
LOGAN
Max, the guy recognized him --
MAX
I don't believe it --
LOGAN
He even got a look at the barcode
on his neck.
(CONTINUED)
PAGE 27 SCENE 19 CONTINUED
Max reacts, stops in her tracks.
MAX
Barcode? Joshua doesn't have a
barcode.
LOGAN
What?
MAX
He was first, he doesn't have one.
Max sees motion up ahead, something ducking around a corner
into an ADJACENT TUNNEL --
MAX (CONT'D)
I gotta go.
LOGAN
Max, wait --
(click)
Max?
Max TURNS THE CORNER in the tunnel and sees a Figure up
ahead. Shaggy mane of hair.
MAX
Joshua?
The Figure turns. In the dark, he looks alot like Joshua.
MAX (CONT'D)
What are you doing down here?
The Figure lets out a low growl as she approaches.
MAX (CONT'D)
Hey, what's that for?
She steps closer, eliciting a warning growl -- the Figure
steps toward her, into a SHAFT OF LIGHT.
We see it's not Joshua, but a more canine-exaggerated version of him we'll come to know as ISAAC. Max reacts --
Suddenly from the ADJACENT TUNNEL, a commotion, the sound of
VOICES -- Max tuns to see approaching flashlights...
VOICES
It's getting away!
JOSHUA'S VOICE
Run, Isaac -- run!
(CONTINUED)
PAGE 28 SCENE 19 CONTINUED
Max turns to see that Isaac is now gone. She runs back
the way she came, toward Joshua's voice -- up ahead in the
distance, she sees Joshua being tasered by some COPS --
She bolts forward, but the Cops are already dragging him
toward the stairway leading up to the surface --
CUT TO:
SCENE 20 EXT. STAIRWELL - DAY
Max emerges to see Joshua being trundled into a van by the
Cops. She rushes forward, but the vehicle drives away. Off
Max, powerless to help her friend --
FADE OUT
END OF ACT TWO
PAGE 30 SCENE 21 CONTINUED
MAX
Where they holding him?
Logan works his computer --
LOGAN
Here we go. Looks like they
delivered him to 12th Precinct.
MAX
I've gotta get him out of there.
LOGAN
What about this other one?
MAX
I'll worry about him later --
LOGAN
After he kills someone else?
MAX
Joshua's in trouble. That's all
that matters right now.
And she goes. Off Logan --
(CUT TO)
SCENE 22 INT. 12th PRECINCT - CELL AREA - DAY
Inside a tiny cell, Joshua crouches in the corner. Outisde,
three cops look in at him.
GUN HAPPY COP
We should cap this sack of crap
now.
HISPANIC COP
Yeah, it'll probably walk on the
doggie defense.
GUN HAPPY COP
It's not a dog, you idiot. It's a
werewolf.
HISPANIC COP
I'm an idiot? Where's the full
moon?
GUN HAPPY COP
Full's moon's just a legend. Read a
book sometime.
(CONTINUED)
PAGE 31 SCENE 22 CONTINUED
BLOND COP
You're both idiots. What we got
here is one of those mutants been in
in the papers last few weeks.
Sergeant said the Feds are on their
way to take it off our hands.
GUN HAPPY COP
Whatever it is, thing's been
killing cops. We need to teach it a
lesson.
He opens the cell and the threesome approach, nightsticks
drawn. And they set on Joshua, he snarls and swats at them.
But it's no use. Soon they have him on the ground and are
beating him savagely. Finally --
JOSHUA
(Pained cries)
Stop... stop.
The cops back away as Joshua collapses on the floor.
JOSHUA (CONT'D)
Stop.
BLOND COP
Christ. The damn thing talks.
Off their astonishment --
CUT TO--
SCENE 23 EXT. MARKETPLACE - DAY
Eddy, Tuck, and Bird loiter inside the marketplace. Alec
pulls up on a JP BIKE.
ALEC
'Scuse me, gentlemen. I'm looking
for three butt ugly steelheads who
beat up a friend of mind yesterday.
Think you could help me with that?
EDDY
What's your problem, fag boy?
ALEC
Here's my problem. This friend was
carrying a package that didn't
belong to him. It belonged to me.
You guys stole it and I want it
back.
(CONTINUED)
PAGE 32
SCENE 23 CONTINUED
TUCK
Good luck with that. We sold it.
ALEC
Well that's unfortunate. How much?
EDDY
The hell do you care? We bloody
sold it.
Alec shakes his head and gets off the bike.
ALEC
See, here's the thing. I had a
buyer willing to pay five hundred
dollars for that package. Now he's
upset he didn't get his Andro. I'm
upset I didn't get my cash. And
you guys are upset because... well,
I'm not sure why you're upset but
you seem to be. So, whaddya say
you give me my five hundred bucks
and I leave before anyone gets more
upset than they already are.
EDDY
What's a poofter like you need with
five hundred bucks anyway?
ALEC
(mock British accent)
Actually, I need it for a ride on
your mum.
As the the three punks fan out to surround Alec, his CELL PHONE RINGS.
ALEC (CON'D)
Hang on a sec.
(answers phone)
Hello?
They share a look of disbelief, then lunge at him --
HARD CUT TO:
SCENE 24 INT. LOGAN'S APARTMENT - DAY
Logan on the phone --
LOGAN
Alec, Logan
(CONTINUED)
PAGE 35 SCENE 26 CONTINUED
Off Alec, not scared, more disgusted as Logan starts through
the door...
CUT TO:
SCENE 27 INT. 12TH PRECINCT - HALLWAY - DAY
Max hands the Blond Cop a wad of bills --
BLOND COP
For one picture.
Max holds up a small CAMERA. Smiles
MAX
Monsters one the loose, I think
people have a right to know, don't
you? It's a public service.
BLOND COP
You got a point.
He tucks the envelpe into his uniform by way of agreement.
They move off toward Joshua's cell, down the hallway.
BLOND COP (CONT'D)
So this newspaper you're with...
MAX
World Weekly News.
BLOND COP
Right. You need quotes, whatever,
I mean from the law enforcment
perspective...
But Max is reacting to...
SCENE 28 INT. 12TH PRECINCT -CELL AREA- DAY
Joshua huddled in the cell corner. Max reacts, a moment of
anger she quickly swallows. Hiding it by raising the CAMERA
and FLASH.
MAX
Can I get closer?
BLOND COP
Careful. It's dangerous.
Max walks over to Joshua's cell. FLASH. Joshua stirs now
at the bright strobe.
(CONTINUED)
PAGE 36 SCENE 28 CONTINUED
BLOND COP (CONT'D)
Guess what?
MAX
What?
BLOND COP
You're never going to believe this.
MAX
Try me.
BLOND COP
It talks.
Joshua starts to raise his head blearily toward her.
MAX
(softly, concerned)
Really? What did he say?
Joshua sees her now. Says her name in recognition.
JOSHUA
Max.
Which baffles Blond. Max looks at him and FLASH. Stuns
Blond with the strobe before leaping up with a roundhouse
kick to the side of his head. Blond hits the bars and drops.
Max fishes the keys from his pocket, opens the cell and
enters, helping Joshua to his feet.
MAX
What'd they do to you?
JOSHUA
No harm. Go now.
MAX
Joshua. Who's been killing the
cops?
(off his silence)
I saw him. Who is he?
JOSHUA
Joshua's brother. Isaac.
Max reacts, then signals stop.
(CONTINUED)
PAGE 43 SCENE 44 INT. LAIR - DAY
As Logan and Alec slam their shoulders against the locked
trap door. They're trapped --
ALEC
Great... Just great...
INTERCUT WITH:
SCENE 45 INT. TUNNEL OUTSIDE LAIR - DAY
As Joshua arrives and hears the sound of the two men trapped
inside --
JOSHUA
Isaac!
ALEC
Joshua, open up! He trapped us
inside.
A moment as Joshua hesitates, then turns and heads back the
way he came --
ALEC (CONT'D)
Joshua!
But he's gone...
CUT TO:
SCENE 46 INT. TUNNELS - DAY
Max continues down the tunnel calling...
MAX
Joshua! I know you're down here.
Suddenly a Figure drops in behind her -- It's Isaac.
He whirls on her and attacks, blind-siding her, SLAMMING her
flailing into the tunnel wall.
MAX
falls to the ground, stunned as...
ISAAC
winds up for a strike at her face. WHAM!
(CONTINUED)
PAGE 44
SCENE 46 CONTINUED.
Max rolls out of the way, kicks Isaac's head, then crabs
backward, scrambling, Isaac all over her at...
THE CENTER OF THE TUNNEL
where Max shucks him off for a split second, then leaps up,
somersaulting over Isaac, who catches her with one hand as
she flips, sending her tumbling --
-- she smacks her head, is stunned nearly unconscious. As
Isaac stands over her, about to finish the job, we hear a
mighty ROAR. Isaac turns to see...
JOSHUA
holding a broken pipe, sharp jagged point --
JOSHUA
NO! --
But Isaac's tasted blood, goes for Max. Joshua has no choice
-- lunges for him, impaling him with the pipe.
Isaac drops, uncomprehending... Joshua stands over him, then
collapses into a heap and gathers his dying brother in his
arms...
Max manages to sit up, sees the tragic tableau nearby.
Joshua cradles his dead brother in his arms, rocking
slowly... soft, almost canine sounds of distress and pain
welling up from inside him... Off Max, who can only watch...
CUT TO:
SCENE 47 INT. CRASH - NIGHT
A PITCHER OF BEER in motion, Original Cindy sweeps it along
to Max, sitting quietly at a counter.
ORIGINAL CINDY
Cheer up, you lookin' like someone
died.
Max gives her a look as O.C. pours.
ORIGINAL CINDY (CONT'D)
Shugga, that was not someone. That
was something.
(CONTINUED)
PAGE 45
SCENE 47 CONTINUED
MAX
Not to Joshua.
(then)
He won't talk to me. Except to say
stay away.
ORIGINAL CINDY
He don't mean it.
MAX
Sure sounds like.
ORIGINAL CINDY
People deal the way they deal, boo.
MAX
Only he's not dealing. He's
just... alone.
ORIGINAL CINDY
Then what are you doing here?
Max takes that in, then spots...
ALEC AND SKETCHY
across the room at the pool table. Alec looks up at Max, who
returns his gaze until a BABE approaches ALEC, blocking Max's
view.
MAX
You know, I think I'm out of here.
ACROSS THE ROOM - ALEC AND THE BABE
She's a cyberpunk number named LUX, beautiful with odd
BODY HARDWARE and stainless steel hair EXTENSIONS.
LUX
We have some friends in common.
ALEC
Friends?
LUX
The three guys you went all
primitive on.
He lifts her hand, looks at the NAILS. Which are bright
metal. Not the polish, the actual nails.
(CONTINUED)
PAGE 46
SCENE 47 CONTINUED
ALEC
(re: nails)
Titanium?
She reaches down, taking his hand too as she presses against
him, backing up against the pool table.
ALEC (CONT'D)
Are you vibrating?
She smiles, leans in. ON LUX, caressing the BARCODE on the
back of his neck with her fingers as she WHISPERS in his
ear..
LUX
We know what you are.
Alec looks alarmed a second, then looks up at...
MAX
shakes her head smiling -- what a sleazebag -- as she exits
past. She didn't hear, but she certainly saw enough.
MAX (V.O,)
We're all freaks, I guess.
CUT TO:
SCENE 48 EXT. JOSHUA'S BACKYARD - NIGHT
Joshua fills in the last part of a makeshift grave, pats the
dirt down with his hand.
MAX (VO)
The nomlies, the transgenics, and
especially the so-called normal
people who made this whole mess in
the first place.
Joshua places a small STONE at the head to the grave. Then
sits, wearing the same empty expression he had in the tunnel.
MAX (V.O.) (CONT'D)
But I guess that's the whole thing
about freakiness. If you can find
one other like you it doens't feel
freaky. It feels normal. Just as
long as you're not alone.
Behind Joshua, Max appears in the gate to the small yard.
(CONTINUED)
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