FANDOM


Previous transcript: Next transcript:
Blade II
This transcript isn't tidy!
This page's transcript is incomplete for the following reason(s):
Unfixed/Messed & incorrect actions
Remove this template once any and all issues are resolved.

[Over darkness a woman’s voice speaks to us.]
Abigail: (voice-over) Italo Calvino once said that myth is the hidden part of every story, the buried part, the region that is still unexplored because there are as yet no words to enable us to get there. (beat) But I was there for the end. I took part in it. And I think my words can help shed light on what happened. My name is Abigail. This is our story.

FADE IN:
EXT. IRAQI DESERT - DAWN
[Harsh sunlight beats down over a bleak, unforgiving stretch of rocky desert. Amidst this desolation rise the ruins of an ancient Sumerian ziggurat, a massive stepped pyramid of mud brick that was once the center of the city known as Ur.]

SUPER TITLE: SOUTHEASTERN IRAQ, DHI QAR PROVINCE
6 MONTHS AGO
[An emaciated sheep herder kneels by the ziggurat, tending to a ragged band of sheep. He is conducting the first of his daily prayers, listening to a religious broadcast from Baghdad on a tinny radio.]
[Presently, we hear helicopters. The sheepherder looks up 2 American rah-66 comanche helicopters approach from the east. They touch down near the base of the ziggurat, rotors stirring up clouds of dust. 4 FIGURES disembark, their bodies covered in desert camo-gear. They wear helmets with polarized face-plates and are armed to the teeth. To the sheepherder they might as well be aliens. One of the figures turns to the East. We can see the rising sun reflected in the face-plate of his helmet -- and a hint of a skull-like under-mask/respirator beneath the face-plate. He raises a gloved hand, gives the "finger" to the new day. Another figure (a woman) waves a hand, urging them onward. They mount the central steps of the ziggurat.]

INT. ZIGGURAT - SHRINE - DAY

[The shrine is empty. The woman activates a wearable computing device, calling up a schematic of the ziggurat. She kneels, studying the floor. In the corner of the room she identifies a particular brick and presses it. We hear hidden COUNTER-WEIGHTS shifting and the floor opens up -- -- revealing a stone stairway leading down.]
INT. ZIGGURAT - STAIRWAY - DAY
[Dark. Sepulchral. Spooky. The figures descend into]
INT. ZIGGURAT - BURIAL VAULT - DAY
[an empty room with an earthen floor. The sunlight from above barely penetrates down here. One of the figures takes out a battery--powered lantern, turning it on, illuminating walls covered with CUNEIFORM WRITING. The male figure who flipped off the sun speaks via radio headset.]
Male figure: That’s great. We’ve got dick. (turning to the others) Is there any reason we had to embark on this cluster-fuck during the day?
[The woman removes her helmet. This is Danica Talos. A vampire. Intense, appearing to be in her 30s. Possessing a regal air. She wears a silver crucifix around her neck.]
Danica: Night-time’s too tricky, Grimwood. You know that.
[One by one, the others remove their helmets. All vampires: Grimwood (30s), a hulking vampire with an imposing physique and an even more imposing set of surgical steel teeth/fangs. Asher (4Os), a natural-born leader with easygoing charisma. Wolfe (30s), quiet and deliberative. Right now he’s readying a portable ground-penetrating radar unit. Grimwood studies the writing on the walls.]
Grimwood: What is this chicken-scratch?
Danica: Cuneiform. Dates back about 4 thousand years.
Grimwood: So why here?
Danica: Because this was the cradle of civilization. He would’ve been comfortable here.
Asher: I don’t know, Dan. Seems like another dead-end.
Wolfe: I’m not so sure… [Wolfe looks at his unit, excited. The others gather round.] There’s something beneath us.

ON WOLFE’S RADAR UNIT [We see a cross-section image of the soil and subsurface features beneath them. SOMETHING has been buried down there.]

Asher: Is that a body?

[Wolfe makes a few adjustments on the unit. The image resolves further. It’s definitely a BODY. Then, we hear the low RUMBLING of more hidden counter-weights and --]

           A SLAB OF STONE


           slides down from above the stairs, sealing off the vault.


                               GRIMWOOD
                    What the fuck --?!


           Grimwood pounds his fist against the stone.  It’s solid.  He
           tries to find a hand-hold, tries to shoulder it open in some
           way, but the barrier is unmovable.  They’re trapped.


                               ASHER
                    Radio back-up.  See if they can open it
                    from the other --


                               WOLFE (0.S.)
                    Guys?


           Wolfe points at the ground.  A tiny depression has formed,
           with sand funneling into it.


           Wolfe sets his radar unit down and kneels before the hole. 
           The grains of sand are falling faster now, the depression
           gradually widening.  Curious, Wolfe leans closer --


           A CLAWED, ARMORED HAND


           suddenly EXPLODES upward from the ground.  It latches onto
           Wolfe’s neck.  dragging him down head-first!


           Wolfe THRASHES, his head still buried beneath the sand.  He
           knocks over the lantern, which FLICKERS, shorting out.


           Asher rushes to Wolfe’s side.  Then Grimwood.  They grab Wolfe
           by the shoulders, SCREAMING, trying to pull him back.


           Asher is KICKED by Wolfe’s thrashing legs.  He flies upward,
           hits the ceiling, falls back onto the ground, stunned --


           Danica joins Grimwood.  Abruptly, they wrest Wolfe free --
           headless.  BLOOD erupts from the sand.  Then --


           A HELLISH CREATURE


           unearths itself, ROARING.  It’s difficult to make out in the
           flickering light.  But what we do see is terrifying.  Spiked,
           demonic armor, clutching a sword.  An elongated, helmeted face
           with a blood-splattered set of hinged fangs -- hinting at an
           inhuman physiognomy within.  The hinged jaws open, coming at
           us.  And just as the lantern goes out for good we --


           SUPER TITLE:	BLADE III


                                                                 CUT TO:


           INT. PHOENIX TOWERS - CORRIDOR - NIGHT


           Danica moves down a modern architectural corridor lined in
           glass and steel.  VAMPIRE SOLDIERS stand ready nearby,
           outfitted in body armor, clutching automatic rifles.


           AT THE END OF THE CORRIDOR


           Asher, Grirnwood, and another vampire, HENDRIX are gathered by
           a titanium door outfitted with a biometric security system.


           Danica joins them, studying a VIDEO MONITOR which offers a
           darkened view of the interior of the vault.  We can just make
           out a FIGURE sitting there in the shadows.


                               DANICA
                    What’s he been doing?


                               ASHER
                    Nothing.  Just sitting there since we
                    brought him here.


                               HENDRIX
                         (nervously)
                    Do you think we’ve got enough security?


                               DANICA
                    Hendrix, if he wanted to out of there -
                    there isn’t an army in the world that
                    could keep us safe.  We didn’t capture
                    him.  He allowed us to take him in.  You
                    understand?
                         (nodding to the door)
                    Now open up.


           The others look at her like she’s insane.  Nevertheless,
           Danica places her hand on the biometric scanner.  Hendrix keys
           in a series of commands on a nearby computer console.  The
           vault doors open with a HUM, allowing Danica into --


           AN AIRLOCK-STYLE VESTIBULE


           She steps inside.  The vault closes behind her.  We hear
           BLOWERS as the air is cycled.  A SECOND SET OF DOORS open --


           INT. VAMPIRE SAFE HOUSE - CELL - NIGHT


           Danica steps into a nearly pitch-black "clean room".  We hear
           BREATHING.  Despite her calm demeanor, she’s frightened.


           From the darkness, SOMEONE SPEAKS -- a voice low and rumbling,
           laced with an ominous gravity.


                               VOICE (O.S.)
                    Why have you woken me?


                               DANICA
                    Your people need you, Sire.


           She kneels, bowing her head.


                               VOICE (0.S.)
                         (mocking)
                    "My people".  You think I’m your messiah?
                    Your Savior?


           We hear MOVEMENT.  A pair of RED EYES pierce the gloom -- and
           God help us, even though he remains partially shadowed, this
           guy has to be the scariest mother-fucker we’ve ever seen.


                               VOICE
                    What makes you think I wanted to be
                    brought back?


           A hand emerges from the darkness, armored.  Danica wants to
           bolt.  Instead, she fights to keep herself from flinching as a
           taloned finger brushes her throat.


                               DANICA
                    Times have changed.  Science has made
                    great strides.  Your blood, the sacrament
                    you provide -- it can set us free now.


                               VOICE
                    I see.  And the one I killed earlier?  He
                    was vampire?
                         (off her nod)
                    You must forgive me.  It had been
                    centuries since I last fed.


                               DANICA
                    I understand.


                               VOICE
                    Then offer yourself to me, child --
                         (lifting her chin)
                    -- and let me quench my thirst again.


           INT. VAMPIRE SAFE HOUSE - CORRIDOR - NIGHT


           WHOOSH!  The vault doors open and Danica stumbles out, all but
           falling into Asher’s arms.  She’s bone-white and there are
           fresh BITE MARKS on her throat, BLOOD staining her shirt.


                               ASKER
                    Danica!  Are you alright --?!


           She nods, shaking, struggling to recompose herself.


                               DANICA
                    Let him out -- he wants to see what’s
                    become of his world.


                                                                 CUT TO:


           A VIDEO MONITOR


           LARRY KING launching into the intro of his show.


                               LARRY
                    Tonight, Dr. Edgar Vance, forensic
                    psychiatrist and author of the New York
                    Times best seller "Human Health: The Whole
                    Being Breakthrough".  Also with us is
                    Martin Vreede, Chief of Police.  They’re
                    here for an hour and they’ll take your
                    calls.  Next on Larry King Live.


           INT. LARRY KING LIVE - STUDIO - NIGHT


           Taping is underway.  Larry King sits at his desk opposite
           EDGAR VANCE (40s), a smooth-talking pundit with a magnetic
           demeanor and movie star good looks.  CHIEF MARTIN VREEDE (50s,
           square-jawed), joins via remote feed.


                               LARRY
                    Dr. Vance -- you’re a psychiatrist and a
                    biochemist, isn’t that right?


                               VANCE
                    Yes.  I’ve long believed that in order to
                    achieve true health, we have to reconcile
                    the body and the mind.  Of course that
                    also requires letting go of a lot of our
                    old notions and superstitions, which is
                    what my work is all about.


                               LARRY
                    Let’s talk about that.  How do you account
                    for the fascination with things that go
                    bump in the night?  Movies, books,
                    videogames -- seems like we can’t get
                    enough of our boogeymen?


           Vance leans forward, skillfully playing to the cameras.


                               VANCE
                    Monsters provide a means for us to
                    transfer our more primal and darker urges
                    into something external.  In the case of
                    vampires, you’re dealing with taboo issues
                    like predatory rage and sexual sadism. 
                    These are scary subjects for people to own
                    up to.


                               LARRY
                    So we pass the buck to someone else?


                               VANCE
                    Exactly.  Historically, people suffering
                    from medical conditions have always been
                    our psychological scapegoats.  In the
                    Middle Ages schizophrenia was often
                    attributed to demonic possession.


                               LARRY
                    And vampires?


                               VANCE
                    Well, there’s a hereditary blood disease
                    known as porphyria that has symptoms
                    remarkably similar to the classic vampiric
                    traits.  People suffering from this
                    disease are anemic, they become sensitive
                    to sunlight, they can’t tolerate garlic --


                               LARRY
                    Which is too bad, since my doctor tells me
                    that’s good for the heart.
                         (turning to Chief Vreede)
                    Chief Vreede?  What’s your take on all the
                    recent rumors we’ve been hearing about
                    vampires?


                               VREEDE
                    The only vampires I’m worried about are
                    the ones passing the bar exam.
                         (laughing)
                    Seriously, if vampires existed, don’t you
                    think we’d be on to them by now?  The
                    truth is, our streets have never been
                    safer.  Homicides, assaults -- violent
                    crime is down across the board.  If people
                    want to be concerned, they should focus on
                    criminals like Blade.


                               LARRY
                    Now who’s this?  Tell me about him.


                               VREEDE
                    He’s a sociopath we’ve been pursuing.


                               VANCE
                    Blade is a very disturbed individual. 
                    Even the name he’s chosen for himself is
                    troubling.  According to witnesses, he
                    operates under the belief that a vast
                    conspiracy of vampires live amongst us. 
                    You have to look at the psychiatric
                    underpinnings here.  What does a person
                    like Blade really want? 
                    Odds are, he’s really trying to work out
                    some kind of inner trauma.  He thinks he’s
                    slaying monsters, but he’s really trying
                    to murder aspects of himself.


           The sound of GUNFIRE pre-laps over from the next scene as we --


                                                                 CUT TO:


           EXT. MACHINE SHOP/PARKING LOT - NIGHT


           -- a MASSIVE EXPLOSION ripping through an industrial building. 
           Banks of windows BLOW OUTWARDS, FIRE ROlLS, brick walls
           CRUMBLE, raining debris everywhere.


           A SCREAMING, BURNING MAN


           goes tumbling into the night air.  Buoyed by the explosion,
           his body flies upward, trailing fire like a human comet.


           MORE MEN (VAMPIRES) race out, some of them on fire.


           CLOSER


           as a FORMIDABLE FIGURE resolves out of the swirling flames. 
           It’s Blade, striding towards us in slow-motion, body bristling
           with weapons, the exaggerated sounds of his FOOTFALLS ringing
           out like drums of doom.


           He looks like the God of War.  WHOOSH!  We ramp back up to
           real-time.  Then faster as --


           -- a TRIO OF VAMPIRE LOW-LIFES (STONE, GEDGE, and CAMPBELL)
           run for their lives towards their vehicles.  TWO MODIFIED
           STREET RACING CARS are pulling out; a Mustang and an Eagle
           Talon.  Gedge is climbing into the Talon even as it starts to
           move, pulling the door shut.  At the same time --


           -- Stone and Campbell climb atop two stretched and lowered
           hardtail chopper cycles.  Blade starts forward, drawing two of
           his custom MACH pistols, but --


           --	the Mustang comes SCREAMING IN REVERSE TOWARDS him!


           Blade makes a SUPER-HUMAN LEAP over the speeding car. 
           Momentarily upside down, he FIRES through the windshield and
           engine block as he flips.  Within the car, the vampires ASH.
           The Mustang EXPLODES.  flipping over and --


           --	Blade, now facing frontward again, continues to FIRE as he
           lands, aiming at --


           THE TALON AND THE CHOPPERS,


           which haul ass out of the parking lot, swerving into the
           traffic on the street beyond.


           Blade KEEPS FIRING until he’s out of bullets.  Then --


                               ELLINGSON (O.S.)
                    No more bullets, Blade?  Guess it’s time
                    for you to fall down and go boom.


           FOUR STRANDED VAMPIRES,


           from the conflagration, their clothes still smoking, surround
           Blade.  Call them EMOND, DOH, DENLINGER, and ELLINGSON.


           Blade holsters his MACH pistols.  Then reaches for a wicked
           looking CHAIN-KNIFE strapped to his thigh.  The knife has a
           button on either side of the hilt.  As Ellingson RUSHES him --


           -- Blade triggers the first button.  ZZZING!  The knife-blade
           ejects from the hilt, trailing outward six feet on a razored
           chain.  The blade penetrates Ellingson’s chest.  He GASPS as
           he starts to ASH.  But before his disintegration is complete --


           -- Blade hits the second button.  The knife-blade retracts,
           the razored chain WHIRRING back into the knife-hilt.  Blade
           SPINS, triggers the first button again --


           The knife-blade FLIES OUT, the razored chain whipping around
           Denlinger’s throat.  Blade tugs.  The razor chain cuts through
           Denlinoer’s neck, decapitates him. As he ASHES --


           -- Blade triggers the knife again.  As it ejects, he whirls it
           over his head, making a sound like a BULL-ROARER.


           Blade drops low, swinging the razored chain.  The chain slices
           through Emond’s legs.  Emond’s amputated legs ASH, the rest of
           him tumbling onto the asphalt.  He SCREAMS.


           Blade retracts the knife-blade, whirls, THRUSTS it through
           Doh’s abdomen. who was coming up from behind.  As Doh ASHES,
           Blade returns to Emond, finishing him off --


           -- and Blade is on the move again, RUSHING after the vampires
           who escaped.


           EXT. STREET - OVERPASS - NIGHT


           The bike-riding vamps cut across traffic, then SCREAM down an
           on-ramp to a busy street below.


           BACK TO BLADE,


           sprinting from the parking lot to the sidewalk.  He touches a
           hand to his ear.  We SEE a tiny receiver tucked within.


                               BLADE
                    Whistler!  I’m on the Stonebridge
                    overpass at Clemons --


                               WHISTLER’S VOICE
                    Got it!  Heading eastbound, I’m just
                    beneath you --


           Blade dodges past a HONKING car, stepping onto and over the
           trunk, then leaps atop the safety rail of the overpass as --


           A BIG-RIG CAB


           hauling a semi-trailer THUNDERS beneath the overpass, sounding
           its AIR HORN.  It has safety cables running along the
           perimeter of the trailer roof, like an aircraft carrier.


                               WHISTLER’S VOICE
                    -- GO!!!


           EXT. BUSY STREET - NIGHT


           Blade LAUNCHES HIMSELF into the air.  He lands atop the semi,
           then tumbles, nearly slipping off the edge as he --


           -- snags one of the safety cables atop the trailer!  He
           dangles above the asphalt then SWINGS himself into the open
           back of the trailer.  We HOLD for a beat, then hear the
           THUNDERCLAP of a high-performance ENGINE turning over as --


           BLADE’S MATTE-BLACK DODGE CHARGER


           ROCKETS out of the back of the trailer, sailing right over a
           car that was tail-gating the semi, heading into three lanes of
           on-coming traffic at fifty miles an hour!


           Blade hits the brakes, sending the battle-scarred muscle car
           into a spin, clipping other vehicles in the process.


           INT. BLADE’S CHARGER - NIGHT


           As cars continue to brake and COLLIDE around him, Blade puts
           the pedal to the metal once again.  The Charger accelerates,
           tachometer red-lining as Blade pulls alongside the cab of the
           big-rig, catching a glimpse of --


           WHISTLER BEHIND THE WHEEL


           Whistler grins, gives Blade a little salute and --


           --	Blade reaches between the seats, ACTIVATING the newly
           installed nitrous oxide fuel-injection system.


           EXT. BUSY STREET - NIGHT


           Hyper-speed.  The Charger jets forward as the NOS nitrous
           system boosts the car’s speed by another 300 HP, leaving any
           and everything in its dust.  In seconds, it has caught up to --


           STONE AND CAMPBELL


           They draw TEC-9s, FIRING back at Blade.  The bullet-proof
           windshield holds as do the kevlar body panels protecting the
           engine -- but the rounds chew the shit out of the bodywork.


           INT. BLADE’S CHARGER - NIGHT


           Blade gives his car another jolt of nitrous.  The Charger
           SURGES FORWARD as Stone and Campbell fall back, veering to
           either side.  Now Blade is ahead of them.  He checks their
           position in his rear-view mirror, then stands on the brakes --


           EXT. BUSY STREET - NIGHT


           The Charger drops from a hundred to fifty in a heart beat,
           causing Stone and Campbell to rear-end Blade.


           The vamps are ejected over the handle bars of their bikes like
           crash-test dummies.  Stone SMASHES through Blade’s back
           windshield, continuing into the front seat--


           -- while Campbell tumbles over Blade’s roof and across his
           hood, somehow managing to cling to one of the windshield
           wipers at the last minute.


           INT. BLADE’S CHARGER - NIGHT


           Blade clutches the wheel.  He’s got a HOWLING vampire in the
           front seat, upside down, covered in windshield fragments and
           another perched on his hood, obscuring his vision.


           Stone tries to right himself, clawing at Blade.  Blade
           struggles, keeping one hand on the wheel while he --


           --	reaches for a shotgun secured between the seats.  He
           FIRES.  As the vampire ASHES, Blade hits a button on the dash. 
           The passenger door opens, spills Stone onto the road --


           EXT. BUSY STREET - NIGHT


           -- right into the path of an oncoming bus!  WHAM!  Stone is
           ground to paste and --


           INT. TOUR BUS - NIGHT


           TOURISTS, mostly elderly.  The passengers are jolted in their
           seats as the wheels of the bus KA-THUMP over Stone’s remains --


                               OLD WOMAN
                    I hope that wasn’t a dog.


           INT. BLADE’S CHARGER - NIGHT


           -- and we’re back in Blade’s Charger as Campbell continues to
           HAMMER away at the windshield.  The windshield spiderwebs. 
           Campbell manages to get a clawed hand through --


           Blade swings his shotgun over, shoving it in Campbell’s
           snarling mouth.  He pulls the trigger --


           BOOM!  Campbell’s CINDER-REMAINS blow over the cracked
           windshield.  Blade hits the wipers, spritzes window cleaner -
           but the mess turns to ashen sludge.  making the view worse!


           EXT. BUSY STREET - NIGHT


           The Talor is up ahead, weaving in and out of traffic. 
           Fighting to see, Blade accelerates, gaining ground --


           The VAMPIRE DRIVER leans out of his own wihdow, looking back
           at Blade, FIRING an AUTOMATIC PISTOL --


           INT. BLADE’S CHARGER - NIGHT


           Blade’s windshield, already weakened by Campbell, SHATTERS,
           blowing glass fragments all over him.  Undaunted, Blade calmly
           reaches for his dash, hitting a button labeled "UV".


           EXT. BUSY STREET/BLADE’S CHARGER - NIGHT


           Roof-mounted UV DAYLIGHTS come on, bathing the car ahead and


           (more importantly) the vampire driver with UV LIGHT!


           The vampire at the wheel SHRIEKS, ASHES, leaving the car


           driverless.  Gedge tries to lean over and take the wheel --


           INT. BLADE’S CHARGER - NIGHT


           BURNING REMAINS blow back at us.  Then the view clears and --


           EXT. BUSY STREET - NIGHT


           --	Blade SLAMS his charger into the Talon.  The cars briefly
           lock, grinding SPARKS.  Then they disengage.  Blade jerks his
           steering wheel, gives the Talon ANOTHER SLAM.


           The Talon hits the curb, riding halfway up onto a sidewalk,
           PLOWING DOWN newspaper vending machines and table-top displays
           piled with cheap wares, then a phone booth, a food cart. 
           PEDESTRIANS duck for cover and --


           -- the Talon gets some serious air, ROLLING onto its side as
           it comes back to earth.


           EXT. INTERSECTION - NIGHT


           --WK-KRUNCH-- the wreck skids to a stop against a streetlight.
           The streetlight CREAKS, CRASHES DOWN on the wreck.  BYSTANDERS
           gather, murmuring amongst themselves --


           Gedge drags his bleeding body from the wrecked Talon.  He
           staggers to his feet, clutching a pistol, limps away --


           BLADE’S CHARGER


           pulls up.  Blade climbs out, shotgun in hand.  The shotgun has
           an under-mounted stake launcher.  Blade FIRES at --


           -- Gedge.  The stake hits him in the back.  KNOCKING him onto
           the street.  Bystanders SCREAM, falling back, taking cover --


           Blade approaches, puzzled.  Gedge is still alive, LAUGHING. 
           He looks at Blade, eyes crazed, flashing his fangs.


                               BLADE
                    Staked you with silver.  Why aren’t you
                    ash?


           Gedge coughs blood, struggles to speak:


                               GEDGE
                    Why aren’t you smarter?  Not a vampire,
                    dumbshit -- set your sorry ass up --


           Gedge tugs at his fangs.  They’re fake, PROSTHETIC.  Gedge is
           looking past Blade.  Blade turns, looking up --


           A ROOFTOP ABOVE


           Danica is perched there.  She backs into the shadows.  But
           Blade doesn’t have time to investigate because --


           --	POLICE SIRENS are drawing near.  Blade retreats to his
           charger.  He GUNS it, speeding away as we --


           CUT TO:


           EXT. BLADE AND WHISTLER’S REFUGE - BOAT HOUSE - NIGHT


           Blade’s Charger pulls up to a boat house at the water’s edge. 
           Blade climbs out, disappears inside.


                               WHISTLER (O.S.)
                    What the fuck happened tonight?


           INT. BLADE AND WHISTLER’S REFUGE - BOAT HOUSE - NIGHT


           New digs.  Built into the decaying boat house, retrofitted for
           Blade’s combat needs.  Blade is taking off his body armor,
           tossing weapons onto a work table.  He’s frustrated.


                               BLADE
                    How should I know?  He was human.


           Whistler reaches for a bottle of whiskey, takes a sip.


                               WHISTLER
                    You’ve been getting careless, Blade.  You
                    kill a vampire, they ash, don’t leave any
                    proof of their existence.  But something
                    like this, a human corpse, it’s messy --
                         (shaking his head)
                    -- you better hope nobody IDed you.


           CUT TO:


           INT. PHOENIX TOWERS - DANICA’S QUARTERS - NIGHT


           CLOSE ON a digital video tape being slipped into a player. 
           PULL BACK to reveal Danica sitting before a monitor.


           ON THE MONITOR WE SEE


           Footage of Blade confronting Gedge, filmed from a high-angle. 
           Danica smiles and we --


           CUT TO:


           EXT. FBI REGIONAL HEADQUARTERS - DAY


           Establishing.


           SUPER TITLE: FBI REGIONAL HEADQUARTERS


                               WOMAN’S VOICE
                    It was horrible.  The one car crashed, and
                    then the guy in the coat was shooting the
                    other guy --


           INT. FBI REGIONAL HEADQUARTERS - OFFICE - DAY


           CLOSE ON a TV screen.  We are watching a news feed.  A
           REPORTER interviews a WOMAN at the intersection where Blade
           executed Gedge.  Now the reporter turns to the camera.


                               REPORTER
                         (on-screen)
                    That was just a taste of the mayhem that
                    occurred during tonight’s brazen shoot-out
                    that left at least four people dead.  Now
                    apparently an anonymous citizen captured
                    the whole event on video --


           The IMAGE FREEZES.  We hear the clatter of KEYBOARD KEYS as we
           pan over to an adjacent computer monitor where a series of
           VIDEO CAPTURES of the event flash by us in slide-show mode.


           AGENT RAY CUMBLERLAND studies the screen.  Ray is a career
           agent.  Dedicated and dogged to the point of annoyance,
           utterly humorless.  His office is cramped and institutional,
           devoid of any personal touches.  It’s also overflowing with
           files, photographs, and charts concerning Blade and Whistler.


           A BULLETIN BOARD


           features numerous surveillance photos of Blade and Whistler in
           action, along with various news clippings and two WANTED
           POSTERS ("UNLAWFUL FLIGHT TO AVOID PROSECUTION - MURDER,
           AGGRAVATED KIDNAPPING, ARMED VIOLENCE").  Most of the photos
           are blurry and indistinct -- akin to snaps taken of Bigfoot.


                               HALE (O.S.)
                    Ray!  Heard we’ve got a lead!


           WILSON HALE (20s), Ray’s subordinate, rushes in, excited.  Ray
           stands, ripping down a photo of Blade and Whistler.


                               CUMBERLAND
                    Book us a flight, Hale.  Time to take
                    these cowboys down.


           CUT TO:


                               WHISTLER (0.S.)
                    Pack of Reds and some matches.


           CUT TO:


           INT. CONVENIENCE STORE - DAY


           Whistler is buying a pack of cigarettes when he notices	--


           A BLACK AND WHITE TABLOID


           on display nearby.  The cover story features a BLURRY PHOTO of
           Blade’s recent melee with the vampires.


           Whistler picks up the tabloid, studying it.  Next to the photo
           is an ARTIST’S SKETCH OF BLADE.  The headline reads: "GUN
           TOTING PSYCHOPATH CAPTURED ON FILM!"


           Whistler nods to the CASHIER, hands over some more cash.


                               WHISTLER
                    I’ll take this too.


           EXT. CONVENIENCE STORE - DAY


           Whistler exits the store, perusing the tabloid as he walks. 
           We hear the WHIR of a camera’s HIGH-SPEED MOTOR DRIVE and --


           A SERIES OF DIGITAL SHOTS


           capture Whistler as he moves down the sidewalk.


           ANGLE ON AN FBI AGENT


           perched on a nearby roof, taking surveillance photos.


                               FBI AGENT
                    Subject is heading West.


           WHIP-PAN to a parked CAR, Cumberland and Hale seated within.


                               CUMBERLAND
                    Got him.


           Cumberland starts the car, starts following Whistler.


                               WHISTLER (0.S.)
                    Congratulations.  You’re famous.  Just
                    what we needed.


           INT. BLADE’S REFUGE - BOAT HOUSE - DAY


           CLOSE ON the tabloid as Whistler slaps it down on a workbench. 
           WIDEN to include Whistler and Blade.


                               WHISTLER
                    Somebody screwed us.  Your face is all
                    over the papers, the television.  Media’s
                    eating it up.


                               BLADE
                    Like I care?


                               WHISTLER
                    You should.  Something like this --
                         (gesturing to the tabloid)
                    -- taking out a human, even one working
                    for the vampires -- far as the rest of the
                    world’s concerned, you’re public enemy
                    number one.


                               BLADE
                    Didn’t realize this was a popularity
                    contest.


           Whistler shakes his head, frustrated.


                               WHISTLER
                    Damnit, Blade, don’t you see what’s
                    happening?!  The fuckers are finally
                    getting smart.  They’re waging a goddamn
                    PR campaign.  Now it’s not just vampires
                    we have to worry about, we’re gonna have
                    to take on the rest of the world too.
                         (beat, adamant)
                    They’ve got us on the run.  These last few
                    months we’ve barely been staying ahead of
                    the curve.


                               BLADE
                    You worry too much, old man.


                               WHISTLER
                    I’ve been doing this since before you were
                    born, Blade.  The moment you stop
                    worrying, you’re dead.


           Then Whistler’s face softens for a moment.


                               WHISTLER
                    Since the day I found you, you’ve been
                    like a son to me.  I taught you everything
                    I know.
                         (beat)
                    But I’m tired.  You understand?
            EXT. INNER CITY STREET - NIGHT


           It’s rush hour and the streets are choked with traffic. 
           PEOPLE mill past on the crowded sidewalk.


           We move from face to face, capturing brief portraits of
           working-class desperation -- an OVERWEIGHT GUY, a PAIR OF
           HOMELESS TEENAGERS, an ASIAN VENDOR, a STREETWALKER.


                               VOICE (O.S)
                    How about that one?


                               SECOND VOICE (O.S.)
                    No fatties.  They taste like Cheetos.


                               THIRD VOICE (O.S.)
                    What about that shrunken apple-head
                    beeyatch-a-saurus over there?


                               VOICE (O.S.)
                    Fucking blow me, man!


           We hear LAUGHTER and we WHIP-PAN over to a grimy office
           building, ZIPPING UP the face of it to --


           A ROOFTOP PARKING STRUCTURE


           A SKATE-PUNK (SQUID) gets some air, flipping his board up into
           a nice Ollie backside grab, then scoots over to --


           -- THREE MORE PUNKS perched on a concrete ledge, watching the
           people below them.  They are: PROOF, FLICK and DINGO.  All in
           their teens, sporting copious piercings and tattoos.  Flick
           wears a ratty T-shirt from "The Lost Boys" movie.


                               DINGO
                    C’mon, just pick one.


                               PROOF
                    Once you buy a prize, it’s yours and
                    yours to keep.


           They keep looking.  Then, Flick suddenly points, excited --


                               FLICK
                    Got it, got it!  Baby on board!


           ANGLE ON A MOUSY WOMAN (ABIGAIL)


           moving below, her figure camouflaged beneath layers of
           clothing.  She’s in her 20s, lugging a NEWBORN in a BabyBjorn
           carrier that’s strapped to her chest, clutching a bag of
           groceries in either hand.  She looks a little haggard.


           As we watch, she reaches an elevated rail station entrance.


           BACK TO THE SKATE-PUNKS


           Dingo nods and smiles approvingly.


                               DINGO
                    Looks like we got ourselves a combo meal.


           EXT. ELEVATED RAIL STATION - VARIOUS - NIGHT


           A series of shots as Abigail makes her way into the station,


           passing a few other PEOPLE here and there.


           INT. ELEVATED RAIL PLATFORM - NIGHT


           A depressing, dimly lit, partially open-air station.  Abigail
           moves out onto the platform, which is now deserted.  She
           glances around, a bit nervous, and finally sits on a bench.


           Beat.  Just the wind MOANING in the tunnels, across the
           platform.  Then we hear a RUSTLING SOUND --


           Abigail looks right, sees nothing.  We hear ANOTHER SOUND,
           this time from the left --


           Abigail looks up, briefly glimpsing a FIGURE ducking behind a
           concrete pillar.


           Unnerved, she stands, moving a protective hand over her baby. 
           She backs up a few steps, trying to look around the pillar --


           -- but no one is there.  Then a SHADOW MOVES behind her.  She
           SENSES it, spinning --


           -- but again, she seems to be alone.  Thoroughly frightened
           now, Abigail scoops up her grocery bags, turns to exit and --


           -- slams right into Dingo and Proof!  She GASPS.


                               DINGO
                    Hey, pretty lady.


                               PROOF
                    Sophisticated mama.


           Dingo and Proof reveal their fangs.  Abigail SCREAMS, runs --


           -- right into the arms of Flick and Squid!  They grab her,
           RIPPING the BabyBjorn carrier from her chest, SHOVING her back
           at Dingo and Proof.


           In seconds, Dingo and Proof have Abigail on the floor. 
           They’re tearing away at her clothing, LAUGHING.


                               DINGO
                    Scream if this hurts, chica!


           ON FLICK,


           removing the BABY from its carrier.  He holds the baby up -
           only it’s not a baby.  It’s a DOLL with the words "FUCK YOU!"
           written on its chest.  Flick is briefly confused --


           -- and then the baby doll EXPLODES, covering Flick’s face with
           a cloud of GARLIC GAS!


           Flick recoils, retching, wiping at his burning face --


                               FLICK
                    --aghhk -- it’s fucking garlic!


           ON DINGO AND PROOF,


           looking back, alarmed.  Then Abigail pulls her knee to her
           chest.  A SILVER SPIKE springs out from the toe of her boot.


           She KICKS UP, imbedding the spike up through the underside of
           Proof’s chin.  Proof ASHES.


           Before Dingo has a chance to act, Abigail gets him in a
           leglock, FLIPPING him back onto his ass.


           ABIGAIL


           jumps to her feet, shedding her coat and hat.  Long tresses of
           hair spill around her shoulders.  She’s not mousy at all.  In
           fact, she’s beautiful.  And cut like an Olympic athlete.  And
           equipped with a walking arsenal of weapons.


           Dingo SNARLS -- CRUNCH!  Abigail plants her heel in his face,
           SMASHING IN his nose.  She does a cartwheel, KICKS him again.
           Follows that with flurry of PUNCHES.  He goes down as --


           -- Flick and Squid come charging!  Squid gets her in a CHOKE
           HOLD.  She FLIPS him over her shoulder, KICKING him in the
           nuts as he lands.  He curls up, GROANING --


           Abigail turns back to Flick, ELBOWING him in the throat --


           -- then returns to Squid, ejecting a SILVER THROWING KNIFE
           from a spring-loaded, automated dispenser strapped to her
           wrist.  She POPs the knife through Squid’s chest.  He ASHES --


           FOLLOWING ABIGAIL


           as she reaches behind her, removing a CRESCENT-SHAPED DEVICE
           secured to her back.  She holds the crescent in the center,
           the curve pointing away from her, gives it a twist and --


           CHINKT!  The device extends from either end, telescoping
           outward into a three-foot long metal arc.  Connecting the two
           ends of the arc is a powerful, BUZZING UV LASER.


           Abigail LASHES OUT, lopping off Flick’s arm.  His arm falls,
           ASHING.  Abigail swings the arc around, pushing it forward
           through Flick’s mid-section like a cheese cutter --


           Flick literally falls apart, his upper torso sliding from his
           trunk, ASHING in the foreground, his burning particles falling
           away to reveal Abigail in the background --


           Dingo scrambles to his feet, running for his life.


           Abigail gives her UV arc a twist.  It retracts.  She secures
           it behind her back once again, unholsters a strange-looking
           "bloop" GUN with a large barrel.  She FIRES --


           A rapidly-expanding spherule of ANTI-PERSONNEL FOAM splatters
           against Dingo’s legs, hardening instantly, tripping him up --


           Dingo goes down again.  He panics, trying to scrape the gunk
           off his legs, manages to get one of his hands stuck to the
           hardening mess in the process -- like a mouse in a glue-trap.


           Abigail calmly approaches.  She stands over Dingo, staring
           down at him with a look of cruel indifference.  She holsters
           her bloop gun, withdraws another SILVER STAKE --


                               ABIGAIL
                    Scream if this hurts, chica.


           -- and SLAMS the stake into his chest.


           WIDEN OUT


           Abigail turns, surveying her work.  The ashen remains of the
           vampires are popping and crackling like campfire embers.  In
           thirty-seven seconds she’s managed to eliminate them all.


           A train approaches, pulls into the station.  PASSENGERS
           disembark, flood the platform.  They tramp all over the ashes
           of the vampires, completely unaware of the recent slaughter.


           Abigail walks against the stream of traffic, boards the train. 
           She is the sole passenger as the train pulls away.


           INT. BLADE’S REFUGE - WHISTLER’S ROOM - NIGHT


           Whistler sits on a cot, contemplating the tarnished wedding
           ring on his hand.  He slowly spins it around his finger.


           INT. BLADE’S REFUGE - BLADE’S ROOM - NIGHT


           Blade sits before a small Buddhist shrine, meditating. 
           Incense burns.  His sword rests in a ceremonial holder.  Near
           silence punctuated by the intermittent ocean swell outside.


           CLOSE ON BLADE’S FACE


           We hear the SOUNDS OF VIOLENCE -- ECHOING SCREAMS, GUNSHOTS. 
           These are Blade’s thoughts.  The inner demons he is constantly
           trying to tame.  The sounds CRESCENDO and --


           --	Blade opens his eyes.  He listens.  Something is wrong.


           INT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           Blade creeps into the outer room, sword drawn.


           NOISE behind him, turns to see --


           WHISTLER


           standing in the shadows, clutching a handgun.


                               WHISTLER
                    What is it?


                               BLADE
                    What you’ve been worrying about.


           They listen.  Just the sound of the ocean swell.  Then --


           A WINDOW SHATTERS


           TWO ARMORED SWAT AGENTS lower in on rappelling lines.


           TWO MORE AGENTS


           CRASH through a bank of windows on either side, swinging in. 
           They FIRE cannisters of TEAR GAS.  As Blade moves to engage
           them, Whistler RUSHES into the heart of the armory --


           A reinforced door EXPLODES inward.  MORE AGENTS storm inside.


           FROM THE WATER,


           a military Zodiac (inflatable boat) roars up one of the wooden
           boat ramps, laden with gun-toting AGENTS.  They jump out,
           fanning all over the boat house.


           He hears a


                               AGENT
                    On the floor!  ON THE FLOOR!


           Whistler FIRES at them, then makes a run for it.  The agents
           RETURN FIRE, but Whistler ducks behind a concrete pillar --


           EXT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           Cop cruisers, unmarked cars, and SWAT trucks sweep in, SIRENS
           blaring, disgorging a small army of POLICE and FBI AGENTS.
           POLICE BOATS are pulling up to the dock.


           AGENTS CUMBERLAND AND HALE


           emerge from an unmarked, wearing bullet-proof vests,
           brandishing firearms.  Cumberland barks orders into a radio.


                               CUMBERLAND
                    Lock it down!  Keep them contained!


           On the rooftops above, various SWAT SNIPERS take position.


           INT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           Blade BRAWLS with a half-dozen agents, sending them flying in
           all directions.  He grabs one agent, HEAD-BUTTS him, THROWS
           him into the path of two others --


           Then he reaches for another, THROWING him THROUGH a window at
           the rear, out into the river which runs below --


           ON WHISTLER


           as he moves with increased urgency.  The armory is filling up
           with tear gas.  Coughing and half-blind, he hurries to a bank
           of computers, types in a series of commands --


           THE VARIOUS COMPUTER MONITORS


           around him synch up, showing the same protocol message:


                           Data protection routine enabled


                         --	Server 1 protection enabled...


                         --	Server 2 protection enabled...


           In response, a rack of network storage equipment and removable
           hard drives EXPLODES.  Then a second rack of equipment
           EXPLODES as well.


           EXT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           From their vantage point below, Cumberland and the others can
           hear the explosions. Cumberland is on his radio, SHOUTING:


                               CUMBERLAN D
                    What’s going on in there?


                               AGENT’S VOICE
                         (over radio)
                    Some kind of self-destruct program!
                    They’re fragging their hard drives!


           INT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           Whistler keeps moving.  An agent gets a clear shot at him,
           FIRES -- Whistler is hit in the chest.


           Blade SEES Whistler take the hit, but he’s cut off from the
           old man, being swarmed by agents --


                               BLADE
                    WHISTLER!


           Whistler staggers, keeps moving.  He makes it to another bank
           of computers, launches the same protocol.


           ON MORE MONITORS


           Erasing information, purging themselves.  We see commands:


                        --	Workstation 1 protection enabled


                        --	Workstation 2 protection enabled


           With each successive command, the workstations themselves
           begin self-destructing, EXPLODING one after another.


           Another agent gets a bead on Whistler, FIRING a round into
           Whistler’s thigh.  Whistler SCREAMS --


           ON BLADE,


           in anguish as he sees his mentor being slaughtered.  Then two
           agents are RUSHING HIM, tackling Blade.  As one they fall
           backwards, into another bank of windows --


           EXT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           CRASH!  The three of them come FLYING DOWN in a spray of
           glass, landing atop one of the police cruisers below.  The
           roof buckles under their weight, windows SHATTERING --


                               CUMBERLAND
                    Take him down!


           An FBI AGENT raises a CODA net gun atop his shoulder, taking
           aim.  BA-BANG!  Four projectiles expand out from the barrel,
           carrying a STEEL NET which has been strung between them.


           The netting hits Blade, wrapping around him, restricting his
           movements.  Immediately, a small army of agents DIVE on top of
           him, PUMMELING AWAY, trying to beat him into submission --


           INT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           On the verge of losing consciousness, Whistler props himself
           against a piece of machinery.  He’s bleeding, been shot to
           hell.  One of his hands is closed, clutching something.


           Agents warily close in around him, guns raised.


                               AGENT
                    Move a finger and you’re dead.


                               WHISTLER
                         (flipping them off)
                    How ‘bout this one?


           Whistler lets his other hand uncurl. He’s got a REMOTE in his
           palm, with a tiny digital timer counting-down.


                               AGENT #2
                    He’s got something in his--


           00:03.  00:02.  00:01.  The timer reaches zero.


           A SERIES OF EXPLOSIONS


           rock the workshop, knocking the agents back.


           EXT. BLADE’S REFUGE - BOAT HOUSE - NIGHT


           CLOUDS OF FIRE and FLAMING DEBRIS MUSHROOM OUTWARD, catching
           all unawares, sweeping them up off their feet with a hurricane
           force.  In the midst of the conflagration --


           -- Blade briefly manages to tear free of his captors --


                               BLADE
                    WHISTLER!!!


           -- but the wall of FIRE and LIGHT is rushing onward, sweeping
           up everything in its path, turning the world to white.


           INT. POLICE STATION - INTERROGATION ROOM - NIGHT


           FADE IN.  We are CLOSE ON Blade’s perspiration-beaded face.
           His eyelids flutter as he slowly regains consciousness.


                               CUMBERLAND (O.S.)
                    Rise and shine, sleepyhead.


           PULL BACK.  We are in a room with a one-way mirrored window. 
           Blade sits, hands cuffed behind him, BRIGHT LIGHTS shining
           down on him.  He looks disoriented, battered.  Very weak.


           Cumberland and Hale are sitting across from Blade.


                               BLADE
                    Who --?


                               CUMBERLAND
                    Special Agents Ray Cumberland and Wilson
                    Hale, FBI.  We’ve been tracking you for a
                    long time.


                               BLADE
                    Whistler --


                               HALE
                    Dead.  Just like all of your victims.


           Blade shuts his eyes -- as if he could just wish them away.


                               CUMBERLAND
                    How many people have you killed?  Thirty?
                    Forty?  A hundred?


                               BLADE
                    Those were familiars -- people who worked
                    for them --


                               CUMBERLAND
                    And by "them" you mean vampires, right?
                    I suppose next you’ll be telling us that
                    Bigfoot’s in on the conspiracy too? So
                    what kills these bloodsu~kers, tough guy? 
                    Maybe you can give us some pointers.
                         (counting on his ringers)
                    You can stake ‘em, right?  Then there’s
                    sunlight -- what about crosses, Wilson? 
                    Do those still work?


                               HALE
                    I don’t know, Ray.  What if a vampire’s
                    Jewish?


                               CUMBERLAND
                    That’s a good point.  And does garlic work
                    on a Hindu vampire?  Or do you need
                    saffron or something?


           Hale laughs.  Cumberland shakes his head, his smile fading.


                               CUMBERLAND
                    You can keep doing your song and dance as
                    long as you want, Blade, but it’s not
                    going to play.  You’re a stone-cold
                    killer.  And you’re sick as fuck.


                               VANCE (O.S.)
                    Let’s leave the diagnosis to the
                    professionals.


           ANGLE ON DR. EDGAR VANCE,


           standing in the doorway.  He’s the man we saw on Larry King.
           He takes a seat by Blade, sets a leather case on a table.


                               VANCE
                    Hello, Blade.  My name is Doctor Vance.
                    I’m with the Department of Mental Health.
                    I’ve been charged with conducting a
                    psychiatric evaluation of you.
                         (to Cumberland and Hale)
                    Gentleman, would you mind giving us a few
                    moments alone?


           Cumberland nods.  They rise, exiting the room.  Vance smiles,
           trying to project a sympathetic air.


                               VANCE
                    I imagine this must be very frightening
                    for you.  But I want you to know that I’m
                    here to help.  In order to do that,
                    however, I need to ask you some questions.
                         (beat)
                    Now.  Can you tell me what day it is?


           Blade just stares daggers at Vance.


                               VANCE
                    What about the President?  Do you know
                    who’s in the White House at the moment?


                               BLADE
                    An ass-hole.


                               VANCE
                         (sighing)
                    Alright then, let’s talk about vampires --
                    what can you tell me about that?


           INT. POLICE STATION - OBSERVATION ROOM - NIGHT


           On the other side of the mirror, Cumberland and Hale have
           joined Chief Vreede.  We hear Blade and Vance via speakers:


                               BLADE
                    There’s nothing to tell.  They exist.


                               VANCE
                    And are you one of them?


           INT.	POLICE STATION - INTERROGATION ROOM - NIGHT


           Vance sits forward, drawing closer.


                               VANCE
                    What about blood?   When you drink it, do
                    you find yourself sexually aroused?


           Blade just glares at Vance.


                               VANCE
                    You see, it strikes me that this business
                    of vampirism has strong connotations of
                    sexual confusion.  Bodily fluids being
                    exchanged, that sort of thing.  You have
                    to ask where that comes from.  I’m
                    wondering, for instance, what your
                    relationship was like with your mother.
                    Were the two of you close?


           Blade glares.  If he escapes, he’s going to kill this guy.


           INT. POLICE STATION - OBSERVATION ROOM - NIGHT


           Dr. Vance steps into the observation room, joining Chief
           Vreede, Cumberland, and Hale.


                               VREEDE
                    What’s your assessment, Doctor?


                               VANCE
                    He’s psychotic, with paranoid features,
                    possessing dangerous levels of sociopathy. 
                    He’s exhibiting disorganized behavior.  He
                    obviously doesn’t have a properly formed
                    conscience --
                         (spreading his hands)
                    For his safety and the public’s, I’m
                    recommending that he be transferred to
                    County Psychiatric for further treatment.


                               CUMBERLAND
                    That’s unacceptable.  This man’s wanted in
                    connection with a laundry list of federal
                    crimes.  I need him on a plane to the
                    Detention Center in Washington tonight.


                               VANCE
                    Agent Cumberland, that man is in no
                    condition to undergo prosecution.


           Cumberland and Hale look to Vreede with disbelief.


                               HALE
                    Chief, we’ve got a federal arrest warrant
                    here that clearly supersedes --


                               VREEDE
                    I don’t care about your warrant.  We’re in
                    my jurisdiction now.  You’ve got an issue
                    with that, you take it up with the local
                    magistrate.


           Dr. Vance shrugs as if to say he’s sorry.


                               VANCE
                    I’m sorry, gentlemen, but the call has
                    already been made.  A team from the
                    hospital should be here momentarily to
                    oversee the transfer.


           INT. POLICE STATION - ENTRY WAY - NIGHT


           Asher, Danica, and Grimwood enter, followed by FOUR VAMPIRES
           dressed as orderlies.  The orderlies carry a straightjacket,
           various restraints, and a collapsible transport gurney.


           Danica approaches the DESK SERGEANT, flashing a hospital ID.


                               DANICA
                    Hi.  We’re here to transfer a patient to
                    County General?


           INT. POLICE STATION - INTERROGATION ROOM - NIGHT


           Vance enters once more.  He opens the leather case on the
           table, removing a syringe and an ampule of fluid.


                               VANCE
                         (speaking softly now)
                    Just a little something to keep you
                    compliant.  The normal dose is two, maybe
                    three hundred milligrams.  But for a
                    strapping young hybrid like yourself --


           Vance pokes the needle of the syringe into the ampule.


                               VANCE
                    -- I think we’ll kick it up to a couple
                    thousand.


           Vance reaches for Blade’s arm.  Blade struggles, tries to pull
           back, but Vance manages to inject him nonetheless.


                               VANCE
                    There.  That wasn’t so bad, was it?
                         (smiling)
                    You’re weak, aren’t you?  In need of your
                    serum.  Who would’ve guessed a mere human
                    like myself could overpower you?


                               BLADE
                         (realizing)
                    You’re with them -- a familiar --


                               VANCE
                    Going on five years now.


           Vance extends his arm, pulling back his shirt cuff a little to
           reveal a VAMPIRE GLYPH tattooed on the underside of his wrist. 
           Then he pulls his cuff back down, smiles at Blade.


                               VANCE
                    It’s the end-game, Blade.  All their plans
                    are finally coming to fruition.  So just
                    sit back and enjoy the show.


           Blade looks to the one-way mirror, SCREAMS.


                               BLADE
                    He’s one of them!  Damnit, he’s working
                    for them!


           Vance looks to the one-way mirror as well and shrugs as if to
           say -- "The man’s deranged.  What can I do?"


           INT. POLICE STATION - OBSERVATION ROOM - NIGHT


           On the other side of the glass, Blade looks like a raging
           lunatic.  Vance enters.  He extends his hand to Vreede.


           They shake.  As they do so, we SEE a vampire GLYPH on the
           inside of Vreede’s wrist as well.  Another familiar.


           INT. POLICE STATION - INTERROGATION ROOM - NIGHT


           Blade stares at his own reflection in the mirror.  He blinks,
           trying to focus -- but the drug is starting to kick in.


           INT. POLICE STATION - HALLWAY - NIGHT


           An elevator door opens.  Asher, Danica, and Grimwood exit,
           followed by the orderlies who are now wheeling the gurney.  As
           they move down the corridor, they pass --


           -- Cumberland and Hale, who are chasing down Chief Vreede.


                               CUMBERLAND
                    Just hold it right there --


           Danica shoves Cumberland aside, hard, keeps moving past him.


           Cumberland looks to Hale.  Something isn’t right about this.


           INT. POLICE STATION - INTERROGATION ROOM - NIGHT


           Blade struggles, in the full throes of the drug now.


           BLADE’S POV


           His vision is blurring, various objects in the room leaving
           trails as he shifts his head from side to side and --


           ASHER, DANICA, AND GRIMWOOD


           enter, followed by two of the orderlies.  Despite his
           incapacitation, Blade attempts to rise.  Danica plants her
           heel in his chest, shoving him back down.


                               DANICA
                    Easy, lover. You’re not going anywhere.


           She draws closer, enjoying herself.


                               DANICA
                    We moved the humans around like, pawns,
                    Blade.  Used them to flush you out.


           Blade tries to LUNGE from his chair at her and -- WHACK!
           Grimwood punches Blade across the jaw.  A brutal blow.


                               GRIMWOOD
                    Don’t worry, Captain Sunshine.  Soon as we
                    get you out of here, you’ll get a chance
                    to play.


           Danica motions to the two vampire orderlies.  They step
           forward with the straight-jacket, start to put it on Blade. 
           Blade THRASHES madly.  Asher LAUGHS, enjoying this.


                               DANICA
                    Don’t make this any harder than it has to
                    be.  You’re all alone, Blade.  No one can
                    help you now.


           BA-BOOM!  The one-way mirror SHATTERS, exploding outward in a
           shower of SLOW-MOTION GLASS FRAGMENTS, carrying with it --


           -- a BODY, one of the vampire mental health flunkies --


           ASHING in mid-air as he sails into the room!  Seconds later --


           A MAN


           VAULTS through the blown-out window, simultaneously drawing
           two high-tech electronic pistols.
           Meet HANNIBAL KING (30s), an audacious vampire hunter with an
           irrepressible grin.  Slapped to his chest is a "Hello, my name
           is" sticker with the words "FUCK YOU" written where the name
           should be.


                               KING
                    Why’d the Polish vampire starve to death?


           Danica spins, enraged, recognizing King instantly --


                               KING
                    He kept biting his own lip.


                               DANICA
                    King!


           The lights go out.  Immediately, backup lights come on,
           followed by FIRE ALARMS.  In the ensuing confusion ~ both
           pistols at Asher, who drops, allowing one of the vampire
           orderlies behind him to take the hit.


           THE VAMPIRE ORDERLY ASHES


           But unlike Blade’s victims, he disintegrates from the inside
           out.  (The reason is King’s signature bullets -- SUN DOGS,
           explosive rounds that give off concentrated UV light.)


           King whips around, FIRING at --


           -- Danica, who LEAPS behind the table.  She quickly upends it,
           using it as a shield, FLINGING it at King.


           ON BLADE


           He shifts his weight, throwing himself and the chair he’s
           sitting on to the floor.  Then he KICKS OUT AND UP --


           -- connecting with Grimwood’s mid-section, sending him FLYING
           BACKWARDS -- straight through the wall into the next room!


           King holsters one of his pistols and hauls Blade up.  At the
           same time, he FIRES on Asher again, missing him --


                               KING
                    Let’s FLY, kemosabe!


           King drags Blade to the door --


           INT. POLICE STATION - HALLWAY - NIGHT


           -- into the neighboring corridor.  Cumberland and Hale SEE
           them.  They reach for their weapons --


                               CUMBERLAND
                    He’s getting away!


           King FIRES into the room behind him, then pulls a GRENADE
           secured to a bandolier and tosses it through the doorway --


           An EXPLOSION rocks the interrogation room, filling the
           corridor with smoke, knocking Cumberland and Hale back.


           King turns his attention to Blade’s handcuffs, FIRING between
           them, freeing Blade’s hands.  Blade collapses against the
           wall.  He’s shaking, close to passing out.


                               KING
                    Don’t die on me, you undead motherfucker!


           King drags Blade up.  They continue down the corridor to --


           ABIGAIL, THE FEMALE VAMPIRE HUNTER


           we met earlier.  She’s engaged in hand-to-hand combat with a
           half-dozen UNIFORMED OFFICERS.  Three of them are already
           down.  In seconds, she finishes off the other three.


                               KING
                    Whistler!  We need that serum NOW!


           Whistler?  Abigail spins, dispatching the last officer with a
           kick to the mid-section while tossing a PNEUMATIC INJECTOR at
           King.  He snatches it, places it in Blade’s hands.


           Blade injects himself in the neck.  Moments later, he’s
           reenergized.  He looks to King, clear-eyed.


                               KING
                    Hey Blacula, you ready to shake and bake?


           Blade responds by PUNCHING King across the jaw.


                               BLADE
                    Call me that again and I’ll give you
                    fucking brain damage.


           King massages his jaw, tossing Blade a pistol even as --


           --	Grimwood rounds the corner, hungry for blood, TWO MORE
           VAMPIRE ORDERLIES behind him.


           Blade FIRES round after round of EXPLOSIVE BULLETS, causing
           Grimwood and the others to fall back.  Blade and King move,
           joining Abigail.  MORE SMOKE, darkness, only the emergency
           lights to illuminate the station.


           UP AHEAD,


           a group of POLICEMEN spill from a stairwell, armed with bullet
           proof vests.  They OPEN FIRE --


           Blade, King, and Abigail retreat into an alcove.  They’re
           pinned down between the vampires and a group of policemen.


                               KING
                    We’re pinned down!
                         (to Blade)
                    Can’t you do something?!


                               BLADE
                    I can’t shoot around corners!


                               ABIGAIL
                    I can.


           As King and Blade lay down COVER FIRE, Abigail reaches behind
           her, withdrawing a device that’s been secured there.  She
           gives it a SNAP and it springs open, taking the shape of a --


           FUTURISTIC COMPOUND BOW


           Crafted from aluminum, its limbs imbedded in key positions
           with vibration-dampening modules, this bow is capable of
           firing an arrow upwards of 300 feet-per-second.


           Abigail withdraws a SILVER ARROW with a time-delay explosive
           tip from her quiver, nocks it in her bow and takes aim at --


           A FIRE EXTINGUISHER


           mounted at the end of the corridor.  She lets her arrow fly --


           MOVING WITH THE ARROW


           as it banks off the side of the fire extinguisher, continuing
           down the side corridor where it embeds itself in --


           -- the shoulder of one of the vampires!  The vampire SCREAMS,
           grabbing the shaft, ripping it out.  Then we --


           MACRO-ZOOM ON THE ARROW HEAD


           A tiny "egg-timer" dial on the arrowhead spins.  It CLICKS in
           place, a RED LED comes on, and --


           --	the arrowhead EXPLODES, catching all three vampires with
           the full force of a UV BLAST.  Grimwood ducks away from the
           blast as the other two vampires ASH --


           BLADE, KING, AND ABIGAIL


           come racing out of the alcove.  They reach a stairwell.  Blade
           RIPS a steel door clear off its hinges, tossing it down the
           stairwell at a phalanx of COP REINFORCEMENTS who are charging
           up the stairs.  The cops go down like ten-pins.


           Blade and company have an opening.  But as they charge
           downward --


                               BLADE
                         (as King and Abigail
                         freeze)
                    My sword.  They still have it.


                               KING
                         (apoplectic)
                    Are you insane?!  We’re practically home
                    free!  We can’t go hunting for your
                    fucking butter-knife now!


           But Blade is already heading back the way they came and --


                               KING
                    Hey!  HEY!!!  COME BACK HERE!!!  This is
                    supposed to be a rescue!


           -- Abigail grabs King’s shoulder, pulling him to the stairs.


                               ABIGAIL
                    Forget it, King.  Let’s move.


           POLICE STATION - NIGHT


           King and Abigail rush outside.  The station is gated. FLASHING
           POLICE CARS are surging through the mouth of the gate. 
           They’re trapped.  Then --


           CRASH!


           A window on the third floor of the station EXPLODES OUTWARD. 
           Blade drops three stories, landing before King and Abigail in
           a cat-like crouch.  With his sword in his hand.  He looks at
           King, grins, flips him off.


                               BLADE
                    Now we can go.


                               KING
                         (nudging Abigail)
                    Is he epic or what?


           The police close in around them, pinning the trio down with
           FIREPOWER.  Yet King and Abigail seem unconcerned because --


           HEADLIGHTS


           are washing over them.  A beefed-up, 70s Land Cruiser is
           SCREAMING up the street.  The Cruiser jumps onto the sidewalk,
           SMASHES right through the gated wall.  SCREECHES to a stop
           between our trio and the police cars.


           A DRIVER (DEX)


           leans out his window, gives a little wave as the rear doors
           pop open.  Gruff and compact, he looks like a prize-fighter.


                               DEX
                    My name is Dex.  And I’ll be saving your
                    ass this evening.


           Blade, King, and Abigail scramble into the back of the Land
           Cruiser.  Dex reverses, backing out the way he came.


           The police from the squad cars are FIRING, but the Land
           Cruiser is armored and the bullets harmlessly SPARK off.


           INT. LAND CRUISER - NIGHT


           In the backseat, Abigail looks through the rear windshield --


           ABIGAIL’S POV


           Grimwood is running after them, actually gaining on the Land
           Cruiser.  Chewing up the asphalt like a cheetah.


           EXT. LAND CRUISER - NIGHT


           Abigail leans out the rear window, nocking a non-UV arrow in
           her bow.  She takes aim at Grimwood, lets the arrow fly --


           SHUNKT!  The arrow sinks into Grimwood’s eye.  He goes down,
           his somersaulting figure quickly receding into the background
           as the Land Cruiser speeds away.


           INT. LAND CRUISER - NIGHT


           Safe for the moment, King basks in the adrenaline rush of a
           battle well fought.  Meanwhile, Dex is on a cell phone.


                               DEX
                    We have him.  We’ll be there soon.


                               KING
                         (to Blade)
                    So my entrance back there -- what do you
                    think?  Too flashy?  Right on the money?


           King unhuckles his combat harness, revealing a bullet-proof
           vest bereath it that’s been riddled with imbedded slugs.


                               BLADE
                    Who are you people?


                               KING
                    My name’s Hannibal King.  I’m a hunter,
                    like you.
                         (re: Abigail)
                    And this little hellion is Abigail
                    Whistler.


           Abigail just stares back at Blade, silently appraising him.


                               KING
                    That’s right, Blade.  You’re not hearing
                    things.  She’s Whistler’s daughter.  You
                    see, Abby, Dex, myself -- we’re all part
                    of Whistler’s "contingency plan".


           King reaches into an inner pocket, pulls out a pack of gum. 
           He selects a stick, offers one to Blade.


                               KING
                    Juicyfruit?


           EXT. CITY STREETS - NIGHT


           The Land Cruiser rockets away, disappearing into the night.


           EXT. LUNA PARK - NIGHT


           The Land Cruiser moves across an abandoned lot towards the
           weed-choked ruins of an old amusement park.  We pass by the
           skeletal remains of a roller-coaster, a tilt-a-whirl, the
           vandalized and wood-rotted remnants of a carousel.


           Finally, the Land Cruiser turns towards a motorized loading
           door in the side of a large warehouse and disappears inside.


           INT. WAREHOUSE/GARAGE - NIGHT


           As the door grinds closed, the Land Cruiser stops.  King and
           Abigail lead Blade through the darkness.  In the gloom we see
           a half-dozen vehicles in various stages of being retrofitted
           with armored panels and weaponry, etc.  SURVEILLANCE CAMERAS
           mounted above track their progress.


                               BLADE
                    I thought the vampires murdered
                    Whistler’s family.


                               ABIGAIL
                    They did.  I’m the product of an earlier
                    fling of my Dad’s, born out of wedlock. 
                    After the murders happened, he kept me
                    hidden.  He wanted me safe.  Away from all
                    of this --
                         (gesturing around them)
                    -- but I guess hunting just runs in our
                    blood.


           As King and Abigail lead Blade towards a stairway, Blade
           catches sight of --


           A LITTLE GIRL (5)


           peering down at him from atop one of the rafters.  As soon as
           he spots her, she ducks into the shadows.


           They reach the stairway.  AUTOMATED GUNS mounted on swivel
           arms lock on them with infra-red targeting beams.


                               ABIGAIL
                    When I came of age, I tracked my Dad
                    down, told him I wanted in.
                         (beat, shrugging)
                    Been doing it ever since.


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           We enter a sprawling industrial facility that is equal parts
           mechanics shop, firing range, and laboratory.  We glimpse a
           virtual arsenal of new weaponry and medical equipment,
           including DNA sequencers, microfuges, and electroporaters.


           The new equipment fights for space alongside the old -
           mountains of mothballed parts from the park’s broken thrill
           rides.  Here and there we see the oversized fiberglass head of
           a grinning fun-house creature or the mildewed torso of a
           fortune-telling mannequin, frozen in its upended booth.


                               KING
                    Welcome to the honeycomb hideout.


                               BLADE
                         (looking around)
                    How do you bankroll this place?


                               KING
                    Internet porn.  See, we’re using cock
                    suckers to pay for the blood-suckers.  
                         (off Blade’s look)
                    Joke.  Come on, man.  This isn’t some
                    piddly little hoopty-ass operation, Blade. 
                    We take our jobs very seriously.


           UP AHEAD,


           TWO OTHERS pause in their work as King approaches.  Dex falls
           in behind them.


           HEDGES (20s) is an engineer, always lost in his own world.


           SOMMERFIELD (30s) is a frail-looking geneticist.  She’s also
           blind, operating her computers via a voice-synthesis program
           and Braille keyboard.


                               KING
                    You met Dex.  This is Hedges, Sommerfield--


           King gestures to them in turn.  They’re all refugees in one
           way or another, sharing a common guardedness, their lives
           having been shattered by the vampires.


                               KING
                         (nodding back)
                    The runt you saw earlier is Sommerfield’s
                    daughter, Zoe.  We call ourselves the
                    Nightstalkers.


                               BLADE
                    You sound like rejects from a Saturday
                    morning cartoon.


                               KING
                    We were gonna call ourselves the Super
                    Friends, but that was taken.


           Abigail rids herself of her weapons -- bow, arrows, silver
           stakes and knives.  She hands her compound bow to Hedges.


                               ABIGAIL
                    Tiller needs adjustment.


                               HEDGES
                    I’ll run it through the bow press.


           Blade examines some of the equipment being developed.


                               BLADE
                    How many of you are there total?


                               KING
                    Enough.  We operate in sleeper cells. 
                    When one goes down, a new cell activates
                    to pick up the slack.  Consider us your
                    reinforcements.


                               BLADE
                    Sorry.  Never been much of a team player.


                               SOMMERFIELD
                    I don’t think you understand, Blade.
                    Whistler meant for us to help you.  When
                    he died, he activated an emergency
                    protocol.  All his knowledge --


           She gestures to the computer equipment around her.


                               SOMMERFIELD
                    --was transferred to our servers here.


                               BLADE
                    And what makes you think you know so much
                    about killing vampires?


           King reaches for his collar, pulling it down to reveal a
           telltale mass of scar tissue in the shape of a BITE MARK.


                               KING
                    Well for starters, I used to be one.  
                         (in a sinister tone)
                    Do I pass the audition?


                                                                 CUT TO:


           EXT. PHOENIX TOWERS - NIGHT


           We soar through the night sky, diving down towards a cluster
           of gleaming, high-tech spires.  As we isolate a penthouse
           apartment atop one of them we hear an ANGRY SCREAM.


                               DANICA (O.S.)
                    Fucking Hannibal King!


           INT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           An impressively decorated loft bespeaking of money, power, and
           a certain perverse esthetic.  Danica slams her fist straight
           through the wall, then spins around, enraged.


           Asher and Grimwood are there too, their wounds being treated
           by Hendrix and a VAMPIRE TECHNICIAN.  At tie moment, they’re
           trying to remove the arrow protruding from Grimwood’s eye.


           An enormous ROTTWEILER sits nearby, attentively watching. A
           TRIO OF GUARDS flinch with every act of violence. Danica is
           strong.  Clearly, no one wants to get in her way.


                               DANICA
                    I should’ve ripped his ripped his
                    bleeding heart out when I had the chance!
                         (pointing at Asher)
                    And don’t you dare tell me "I told you
                    so"!


           Asher raises his hands as if to say "no harm, no foul". 
           Danica continues her tantrum, SMASHING a statue apart,
           SHATTERING a heavy glass tabletop.  Finally, she gives it a
           rest, collapsing into a chair, shoulders sagging.


                               ASHER
                    You through remodeling?


                               DANICA
                    Blow me.


                               ASHER
                    Face it, Dan.  We got caught with our
                    pants down.  We underestimated the
                    Nightstalkers.


                               GRIMWOOD
                    Pants down?!  They practically fucking
                    ass-raped us!


           Grimwood GRUNTS in pain as the arrow is removed.  Asher
           broaches a more serious subject.


                               ASHER
                    Has he been told yet?


                               VOICE (O.S.)
                    About your failure?


           A MAN (30s) enters the room.  The same being we glimpsed in
           the vault.  He has a haunting gaze and a commanding presence.
           We will learn who he is momentarily.  But for now, it’s enough
           to know that everyone in the room pays him deference.


                               MAN
                    Yes, I’ve been told.


           He places a hand on Danica’s shoulder.  She tenses.


                               MAN
                    Perhaps it’s time I entered the fray.


                                                                 CUT TO:


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           CLOSE ON King buttoning his collar back up.  Blade, Abigail,
           and Sommerfield are gathered around him.


                               KING
                    You know the kind of woman that just
                    screams trouble? You see her and every
                    warning bell in your brain starts going
                    off but you still ask for her number? 
                    Well that’s all I ever hook up with.  But
                    this betty blew ‘em all away in the
                    shitstorm sweepstakes.


           King reaches out to a keyboard, calling up a piece of
           surveillance footage on a nearby monitor.  The footage
           features Asher and Danica and Grimwood.  It’s been slowed to a
           near standstill and now advances frame by frame.


                               KING
                    Her name’s Danica Talos.  You met her
                    earlier.  The man on her left is Asher,
                    her brother.


           King types a command.  The image ZOOMS IN, tracking Grimwood.


                               KING
                    The neanderthal behind them is Jarko
                    Grimwood.


           King freezes the footage on Danica’s grainy, pixelated face.


                               KING
                    I picked Danica up in a bar, had a one
                    night stand with her -- then spent the
                    next five years playing step-and-fetch-it
                    as her little vampire cabana boy.
                         (beat)
                    Eventually Abigail found me.  Sommerfield
                    here managed to treat me with a cure.  Now
                    I kill them.
                         (beat)
                    That’s called turning a frown upside
                    down.


                               ABIGAIL
                    We need to pool our resources, Blade.


                               BLADE
                    Why?


                               ABIGAIL
                    Because He’s come back.


           King tosses a TOMB OF DRACULA comic book over to Blade.  Blade
           glances at the cover, then looks at them, incredulous.


                               BLADE
                    You gotta be kidding me.


                               KING
                    He’s real, Blade.  Dig beneath all the
                    movies and myths.  All the layers of
                    bullshit that’ve cluttered our culture for
                    the last five hundred years and eventually
                    you’ll strike the truth.


                               BLADE
                         (incredulous)
                    So the movies are true?


                               KING
                         (shaking his head)
                    The movies are just a comforting
                    fairytale compared to the real deal. 
                    There’s no happy ending with this guy. 
                    Peter Cushing isn’t going to run in at the
                    last second and save the day with a cross
                    and some holy water.
                         (re: the comicbook)
                    See, good old Brain Stoker, he wrote a
                    nice yarn.  But the events he described in
                    1897 were only a tiny piece of the mosaic. 
                    The rea1 Dracula’s origin goes back much
                    earlier than that.


                               BLADE
                    How early?


                               ABIGAIL
                    Try six or seven thousand years.


           Off Blade’s astonished look we --


                                                                 CUT TO:


           EXT. MESOPOTAMIA - NIGHT


           FLASH!  We see the man we met earlier (DRACULA/DRAKE) on the
           banks of the river Euphrates, striding towards us, engaged in
           fierce battle with UBAIDIAN SOLDIERS.  He’s clutching the same
           sword we saw in the ziggurat, clad in the same armor.


                               KING (V.0.)
                    Dracula’s only one of the names he’s gone
                    by.  Now they call him Drake.  If you
                    believe the legends, he was born in
                    ancient Sumeria.


           As Drake SLASHES his sword downward we CUT BACK TO --


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           -- King continuing his story. As the hunter’s monologue
           progresses we will INTERCUT with Drake’s own progression
           through history.  Brief, violent FLASHBACKS.


           (NOTE:  The backgrounds surrounding Drake will be
           expressionistic, digital composites, constantly shifting.  The
           focus of the flashes is Drake himself, fighting a shadowy
           horde, his attire continually evolving through time.)


                               KING
                    Nobody really knows the specifics of his
                    origin.  But we do know this:  he was the
                    first of his kind.  The patriarch of the
                    hominus nocturna.


           EXT. EGYPTIAN DESERT - NIGHT


           FLASH!  We are in Egypt now, circa 1650 BC.  Drake wages war
           against the HYKSOS.  He is closer to the camera.  And will
           continue to move closer with each successive flashback.


                               KING (V.0.)
                    Every single vampire -- every single
                    monster that’s walked the earth since then
                    -- owes their existence to Him.


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           Back to King, holding court before Blade and Abigail.


                               KING
                    He’s like the Patient Zero of evil.  The
                    original Serpent in the Garden of Eden.
                    And just like the Great White shark, he’s
                    never had to evolve.  This guy was born
                    perfect.  Scour the history books --


           EXT. THRACE - NIGHT


           FLASH!  The Peloponnesian War, Southern Thrace, circa 405 BC.
           We see Dracula battling ATHENIANS.  Even closer now, his face
           spattered with blood.  At the same time, the SOUNDTRACK is
           gradually swelling, expanding in complexity and volume.


                               KING (V.0.)
                    -- read between the lines --


           EXT. HUNGARIA - NIGHT


           FLASH!  5th century AD, battling the GOTHS.  With every swipe
           of his sword, we WIPE FORWARD into the future.


                               KING (V.0.)
                    -- you’ll find countless references to
                    Him.  Always mentioned, never named.


           EXT. EUROPE - NIGHT


           FLASH!  8th century AD, the reign of Charlemagne.  Battling
           the VIKINGS.  The FLASHBACKS come faster now, assaulting us
           with ever-increasing rapidity.


           Drake continues striding forward while the rest of the world
           evolves around him, centuries whizzing by via computer
           generated time-lapse photography.


                               KING (V.0.)
                    He’s been there --


           EXT. VARIOUS - NIGHT


           FLASH!  12th century AD, the time of the Crusades.  The
           violence intensifies.


                               KING (V.0.)
                    -- moving behind the scenes --


           FLASH!  17th century France, the time of Louis the XIV.  The
           pace becomes breathless.


                               KING (V.0.)
                    -- cutting a bloody path through the Ages
                    until suddenly --


           FLASH!  18th century Russia, the time of Peter the Great.  The
           soundtrack is THUNDEROUS.  Drake has become a bloody blur of
           bestial rage and unfettered horror and --


                               KING (V.0.)
                    -- just like that --


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           -- King SNAPS his fingers.  We are back in the present.


                               KING
                    -- he up and disappeared.  About a century
                    ago the trail went cold.  Then we heard a
                    rumor.  The vampires were searching for
                    him -- trying to find the place where he’d
                    retreated.  According to our information,
                    they found him in Iraq about six months
                    ago.
                         (beat)
                    And he was pissed.


           EXT. DOWNTOWN COMMERCIAL DISTRICT - NIGHT


           Grime.  Neon.  Near-silence as the cacophonous soundtrack
           recedes into the background, replaced by the steady drone of
           inner-city TRAFFIC.


           ON DRAKE,


           viewed through a long-lens, clad in modern, casual attire,
           striding in SLOW-MOTION down a PEDESTRIAN-CHOKED sidewalk.


           Slower.  A HEARTBEAT.  The pulse of the people.  And over
           this, intruding, the Doppler effect WAILING of an approaching
           car as it rushes past us in a SCREEN WIPE until we are --


           OUTSIDE A GOTH STORE


           Drake studies a window display.  Halloween merchandise. 
           Costumes and monster masks and -- VAMPIRE NOVELTIES.  We see
           vampire lunchboxes, Dracula plush dolls, plastic fangs, key
           chains.  Even Dracula bobbleheads.


           Drake stands in stark contrast to the mass-marketed caricature
           on display before him.


           INT. GOTH STORE - NIGHT


           Drake enters. The store is crowded with low-end junky goods
           that might appeal to tourists visiting Hollywood Boulevard.


           A pallid, Goth-guy CASHIER sits behind a counter, eating from
           a takeout container.  He’s wafer thin, with a detached
           attitude.  A snot.  Further back is a sultry GOTH VIXEN.


           Behind them, on a TV, a cartoon is playing. An animated
           vampire cavorts -- "LITTLE BIT" (like the Hot Stuff devil from
           Ritchie Rich comicbooks)


                               DRAKE
                    In the window -- you sell vampire
                    merchandise?


           Goth Guy looks up, wiping his mouth with a napkin.  Doesn’t
           want to engage with Drake at all.


                               GOTH GUY
                    Uh, yeah -- look around, we might have a
                    few things.


           He and the Goth Vixen have a snicker at Drake’s expense.  Then
           she tries to be a little more helpful.


                               GOTH VIXEN
                    We’ve got Dracula lunchboxes.  Did you
                    see those?  And there’re bobbleheads, Pez
                    dispensers.  We’ve got just about
                    anything --
                         (selecting a vampire-
                         shaped vibrator, playful)
                    -- even vampire vibrators.


           As Drake looks around, what he sees matches his ascending
           rage.  Costumes, candles, vampire Christmas ornaments. 
           Posters from different films -- Nosferatu, Lugosi, Lee -- then
           Love at First Bite and The Little Vampire.


                               GOTH VIXEN
                    Here, check this out --


           She reaches into a case, pulling out a soft-drink.  The label
           reads: "DRA-COLA" and has a stylized vampire on it.


                               GOTH VIXEN
                    "Dracola".  Makes you want to cry,
                    doesn’t it?


           Drake just stares at the can.  His mind seems to have
           retreated elsewhere.  Back through the ages.


                               GOTH VIXEN
                    Was there something special you needed?


           Drake doesn’t respond.  A kind of melancholy has settled over
           him.  He’s an outsider now.  The world has moved on.


                               GOTH-GUY
                    Hey, guy, she’s talking to you.


           Drake looks up as Goth Guy pours a bowl of Count Chocula.


           EXT. GOTH STORE - NIGHT


           CRASH!  Goth Guy comes flying through the display window, his
           trajectory taking his body clear across the street and into
           the display window of the store opposite us.


           INT. GOTH STORE - NIGHT


           Goth Vixen SCREAMS.  Drake LASHES out.  hauling her over the
           counter.  He sinks his teeth into her throat, drinking her
           blood with wild abandon.  He consumes it so quickly that his
           skin flushes BRIGHT RED.


           Then Drake tears his head away, lifting his face upward as he
           flings the girl aside, unleashing an ear-splitting ROAR.  And
           for a brief moment, the bones of his face seem to shift, once
           again hinting at another shape Drake might take.


           EXT. THE CITY - VARIOUS


           DRAKE’s ROAR echoes through the canyons of downtown.


                                                                 CUT TO:


           EXT. LUNA PARK - NIGHT/DAY


           Time-lapse.  The sun rises over the decrepit amusement park.


           INT. NIGHTSTALKERS HEADQUARTERS - ARMORY - DAWN
           Sunlight slices down through skylights, bathing Blade, King,
           Abigail, and Sommerfield in its warmth.  Zoe has joined them. 
           She’s still cautious and shy, but she’s also curious.


                               BLADE
                    Why wake up Drake now?


                               ABIGAIL
                    That’s what we’ve been trying to figure
                    out.


                               KING
                    When I was under the fang there used to be
                    talk about some kind of vampire ‘Final
                    Solution’.  But I could never figure out
                    why they’d want to destroy their food
                    source.  I mean, seems stupid, right? 
                    They’ve always had plans for the human
                    race.  Seems likely that whatever they’re
                    cooking up, Drake’s return is a part of
                    it.


           Blade nods, pensive.


                               KING (CONT’D)
                    Let’s face it, Blade -- we’re fighting a
                    losing battle. 
                    So we kill a few hundred of them a year. 
                    Big deal.  There are thousands of them out
                    there.  Maybe tens of th’usands.  We need
                    a new tactic.


                               BLADE
                    Like what?


                               SOMMERFIELD
                    A biological weapon.


           Sommerfield moves to her Braille keyboard, types.


           ON A NEARBY MONITOR


           we SEE a real-time magnified view of a virus replicating.


                               SOMMERFIELD (CONT’ D)
                    For the last year I’ve been~working with
                    synthesized DNA in order to create an
                    artificial virus targeted specifically at
                    vampires.  We’re calling it DayStar.


                               KING
                    Think about it, Blade.  We could wipe
                    them all out in a single move.


                               BLADE
                    So what’s been holding you back?


                               SOMMERFIELD
                         (sighing)
                    We’ve tried it on a number of captive
                    subjects.  We’ve got the disease vector
                    worked out fine -- it’s easily
                    transmittable.  But the lethality in
                    vampires is still spotty.


                               ABIGAIL
                    Bottom line is, we need a better DNA
                    sample to work with.
                         (beat)
                    We need Dracula’s blood.


                               SOMMERFIELD
                    Vampire DNA is a hodge-podge of different
                    genes, mixed in with all sorts of useless
                    junk DNA.  Because Dracula’s the
                    progenitor of the vampire race, his DNA is
                    still pure.  It hasn’t been diluted by a
                    hundred generations of selective mutation. 
                    It still has all the necessary cellular
                    compounds for the virus to code to.  We
                    get his blood, we can boost Daystar’s
                    viral efficacy to a hundred percent.


                               KING
                    So.  You want to join our club?  Can we
                    sign you up for a Nightstalkers secret
                    decoder ring?


                                                                 CUT TO:


           EXT. PHOENIX TOWERS - DAY


           Establishing.  The Sun at it’s zenith


           INT. PHOENIX TOWERS - DRAKE’S QUARTERS - DAY


           A darkened room, relatively austere.  The only source of light
           are a series of small, slitted skylights in the ceiling above. 
           From these skylights, narrow, blinding white shafts of
           sunlight knife downward to penetrate the gloom.


           DRAKE


           sits in a chair, his body partially illuminated by one of the
           sunlight shafts, his face turned upward into its brilliance.


           FOOTSTEPS.  Drake opens his eyes, SEES Danica hovering in the
           darkness, just on the edge of a shaft of light.


                               DRAKE
                    This world sickens me.  The humans have
                    soiled it with their filth.


                               DANICA
                    We can raze their cities to the ground.
                    We can bring the old world back.


           Drake just stares at her, not convinced.


                               DRAKE
                    Come closer.


                               DANICA
                         (re: light)
                    I can’t.


                               DRAKE
                    And do you know why?
                         (off Danica’s silence)
                    Once, all of my kind could brave the day. 
                    We were true predators.  The world was
                    ours.  And then, somewhere along the way,
                    the purity of our bloodline became
                    diluted.  Polluted with human DNA.


                               DANICA
                    That’s impossible --


                               DRAKE
                    Is it?


           Drake stands, drawing close to Danica.  He grips her wrist --


                               DRAKE
                    You are bastard children.  No longer as
                    pure as you pride yourselves on being.


           -- and pulls her hand towards one of the sunlight shafts.  To
           her credit, Danica keeps staring at Drake.  She’ll be damned
           if she will give him the satisfaction of seeing her break.


           Drake pulls her hand closer to the light -- to the very edge. 
           And the tips of Danica’s fingers begin to burn.  She winces,
           clearly in agony --


           -- and Drake releases her hand.  She cradles it against her
           chest, blinking away tears that have welled up in her eyes.


                               DRAKE
                    My people.  How far you have fallen.


           Drake reaches out, brushes a tear from Danica’s cheek, then
           turns and walks away -- through the alternating shafts of
           sunlight and darkness.


                                                                 CUT TO:


           INT. NIGHTSTALKERS HEADQUARTERS - ARMORY - DAY


           Blade, King, and Abigail stand before a table where an
           assortment of weaponry and ammunition has been laid out on
           display.  Hedges is there too, assisting them.  Zoe watches.


                               HEDGES
                    We’ve got a wide assortment of ass-
                    kickery for your viewing pleasure --
                         (hefting a pistol)
                    Electronic pistol.  Comes with a built-in
                    fingerprint security system.  Fires a
                    three-shot burst in 1/500th of a second.
                    Bullets can also be triggered remotely.


           King tosses Blade a bullet.  He studies it -- it’s more
           complex than a standard round.


                               BLADE
                    Explosive rounds?


                               KING
                    But with a concentrated burst of UV light
                    instead of your standard hollow-points.  I
                    call ‘em sun dogs.
                         (to Hedges)
                    Hedges -- super-size me, baby!


           Hedges tosses King one of the four-barreled firearms.  On the
           stock is an irreverent decal of the mud-flap girl silhouette.


                               KING
                    This little mamacita -- a modified
                    version of the Army’s Objective
                    Individual Combat Weapon.  Pick your
                    poison -- stakes, sun dogs, heat-seeking
                    mini-rockets.  Whatever gets you hard,
                    this puppy will pump out.
                         (gesturing to Blade’s
                         sword, sarcastic)
                    Of course it doesn’t have the range of a
                    sword but --


           Next, Hedges shows Blade the CRESCENT-SHAPED DEVICE that
           Abigail used.  He gives the device a twist and --


                               HEDGES
                    We call this the UV arc --


           CHINKT!  The device extends from either end, telescoping
           outward.  Connecting the tips is a concentrated UV LASER.


                               HEDGES
                    You hold the arc in the center, curved
                    away from you.  Connecting the tips is a
                    powerful UV laser beam.  Because of its
                    high focus, the laser cuts through vampire
                    flesh like a knife through butter.


                               KING
                    We’re still trying to sort out fact from
                    fiction when it comes to Dracula.  Turning
                    into mist?  Kinda doubt it.  But general
                    shape-shifting?  Maybe.


                               HEDGES
                         (off Blade’s look)
                    Not into a bat or a wolf or anything like
                    that.  But another human, someone with the
                    same approximate body mass -- given enough
                    practice it might be possible.


                               BLADE
                    How?


                               HEDGES
                    He wouldn’t have a traditional skeletal
                    structure.  Probably something more like a
                    snake, with thousands of tiny bones in the
                    place of a normal array.  Commensurate
                    with this would be an exquisite control of
                    electrical potential across his tissues,
                    resulting in an ability to effectively
                    change shape at will --


                               KING
                         (raising his hand)
                    Question.  Have you ever been laid,
                    Hedges?


           CUT TO:


           INT. WAREHOUSE/GARAGE - DAY


           Blade, King, and Abigail, newly suited up for war, moving
           towards the Land Cruiser.


                               BLADE
                    Time to apply some pressure.  The weak
                    link in the vampire chain of command has
                    always been their familiars.  Vampires
                    can’t go out in the day, so they get
                    humans to do their dirty work for them
                    Blood-running, safe house maintenance,
                    whatever --
                         (climbing in the Cruiser)
                    We bleed the wanna-be vampires, they’ll
                    lead us to the real thing.


           Blade starts the ENGINE.


           INT. LAND CRUISER - DAY


           Blade looks to Abigail, who sits in the back.  She has a
           laptop on her knees and is assembling an MP3 playlist.


                               KING
                    She’s making playlists.  Likes to listen
                    to MP3s when she hunts.  Her own internal
                    soundtrack, you know?  Dark-core, trip
                    hop, whatever kids these days are
                    listening to.  Me?   I’m more of a Kenny G
                    fan.


           Finished, Abigail slips her earbuds into her ears, turns on
           her portable MP3 player.  MUSIC CUE.  The smoking bassline of
           Jurassic 5’s ‘A Day At The Races’ kicks in as --


           EXT. CITY STREETS - VARIOUS - DAY


           -- Blade, King, and Abigail cruise the streets in a jagged
           fast-forward montage.


           EXT. SEEDY BAR - DAY


           The Land Cruiser jumps the curb, SCREECHING to a stop in front
           of a scuzzy bar.  Amidst a wall covered with graffiti and
           flyers we see a vampire glyph.


           INT. SEEDY BAR - DAY


           BANG!  Blade KICKS open the door.  A couple of LOW-LIFES take
           notice.  Blade moves around the bar, opening a refrigerator -
           we see packs of REFRIGERATED BLOOD inside.


           One of the low-lifes takes off running, back past the
           bathroom, shouldering a door at the rear --


           EXT. SEEDY BAR - REAR ENTRANCE - DAY


           --	STUMBLING right into Abigail’s arms.  She trips him up,
           swinging him around, pinning an arm behind him.  She pulls the
           back of his collar down, sees a VAMPIRE GLYPH --


           We can’t hear what the familiar is saying, but he’s squealing,
           raising his hands in a "please don’t hit me anymore" manner.


           EXT. CITY STREETS - VARIOUS - DAY


           The Land Cruiser rockets down the streets.


           EXT. VAMPIRE SAFE HOUSES - VARIOUS - DAY


           In quick succession we see a half-dozen underworld dives --


           -- a pool hall --


           -- an internet cafe --


           -- an electronics repair shop --


           All are fronts for vampire operations, featuring back rooms
           with refrigerated blood and high-tech coffin-like beds where
           the vampires can safely sleep through the day unmolested.


           In each new location, Blade, King, and Abigail resort to
           oldfashioned strong-arm tactics:


           -- Blade HEAD-BUTTS a familiar.


           -- King PUNCHES a familiar across the jaw.


           -- Abigail KICKS a familiar in the stomach.


           Cut to a flurry of EXTREME CLOSE-UPS of VAMPIRE GLYPHS being
           exposed on the backs of familiar’s necks, one after another --


           THEN A MONTAGE OF FACES


           as familiars have their heads cainfully SMASHED against --


           -- walls --


           -- car hoods --


           -- pool tables --


           -- into windows and doors and garbage cans.


           The bullying moves come faster, the shots becoming more and


           more abstract until --


           EXT. CITY ROOFTOP - DAY


           -- WHAM!  Blade tosses HOOP, a skinny familiar, off a roof. 
           It’s a four story drop.  Hoop falls, SCREAMING -- but then
           jerks to a stop about twenty feet down, dangling upside down.


           We see now that Hoop has rope tied around one of Hoop’s
           ankles.  And Blade is clutching the other end of the rope.


           Blade hauls Hoop back up -- but still keeps him dangling
           upside down.  King and Abigail look on.


                               BLADE
                    Want another spin, ass-hole?  Eventually,
                    your head’s gonna pop off.


                               HOOP
                    Shit!  Oh Jesus, please, please --


                               BLADE
                    Who’s your handler?


                               HOOP
                    I don’t know his name, I swear I --


           Blade prepares to drop Hoop again --


           -- but a CELL PHONE in Hoop’s jacket RINGS.  Blade fishes it
           out.  The screen reads:  EDGAR VANCE, 555-5631.


           EXT. CITY STREET - DAY


           Dr. Vance, the psychiatrist who gave Blade the mental
           evaluation, is cruising in his Pacific Blue XKB convertible
           Jaguar.  He’s wearing sunglasses, talking on his cell phone.


                               VANCE
                    This is Dr. Vance.  Did someone page me?


           EXT.  CITY ROOFTOP - DAY


           Blade ends the call, then looks to Hoop, smiling cruelly.


           Blade lets Hoop drop.  The familiar PLUNGES four stories,
           SCREAMING.  Lands dead-center in a Goodwill box below.


                                                                 CUT TO:


           EXT. VANCE INSTITUTE FOR WHOLE BEING - DAY


           A high-tech office complex surrounded by meticulously-groomed
           grounds.  A sign with a swanky "VANCE INSTITUTE" logo zooms.


           Blade, King, and Abigail approach, taking note of Vance’s
           Jaguar (complete with vanity plate), parked in front.


                               KING
                    Hey, Blade -- why didn’t the vampire bite
                    Mick Jagger?
                         (off Blade’s look)
                    Cause you can’t get blood from a Stone.


           As Blade walks off --


                               KING (CONT’D)
                    Hey, they can’t all be gems!


           INT. VANCE INSTITUTE FOR WHOLE BEING - LOBBY - DAY


           The trio enter, drawing stares from a number of PATIENTS
           gathered in a reception area.  Nearby is a large display with
           Vance’s grinning face.  Beneath it, text reads:


                                 EDGAR VANCE, M.D.


                     PRESIDENT, VANCE INSTITUTE FOR WHOLE BEING


           Nearby is a bank of monitors showing a snazzy video featuring
           a BEAUTIFUL YOUNG COUPLE marvelling at a sunrise.


                               NARRATOR
                         (on monitors)
                    Regain control of your life.   Wake to a
                    new dawn.  At the Vance Institute for
                    Whole Being we believe in an integrated
                    approach to human health.


           The image cuts to Vance himself, poised on the edge of his
           desk, smiling.  As Blade and company move through the
           institute, the video plays counterpoint to their progress.


                               VANCE
                    I’m Dr. Vance.  Welcome to our facility.
                    As a member of the medical profession I
                    want to assure you that I will do
                    everything in my power ro provide you with
                    the care and compassion that you deserve.


           Past the RECEPTION DESK are the elevators with more monitors
           showing the video greeting.  As Blade, King, and Abigail
           approach, TWO SECURITY GUARDS move to intercept them.


                               SECURITY GUARD
                    Excuse me, can I help y--


           CRACK!  Blade effortlessly tosses the guards aside, sending
           them CRASHING into the nearest monitors.


           INT. VANCE INSTITUTE - HALLWAY - CONTINUOUS


           The trio continue.  A DOCTOR steps out of a doorway.  King
           PUNCHES him in the face.  We see another video monitor.


                               VANCE
                    What does it mean to be human?  Since the
                    dawn of creation our ancestors have asked
                    ourselves that question.


           They round the corner --


           INT. VANCE INSTITUTE - SECOND HALLWAY - CONTINUOUS


           -- nearly colliding with TWO MORE SECURITY GUARDS.  Blade
           takes them both out.  There’s another video monitor.


                               VANCE
                    The modern world today is filled with
                    countless challenges.  In every direction
                    we look, toxic stressors are impacting
                    upon our happiness.  We think we’re
                    healthy, but the truth is, our immune
                    systems are engaged in a life or death
                    struggle to maintain our well being.


           INT. VANCE INSTITUTE - OUTER OFFICE - CONTINUOUS


           Blade, King, and Abigail storm in.  An EXECUTIVE ASSISTANT is
           moving to stop them.


                               EXECUTIVE ASSISTANT
                    I’m sorry but you can’t --


           Abigail KICKS out the man’s knee, then slices her hand into
           his windpipe, silencing him.


                               VANCE
                    Now, I’d like to take a moment to exolain
                    how a series of remarkable new
                    breakthroughs can immeasurably improve the
                    quality of your life


           Blade aims his shotgun at the door leading to Vance’s office.
           He FIRES at the keycard lock, KICKS down the door --


           INT. VANCE INSTITUTE - VANCE’S OFFICE - DAY


           --	startling Dr. Vance himself, who is rising up from behind
           his desk.  Vance is wiping his mouth, not dressed like a
           doctor would normally be.  But we hardly notice this as --


                               VANCE
                    What --?


                               BLADE
                    Payback, Vance.


           --	Blade aims his shotgun at Vance’s head.  Vance just
           smiles, seemingly unconcerned as --


           --	Abigail circles around the other side, getting a view
           behind Vance’s desk where --


           VANCE’S BODY


           lies on the floor.  His throat has been ripped out.  And this
           body is dressed like a doctor.


           King puts it together first, reaching for a silver stake even
           as we hear the sound of POPPING CARTILAGE coming from beneath
           the Vance double’s flesh --


                               KING
                    Jesus, it’s him!  It’s Drake!


           The Vance double jumps atop the desk and swats the muzzle of
           Blade’s shotgun aside, re-directing the BLAST, which SHATTERS
           a glass window.  Then he KICKS Blade in the chest, KNOCKING
           him clear across the office as --


           --	King advances.  The Vance double’s face WARPS, the bones
           in his head shifting around.  He reaches for King, SLAMS him
           onto the desk, TWISTS the stake from King’s hand and brutally
           SHOVING it into King’s rib cage, pinning him to the desk top.


           Then the Vance double whirls around to engage Abigail -- only
           we see that it’s Drake now, having taken Vance’s shape.


           DRAKE


           BACK-HANDS Abigail across the face, a teeth-jarring blow.


           She spins, falling --


           -- and Drake is moving like a hurricane, LEAPING through the
           window that was shattered by Blade’s shotgun blast.


           BLADE


           gives chase.  He looks out the window, SEES Drake landing on
           the ground, some three stories below.


           EXT. VANCE INSTITUTE - REAR ENTRANCE - ALLEY - DAY


           Drake runs with inhuman speed.  He effortlessly scales a chain
           link fence, then BARRELS straight through a wooden barricade,
           sailing over a trash dumpster.  Seconds later, Blade follows,
           catching sight of Drake rushing out into --


           EXT. STREET MARKET - VARIOUS - DAY


           -- a crowded urban market.  What unfolds is a foot-chase at
           super-human velocity.  Vampire and hunter are moving at least
           twenty miles an hour, BATTERING ASIDE various pedestrians,
           SMASHING through and over stalls of merchandise.


           EXT. BUSY STREET - DAY


           Drake emerges onto the sidewalk of a busy street, four lanes
           of rush-hour traffic WHIZZING PAST.


           Abruptly, Drake cuts into the traffic, LEAPING atop the hood
           of an oncoming car.  The car’s HORN sounds, brakes SQUEAL.


                               BLADE FOLLOWS,
                    jumping onto the hood of another car. More
                    HORNS sound.


           In this manner. Drake and Blade race across the flowing
           traffic itself. using the hoods and roofs of the cars like
           moving stepping stones.


           ON THE OTHER SIDE OF THE STREET


           Drake mounts the steps of an older apartment building,
           THUNDERS his way through the main entrance --


           INT. OLDER BUILDING - STAIRWELL/CORRIDOR - DAY


           Blade is on Drake like a shadow.  We’re internal now, the
           sound of Blade’s LABORED BREATH moving to the foreground of
           the soundscape.


           Chaos.  A BARKING DOG darting from a doorway.  Up ahead, an
           OLD MAN has been knocked over.  An insane dash up two flights
           of stairs, then down a corridor, passing MORE TENANTS. 
           Somewhere, a WOMAN SCREAMS.  We hear GLASS BREAKING and --


                               WOMAN
                    My baby


           -- there’s another open door --


           INT. OLDER BUILDING - APARTMENT - DAY


           -- Blade tears into an apartment, passing a HYSTERICAL WOMAN,
           an upended crib.  He SEES a broken window by a fire escape --


           EXT. OLDER BUILDING - FIRE ESCAPE - DAY


           Cut onto the fire escape.  A glimpse of Drake overhead.


           Blade clambers up the fire escape, moving in a near-blur.  One
           story of steps up the rickety metal ladder --


           SMASH!  A LARGE PLANTER comes down from above, nearly striking
           Blade.  He lets go with one hand, swings outward --


           -- then he’s climbing again.  A CLOUD OF PIGEONS take wing,
           flapping frenetically about him, momentarily blinding him.


           Another story, a third, a fourth.  As he reaches the top,
           Blade jumps, catching the edge of the roof above him --


           EXT. OLDER BUILDING - ROOFTOP - DAY


           -- FLIPPING himself over and onto the roof.  He lands in a cat
           stance, drawing his sword, quickly scanning the area.


                               DRAKE (O.S.)
                    So you’re the hunter they all fear.


           Blade spins --


           DRAKE


           stands on the ledge of the roof, cradling an INFANT in his
           arms.  In the full glare of the afternoon sun.


                               DRAKE
                         (re: infant)
                    Just so we understand each other,
                    Daywalker.


           With his free hand, he massages his jaw.  We hear a few more
           Pieces of POPPING CARTKAGE as the very last of Drake’s
           cermanent features seem to settee into clace.


                               BLADE
                    Why did you kill Vance?


                               DRAKE
                    He’d outlived his purpose.  He’d become a
                    liabi1ity.


           Drake nods at Blade’s sword --


                               DRAKE
                    Your sword -- I’ve seen that hilt before. 
                    Eight or nine centuries ago.  The hunter
                    who carried it was an accomplished
                    fighter.


           EXT. SEASIDE CLIFF - DAY (THE PAST)


           Drake in his armor, head to head with a 14th century VAMPIRE
           HUNTER.  The hunter has BLADE’S SWORD.  Drake tears the sword
           from the hunter’s grasp, turns it around, thrusts it back
           through the man’s chest.  And as the man GASPS we are --


           EXT. OLDER BUILDING - ROOFTOP - DAY (THE PRESENT)


           -- back to here and now.


                               DRAKE
                    He was honorable, in his own way.  He
                    died a good death.


                               BLADE
                    I wouldn’t know about that.


                               DRAKE
                    You lie.  You’re part of a grand
                    tradition, Blade.  You hunters have
                    plagued my people since the day we first
                    walked the earth.  And I have vanquished
                    them.  One by one.


           Blade pauses, looking for some kind of opening.


                               BLADE
                    How can you exist in the daylight?


                               DRAKE
                    I’ve always been able to.  Haven’t you
                    read Mr. Stoker’s fable?  I was the first
                    of the vampires.  I am unique.


                               BLADE
                         (realizing)
                    That’s why they brought you back.


                               DRAKE
                    Yes.  My children seek to isolate the
                    properties in my blood that make me immune
                    to sunlight.  Through me, they believe
                    they can all become Daywalkers.


           Drake glances down at the street people.  Throngs of PEOPLE
           are massing there, pointing up at him.


                               DRAKE
                    The world’s changed much since I went to
                    sleep.  How crowded it’s become.  Look at
                    them down there.  Lives brief as
                    fireflies.  Do you think they can ever
                    grasp what it means to be immortal like
                    us?


                               BLADE
                    You’re not immortal.  I must’ve heard a
                    hundred of you people make the same claim. 
                    And every one of them’s seen the end of my
                    sword.


           Drake smiles, intrigued by an obviously worthy opponent.


                               DRAKE
                    Perhaps I will as well, then.  But I think
                    it’s more likely that you will fall before
                    mine.
                         (beat)
                    Catch.


           Drake tosses the infant at Blade.  Blade twists around to
           catch it, scooping it safely up.  But when he looks back --


           -- Drake is gone.


                               KING (O.S.)
                    Shit!


           INT. VANCE INSTITUTE - VANCE’S OFFICE - DAY


           CLOSE ON King being propped up against the wall by Abigail.
           Blade has joined them.  King is in terrible pain.


                               KING
                    Jesus, it hurts.  I wanna be a vampire
                    again -- fuck!  Did you see that guy?!
                    We’re gonna lose, man.  We’re gonna
                    fucking lose.


           Abigail ignores King, cuts open his shirt.  She removes a
           small aerosol cannister from her belt.


                               BLADE
                    What’s that?


                               ABIGAIL
                    Fibrin sealant foam, it’s an elastic
                    protein.  Help me spread the wound open.
                    The foam should seal the hemorrhaging in
                    his body cavity from within --


           Together they spread the wound apart.  King is really hurting,
           breathing hard as he tries to fight back the pain.


                               KING
                    Hey, hey -- what’d the one lesbian
                    vampire say to the other?


                               ABIGAIL
                    Shut up, King.


                               KING
                    -- see you in twenty-eight days --


           King’s voice trails off as he passes out.  Abigail triggers
           the dispenser, spraying a jet of compressed foam into it.  The
           foam condenses, sealing the wound up.


           INT. NIGHTSTALKERS HEADQUARTERS - DAY


           Blade and Abigail enter the HQ, hauling King between them. 
           Dex and Hedges rush to meet them, relieving them of King.


           Exhausted and covered in blood, Abigail retires to her
           quarters, stripping off her clothes.


           INT. NIGHTSTALKERS’ HEADQUARTERS - SHOWERS - DAY


           Abigail stands beneath (he showerhead, turning her face up
           into the scalding spray, rinsing the blood from her body.


           CLOSE ON the drain by her feet, BLOOD swirling down it.


           INT. NIGHTSTALKERS HEADQUARTERS - INFIRMARY - DAY


           King drowses on a cot.  His shirt is off and his chest has
           been bandaged.  He opens his eyes, SEES Blade above him.


                               KING
                    Hey, Blade -- say we’re successful.  Say
                    we wipe the vampires out.  What happens
                    then?  You ever ask yourself that?
                         (weakly)
                    Somehow I don’t picture you parked on a
                    porch with a jigsaw puzzle.


           King drifts back into unconsciousness again, leaving Blade
           left to ponder his words.


           INT. NIGHTSTALKERS HEADQUARTERS - LABORATORY AREA - DAY


           Later, Sommerfield and Hedges consult with Blade and Abigail.


                               HEDGES
                    So basically we’re in an arms race.
                    They’re using Drake’s DNA to build
                    themselves a better vampire --


                               BLADE
                         (noddin)
                    -- and we need his blood to kill them.
                         (to Sommerfield)
                    How’s this weapon of yours coming along?


                               SODDERFIELD
                    We’re almost there --


           She gestures to a series of ampule-like prototypes.  (We’ll
           see the completed version of this device later on.)


                               SOMMERFIELD
                    The virus is harmless to humans.  So we
                    decided to go after the vampires’ food
                    source.  The one thing we know for sure
                    about vampires is that they have to drink
                    blood. 
                    If we manage to pull this off, we’ll be
                    able to contaminate every blood source on
                    the planet.  They won’t have anyone left
                    to feed on.


                               ABIGAIL
                    Doesn’t do us any good if we don’t have
                    time to finish it.  We can’t just sit
                    here.  We need to take the battle to them.


           Sommerfield lowers her head, thinking.


                               SOMMERFIELD
                    If the vampires are trying to isolate the
                    hereditary factor in Drake that makes him
                    immune to sunlight, they’ll require
                    certain kinds of laboratory equipment and
                    provisions.  For instance, there’s an
                    enzyme called Taq Polymerase.  And there
                    are only a limited number of suppliers.
                         (beat)
                    Give me a few hours.  I’ll see if I can’t
                    hunt us up some leads.


                                                                 CUT TO:


           EXT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           Moving towards the mirrored windows we hear LABORED BREATHING.


           INT. PHOENIX TOWERS - DRAKE’S QUARTERS - NIGHT


           CLOSE ON hands clasped together -- a man and a woman’s.


           CLOSE ON Danica’ s face, covered in sweat, in the throes of
           passion.  She looks up, eyes glazed --


           PULL BACK to reveal Drake, propped above her, thrusting away.
           Danica has her limbs wrapped around Drake, holding on for dear
           life.  Both are awash in moonlight.


           The two of them climax.  Drake withdraws, studying Danica. 
           She’s naked but for the tiny silver crucifix she wears around
           her neck.  Drake nudges the crucifix with his finger.


                               DRAKE
                    Why do you wear that -- symbol?


                               DANICA
                         (defensive)
                    Old habits --


           She sits up, draping a sheet over her.


                               DANICA
                    I was a good Catholic school girl	Once.


           Drake nods, his thoughts distant.


                               DRAKE
                    I was there when they crucified him.  He
                    died -- for their sins, not mine.


                               DANICA
                         (playful1y)
                    And what are your sins?  Would you care
                    to confess them?


                               DRAKE
                         (shaking his head)
                    Too numerous to remember.
                         (nodding at the crucifix)
                    Take it off.


                               DANICA
                    Why?


                               DRAKE
                    I’ll make you a better one.


           Drake draws her in, biting her gently on the neck, sinking his
           fangs into her flesh.  He pulls his head back.  Two rivulets
           of BLOOD trickle from the fresh wounds.


                               DRAKE
                    There’s an old saying --


           Drake reaches for the sheet, pulling it away from Danica’s
           chest.  Then he dips his fingertips into her flowing blood -
           PAINTING a long streak of it down between her breasts.


                               DRAKE
                    Kill one man, you’re a murderer. Kill a
                    million, a king.
                         (smiling)
                    Kill them all, a God.


                                                                 CUT TO:


           INT. NIGHTSTALKERS HEADQUARTERS - STORAGE AREA - NIGHT


           CLOSE ON a pneumatic injector.  PULL BACK to reveal Blade
           injecting himself with his serum.  No pain.  No violent spasms
           like before.  Blade’s body now accepts the serum.


           ANGLE ON ZOE,


           crouched on an old piece of carny equipment, watching him.


                               ZOE
                    Why do you do that?


                               BLADE
                    There’s something bad inside of me.  This
                    keeps it from getting out.


           Zee considers this.


                               ZOE
                    Why can’t you just be nice?


                               BLADE
                    Good question.


                               SOMMERFIELD (0.S.)
                    I think I’ve got a lead.


           INT. NIGHTSTALKERS HEADQUARTERS - LABORATORY AREA - NGHT


           Sommerfield stands at her computers, reading a tactile Braille
           display.  Blade and Abigail are nearby.


                               SOMMERFIELD
                    Biomedica Enterprises.  They’ve been
                    buying up all sorts of supplies -- Taq
                    polymerase, bone marrow growth supplement,
                    genetic sequencing enzymes.


                               BLADE
                    We’ll check it out.


                                                                 CUT TO:


           EXT. BIOMEDICA ENTERPRISES - NIGHT


           A high-tech research park.


           INT. BIOMEDICA ENTERPRISES - LAB - NIGHT


           Hendrix, the vampire doctor we saw earlier, sits at a computer
           workstation.  Chief Vreede confers with him.  We hear a KNOCK
           at the door.  Hendrix looks to Vreede.  They obviously weren’t
           expecting anyone.


           Hendrix moves to the door, checking a surveillance monitor. 
           He can’t see anyone outside.  He shrugs, turns to leave and --


           CRUNCH!  The door is SMASHED inward, taking much of the door
           frame with it, flattening Hendrix.


           Blade and Abigail step inside.  As Blade hauls Hendrix up from
           the ground, Abigail points her already drawn gun at --


           CHIEF VREEDE


           He was reaching into his jacket for his own piece, now thinks
           better of it.


                               BLADE
                    Doing a little moonlighting, Chief?


           Blade nods to Abigail.  She reaches onto Vreede’s jacket to
           disarm him.  Blade grips Hendrix by the shirt collar.


                               BLADE
                    C’mere.  We need to talk.


           Blade PUNCHES Hendrix in the face.  Hendrix sags for a moment,
           stunned.


                               BLADE
                    Now spill it, bite-boy.


                               HENDRIX
                         (wiping a bloody nose)
                    You know what we’re doing.  Drake has come
                    back to us.  Soon we’ll all be Daywalkers.
                    And when that day comes, the world will
                    truly be ours.


           Blade nods towards the back of the lab where another door -- a
           very secure one -- is located.


                               BLADE
                    What’s back there?


           Hendrix shoots a quick look to Vreede.  Then he turns on
           Blade, all fangs and claws, trying to tear Blade’s eyes out --


           Abigail FIRES her UV gun with blinding speed and --


           -- Hendrix is dead before he knows it.  ASHING all over Blade.


           Blade brushes Hendrix’ s remains from coat collar, shoots
           Abigail a look:  "Did you really have to do that?"


                               BLADE
                         (dryly)
                    Thanks.


           Abigail cringes.  Mea culpa.


           Blade looks to the floor.  Aside from some cinders, all that
           remains of Hendrix are his glasses and a singed keycard. 
           Blade picks up the keycard, looks to Vreede.


                               BLADE
                    What’s behind Door Number One?


                               VREEDE
                    They’ll kill me --


                               BLADE
                         (an evil grin)
                    So will I.  But I’ll enjoy it more.


           Vreede nods.  They move towards the door.  Blade slides the
           security card.  An inset light changes from RED to GREEN. 
           Vreede punches in a numeric code.  The doors slide open --


           INT. BLOOD FARMING FACILITY - MAIN ROOM - NIGHT


           Blade, Abigail, and Vreede emerge into a cavernous room.


                               ABIGAIL
                    God in Heaven --


           HUNDREDS OF HUMAN CADAVERS


           hang from gantries, preserved in fluid-filled pods, suspended
           by wires like nightmarish marionettes.  The bodies are hooked
           up to an elaborate system of biosensor feeds and IVs which are
           designed to replenish vital nutrients.


                               BLADE
                    What was this place?


           Vreede pauses before answering, looking uncomfortable.


                               VREEDE
                    It’s a blood farming facility.
                         (elaborating)
                    They decided that hunting humans on a
                    piece-meal basis was too inefficient. 
                    Why kill your prey when you can keep them
                    alive?  Productive.  Under optimal
                    conditions a donor can generate anywhere
                    from fifty to a hundred pints of blood a
                    year.


                               ABIGAIL
                         (sickened)
                    But where did you get all these people?


                               VREEDE
                    The streets.  In any given year you’ve got
                    two to three million homeless people
                    wandering around America --
                         (shrugging)
                    No one cares about them.  We’re doing the
                    country a service, really.


           Blade shakes his head, admiring the horrible efficiency.


                               BLADE
                    The vampire Final Solution.


           Abigail moves towards one of the pods, touching her hand to
           the glass, studyihg the comatose person within.


                               ABIGAIL
                    Are they aware?  Do they feel anything?


                               VREEDE
                         (shaking his head)
                    They’re in a chemical-induced coma.
                    They’re brain-dead, vegetables.


           Blade angrily SLAMS Vreede’s face against one of the pods.


                               BLADE
                    Look at this!  Is this the future you
                    want?  You think there’s a place for you
                    in their world?


           Vreede starts crying, blubbering.


                               VREEDE
                    We don’t have a choice!  They’re going to
                    win, don’t you see that?!  He’s come back!
                    There’s nothing stopping them now!


           Blade pulls Vreede back so they’re nose to nose --


                               BLADE
                    There’s me.


           -- and Blade releases Vreede.


                               BLADE
                    Go.  You’ve got thirty seconds.


           Vreede turns and runs, stumbling towards the door.  Despite
           his promise, Blade lifts his MACH.  Without even looking in
           Vreede’s direction, Blade FIRES.  We hear Vreede drop.


           Blade turns to Abigail.  She can hardly contain herself.
           Nearby is a control console.  Blade UNLOADS his MACH pistol
           into it, damaging the interlinked life support systems.


           One by one, the vital signs and EKGs on the pods flat-line,
           their warning tones rising into a collective, PIERCING WAIL.


                               BLADE (CONT’D)
                         (feeling a heavy weight)
                    Let’s go.


           Blade and Abigail leave, turning the lights out as they go.


                                                                 CUT TO:


           INT. NIGHTSTALKERS HEADQUARTERS - STORAGE AREA - NIGHT


           A basketball hoop has been set up in the back area and Dex and
           Hedges are engaged in a wicked game of one-on-one.


           INT. NIGHTSTALKERS HEADQUARTERS - LABORATORY AREA - NIGHT


           Scm~erfield works, refining the virus.  Because she is blind,
           she doesn’t need light.
           H er computer’s voice synthesis program has been activated and
           it’s currently reading the various statistics that appear on
           her main monitor.


                               COMPUTER
                    CYTOGENETICS AUDIT DATA FROM -- AUGUST
                    FIFTEENTH, TWO-THOUSAND AND FOUR.
                         (beat)
                    AMNIOTIC FLUIDS -- INPUT DELAY/ZERO.
                    ABNORMAL SAMPLES/TWO. BANDING
                    QUALITY/SEVEN-POINT-TWO --


           At the same time, Sommerfield is reading aloud to Zoe, who
           sits nearby.  The book is The Emerald City of Oz and it’s in
           Braille.  Sommerfield scans with her fingers.


                               SOMMERFIELD
                    ‘The reason most people are bad is because
                    they do not try to be good.  Now, the Nome
                    King had never tried to be good, so he was
                    very bad indeed.  Having decided to
                    conquer the Land of Oz and to destroy the
                    Emerald City and enslave all its people,
                    King Roquat the Red kept planning ways to
                    do this dreadful thing, and the more he
                    planned the more he believed he would be
                    able to accomplish it --’


                               COMPUTER
                    CYTOGENETICS AUDIT DATA FROM -- AUGUST
                    FIFTEENTH, TWO-THOUSAND AND FOUR.


           ANGLE ON A BANK OF SURVEILLANCE MONITORS


           We see Whistler approaching through the garage.


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           The steel door slides open and Whistler enters.


           INT. NIGHTSTALKERS HEADQUARTERS - INFIRMARY AREA - NIGHT


           King drowses on a cot.  He hears a NOISE, opens his eyes.
           Whistler stands in the doorway.


                               KING
                    You get me those Fruit Roll-ups like I
                    asked --
                         (surprised)
                    Dude.  Aren’t you dead?


           Whistler doesn’t respond.  King tries to sit up -- but
           Whistler places his hand on King’s mouth, shoving him down,
           starting to smother him.  King struggles, confused.


           INT. NGHTSTALKERS HEADQUARTERS - STORAGE AREA - NIGHT


           Dex manages to steal the ball from Hedges, makes a shot. 
           Behind them, Whistler enters the makeshift court.


   130     INT. NIGHTSTALKERS HEADQUARTERS - LABORATORY AREA - NIGHT130


           Abruptly, the sounds of the one-on-one game stop.  We hear a
           THUD from the back of the warehouse -- like someone falling.


                               COMPUTER
                    BLOODS -- INPUT DELAY/ZERO. ABNORMAL
                    SAMPLES/SEVEN. BANDING QUALITY/EIGHT-
                    POINT-ONE --


           Sommerfield looks to the storage area.  The silence is
           unnerving.  She turns off her voice-synthesis program.  Then
           closes the book.


                               SOMMERFIELD
                    Guys?  You okay --?


           ON THE DOORWAY


           The basketball comes bouncing out.  It rolls, coming to rest
           against a workbench.  There are BLOOD SPATTERS on the ball.


           Sommefrield reaches for her cane.  She TAP-TAPS her way to the
           baLl, feels the blood.  Knows what it is.


                               SOMMERFIELD
                    Zoe, go find some place to hide, sweety.


           Zoe hesitates.  Sommerfield senses it and lashes out with her
           cane, BANGING a rack of equipment, startling the girl.


                               SOMMERFIELD
                    Damnit, go!  Get out of here, Zoe!


           The girl scurries away.  Sommerfield TAP-TAPS with her cane,
           moving towards the storage area.  She finds a gun cabinet,
           feels around with her hands, locates an electronic pistol.


           INT. NGHTSTALKERS HEADQUARTERS - STORAGE AREA - NIGHT


           Sommerfield enters.  Dex and Hedges are sprawled on the floor
           before her, having been slaughtered.  Blood is everywnere. 
           She doesn’t see them, of course.  But we do.


           THE CAMERA SHIFTS AROUND,


           revealing Whistler crouched right behind her!


           She’s unaware of his presence.  And as we watch, his facial
           features shift.  We hear the sickening sounds of CARTILAGE
           POPPING and we realize that it’s Drake, not Whistler.


           With mounting dread, Sommerfield turns towards the sound.  And
           then Drake is upon her, rushing forward with a GROWL.


           INT. NIGHTSTALKERS HEADQUARTERS - BATHROOM - NIGHT


           As Sommerfield’s AGONIZED SCREAMS echo through the warehouse,
           Zoe rushes into the bathroom, looking for a place to hide. She
           considers the lockers, discounts them.  Then settles on --


           A HEATING GRATE


           near the floor.  It’s about fourteen inches wide -- just
           barely big enough for her to squeeze into.


           Zoe kneels, prying the grate off.  Inside, a heating duct
           extends four feet before making a ninety-degree turn upward.
           Zoe climbs into the duct feet first, scooting her body
           backwards.  Then she reaches for the grate, securing it back
           on, sealing herself inside.


           INT. HEATING DUCT - NIGHT


           Zoe waits.  It’s cramped and claustrophobic inside the duct. 
           She’s managed to force herself all the way back to the ninety
           degree turn by curling up into a near fetal position.


           ZOE’S POV (THROUGH GRATE)


           Mostly tile floor and a small portion of the open doorway
           leading to the hallway outside.


           She listens, trying to hear past the sound of her own


           BREATHING which has been magnified because of the ducting.


           The screams from the outer rooms have stopped.  Then --


           ZOE’S POV (THROUGH GRATE)


           A pair of boots appear in the doorway -- Drake.


           Zoe holds her breath.  We HEAR Drake searching the bathroom,
           opening the lockers and bathroom stalls.


                               ZOE’S POV (THROUGH GRATE)
                    Drake’s boot-clad feet pass by the grate
                    again, closer, tn~s time. They pause for
                    an interminable moment --


           Zoe shuts her eyes.  She can’t stand it.  Finally, we hear
           Drake’s FOOTSTEPS receding away.  Relieved, Zoe takes in a
           breath and opens her eyes --


           ZOE’S POV (THROUGH GRATE)


           Drake’s face is right there.  pressed up against the other
           side of the grate, staring at her!


           Zoe SCREAMS.  With a ROAR, Drake rips the grate off.  He tries
           to climb inside, but the width of the duct is too narrow to
           accommodate the size of his upper body.


           Instead, he reaches his right arm in, extending his clawed
           hand as far as he possibly can.  Zoe WHIMPERS, trying to
           compress her mass into an even tighter ball --


           ON DRAKE’S HAND,


           having reached the limits of its extension -- his fingertips


           only a few scant inches from Zoe’s face.


           Zoe’s been allowed a moment’s reprieve.  He can’t reach her!


           But then we hear the sound of POPPING CARTILAGE.  Of TINY
           BONES shifting beneath Drake’s flesh.  Drake’s fingers are
           elongating, snake-like Reaching for Zoe’s face, rapidly
           closing the space whici1 separates them --


           CUT TO:


           EXT. LUNA PARK/GARAGE - NIGHT


           The real Blade and Abigail are returning.  The sliding garage
           door opens and the Land Cruiser glides inside.


           INT. NIGHTSTALKERS HEADQUARTERS - NIGHT


           Blade and Abigail enter.  The place is dark.  They know
           instinctively that somethong is wrong.


           Blade tries a nearby light.  The power is out.  They both draw
           their weapons.  Blade turns on a FLASHLIGHT.  They move onto
           the darkness --


           SHADOWS loom everywhere.  It’s like a tornado touched down
           inside.  Equipment lies smashed, tables and chairs have been
           overturned.  Sommerfield’s lab area has been destroyed.


                               ABIGAIL
                    King --


           Blade and Abigail rush to the infirmary area, but King is gone
           and the place has been trashed.  They move into --


           INT. NIGHTSTALKERS HEADQUARTERS - STORAGE AREA - NIGHT


           -- the back area.  They find Dex and Hedges on the floor,
           their bodies bled, desecrated.


                               ABIGAIL
                         (realizing)
                    Zoe -- where’s Zoe?


           INT. NIGHTSTALKERS HEADQUARTERS - VARIOUS - NIGHT


           With increased urgency, Blade and Abigail search the
           headquarters -- the bathroom, the garage, every nook and
           cranny.  With each moment, Abigail becomes more panicked.


                               ABIGAIL
                    Where is she?!


           They can’t find her anywhere.


           INT. NIGHTSTALKERS HEADQUARTERS - SHOWER AREA - NIGHT


           Blade and Abigail enter.  A thin stream of BLOOD snakes its
           way across the shower tiles.  Taey follow it, discovering --


           SOMMERFIELD,


           her body propped up mock-crucifixion style in the showers.  On
           the wall nearby, someone has written a message in blood:


                  "IMMORTALITY WILL COME TO SUCH AS ARE FIT FOR IT"


           ON BLADE


           He knows damn well who left him the message.


           As tears streak down Abigail’s cheeks, she rushes to
           Sommmerfield’s body.  Together, she and Blade get her down.


           Abigail clutches Sommerfield, slowly rocking the body in her
           arms.  Blade puts a hand on her shoulder.


                               BLADE
                    Use it.


           Abigail doesn’t respond.  Her whole body is shaking.


                               BLADE (CONT’D)
                         (more firmly)
                    Use it.


           Abigail raises her head, her eyes filled with hatred.  Blade
           doesn’t let up.  He’s like a drill instructor, galvanizing her
           with his words.


                               BLADE (CONT’D)
                    USE IT!!!


           Abigail lifts her head toward the heavens, letting loose a
           TORTURED SCREAM that erupts from the very pit of her soul.


           CUT TO:


           EXT. PHOENIX TOWERS - NIGHT


           Abigail’s SCREAM ECHOES over the moonlit cityscape.


           INT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           CLOSE ON King’s bloody face.  A dog is licking it.  King
           stirs, his eyes fluttering open --


           KING’S POV


           The rottweiler we saw earlier is slobbering all over him.


           PULL BACK to reveal King on his knees, shirtless, both wrists
           secured behind him in a high-tech pillory.  King tries to
           twist his head away from the dog.  The rottweiler GROWLS.


                               KING
                    Back off, pooch --


           The rottweiler’s jaws open, revealing more teeth than any dog
           should probably have.


           Its muzzle splits in two as both sides of the rottweiler
           mandible fold back on either side of its head, disgorging a
           hellish and barbed tongue stalk!  The mutant dog ROARS, ready
           to bite King’s face off and --


                               KING
                    Jesus Christ!


           -- Grimwood appears from off-screen, LAUGHING, pulling the
           animal back.  We see Danica and Asher now as well.


                               KING
                    What the fuck?!  WHAT THE FUCK?!?


                               ASHER
                    His name’s Beau.  We’ve been experimenting
                    with porting the vampire gene over into
                    other species.


           As Asher pets the rottweiler, its muzzle closes back up again. 
           It looks up at him, panting happily, tongue lolling.


                               KING
                    You made a goddamn vampire dog?!


                               GRIMWOOD
                    Yeah.  Cool, huh?


                               DANICA
                    Poor little King.  You look so
                    distraught.


           Danica wipes a little blood from the corner of King’s mouth. 
           She touches her fingertips to her tongue, tasting his blood.


                               DANICA
                    You’re tasting a little bland, lover.  Not
                    getting enough fatty acids in your diet? 
                    Have you tried mackerel?  Lake trout?


                               KING
                    How about you take a sugar-frosted fuck
                    off the end of my dick?


                               DANICA
                    Oh, there’ll be time to play doctor later,
                    believe me.  But for now, we need to have
                    a little talk.
                         (beat)
                    Tell us about this bio-weapon you’ve been
                    building.


                               KING
                    I can tell you two things.  Diddly.  And
                    shit.  And diddly just left the building.


           Grimwood steps forward, throttling King for a moment.


                               GRINWOOD
                    Spit it out, you fucking fruitcake!


                               KING
                    Okay, here’s the deal with the weapon -
                    (coughing)
                    It’s a new flavor crystal formula.  Twice
                    the chocolaty-goodness, half the calories.
                    Plus, it helps prevent tooth decay --


           Grimwood moves in to choke him again, but Danica intervenes.


                               DANICA
                    You’re brave, King, I’ll give you that.
                    But underneath all your swagger --


           She leans closer, caressing his face.


                               DANICA
                    -- I know what you really fear.   What
                    would hurt you more than anything else.


           King’s smile falters for a moment.  Maybe she does know.  She
           rubs her cheek against his.


                               DANICA
                    You don’t want to go back to being one of
                    us --
                         (her lips grazing his)
                    -- do you?


           King tries to turn his head away, but Danica grips his chin,
           turning his head back.  He’s sweating now.  Worried.


                               DANICA
                    I’m going to bite you again, King.  And
                    then I’m going to leave you here while you
                    turn.  I’m going to watch you, day after
                    day, while the Thirst keeps building and
                    building.  And then, when you can’t stand
                    it anymore --


           She nods.  Drake appears, holding Zoe.  She’s alive. 
           Terrified.  Held firm in Drake’s arms.


                               DANICA
                    -- I’m going to bring the little girl
                    for you to feed on.  Would you like that,
                    King?  Would you enjoy taking her life?


           King shuts his eyes, sickened at the thought.  Danica smiles.


                               DANICA
                    Now we’re getting somewhere, my pet.


                                                                 CUT TO:


           INT. NIGHTSTALKERS’ HEADQUARTERS - SHOOTING RANGE - NIGHT


           Abigail sits in her workshop area, restringing one of her
           bows.  Nearby is a table with an assortment of equipment -- a
           bow press, vise stand, string jig, bow scales and wrench sets.


           Across the way is a shooting range with a variety of targets
           set up, a wall of netting behind them to catch stray arrows. 
           There’s also a chronograph outfitted with a ballistic computer
           to measure arrow speed.


           CLOSE ON Abigail’s hands as she works with a quiet precsion,
           re-setting the arrow rest, making minor adjustments to the
           center-shot position and wheel timing, etc.


           BLADE


           appears in the doorway, watching her.


                               BLADE
                    You alright?


                               ABIGAIL
                         (brusque)
                    I’ll be fine.


           Blade nods.  He’s going to leave her alone -- but then he
           hesitates, wrestling to say something.


                               BLADE
                    Don’t let it turn inward.


           Abigail takes a deep breath, pausing in her work.


                               ABIGAIL
                    It already has.  Since I can remember
                    I’ve had this knife of sadness in my
                    heart.  As long as it stays there, I’m
                    strong.  I’m untouchable.  But the moment
                    I pull it out --
                         (turning back to him)
                    -- I’ll die.


           Blade nods.  He understands all too well.  He leaves.


           ON ABIGAIL


           She stands, moving to the shooting range.  She straps on a
           quiver, takes aim at


           A 3-D HUMAN-SHAPED TARGET


           about a hundred feet away.  Just in front of the target is the
           chronograph, which looks like a miniature set of goal posts.


           WHOOSH!  Abigail FIRES an arrow.  It flies through the arms of
           the chronograph, sinking into the targets s chest.  On the
           screen of the ballistic computer, the arrow’s speed is clocked
           at 240 feet per second.  We move CLOSER to her now as--


           WHOOSH!  Abicail FIRES again. The speed is 242 fps. CLOSER --


           WHOOSH!  Now the speed is 269 fps. EVEN CLOSER --


           WHOOSH!WHOOSH!WHOOSH!  285 fps.  302 fps.  315 fps!  The arrow
           speed creeps up and up as we move CLOSER AND CLOSER to Abigail
           until we --


           -- PULL BACK.  Abigail has fired every arrow in her quiver.


           ON THE TARGET


           The arrows have formed a cross in the target’s chest.  One
           vertical grouping running up, another horizontal grouping
           bisecting it.


           INT. NIGHTSTALKERS HEADQUARTERS - GARAGE - NIGHT


           Blade stands at the open entrance.  Abigail steps out.  Looks
           like she’s made peace with herself for the moment.


                               ARIGAIL
                    I’m ready to go.


           HEADLIGHTS appear in the distance.  Another Land Cruiser
           approaches, weaving through the amusement park.  It pulls to a
           stop in front of them.  The driver’s side window rolls down.


           A MAN (CAULDER)


           sits behind the wheel.  He raises a hand in greeting.


                               CAULDER
                    My name is Caulder.  And I’ll be your
                    driver this evening.


           INT. CAULDER’S LAND CRUISER - NIGHT


           Caulder’s Land Cruiser glides through the streets.


                               BLADE
                    Where are you taking us?


                               CAULDER
                    Another safehouse.


                               ABIGAIL
                    We told you, Blade.  We operate in sleeper
                    cells.  When one goes down, a new cell
                    activates to pick up the slack.


           EXT. DEEP-SIX AQUARIUM STOCK - NIGHT


           Caulder pulls up in front of a fish supply store.


           INT. DEEP-SIX AQUARIUM STOCK - NIGHT


           Caulder unlocks an accordion security gate, opens the door. 
           He leads Blade and Abigail through the darkened aisles.  There
           are fish tanks on either side, aerators BUBBLING, aquatic
           animals of every kind swimming about.


           IN THE BACK


           is another arsenal/lab area.  This one is smaller than the
           Nightstalkers’ main headquarters.  Caulder moves to a
           computer, calls up a file.  A dialogue box for a media player
           opens.  Caulder activates a video file.


                               CAULDER
                    Sommerfield left a video message for you.


           ON THE MONITOR


           The video plays.  We see Sommerfield’s face on the screen. 
           She looks grave, as if she might have been crying.


                               SOMMERFIELD
                         (on video)
                    If you’re watching this, I’m already dead.
                    If Zoe’s still alive, I want you to
                    promise you’ll take care of her.  I’ve
                    been reading her The Oz books every night. 
                    We just started The Emerald City of Oz,
                    the one with the Nome King --


           Her voice cracks and she pauses, wiping away a tear.


                               SOMMERFIELD
                    I think I’ve managed to cultivate a
                    workable strain of the Daystar virus.  As
                    a precaution, I transmitted the genetic
                    sequence to Caulder, in case our main
                    stock was destroyed.  In order for it to
                    achieve maximum lethality, you’ll need to
                    interfuse it with Drake’s blood.  If it
                    works, any vampires in the immediate
                    vicinity should die almost instantly. 
                    After that, it should take only a few
                    weeks for the virus to spread throughout
                    the rest of the world.


           Zoe hesitates, deciding how to broach the next subject.


                               SOMMERFIELD
                    There’s one other thing, Blade.  You need
                    to know that there’s a chance the virus
                    could destroy you too.  Because you’re a
                    hybrid, I’m not sure whether your immune
                    system will be able tolerate it.
                         (beat)
                    I’m sorry.  We didn’t have enough time to
                    properly test it.


           The video cuts to STATIC.  Abigail turns off the monitor,
           looking to Blade.  God only knows what he’s thinking.


                               CAULDER
                    Take a look at the plague arrow.


           Caulder reaches for a refrigerated aluminum case, snapping it
           open.  Inside, resting on a bed of form-fitting foam, is a
           glass ampule that’s been fitted into a stake-like contraption. 
           It looks like the head of a high-tech harpoon.


                               CAULDER
                    I only had time to fabricate a small batch
                    of Daystar.  I outfitted it with a
                    compressed gas projectile, so you should
                    be able to fire it from one of the
                    fourbarrel rifles or a bow.
                         (beat)
                    Just make sure the shot counts, cause we
                    don’t have enough for a second try.


           A SERIES OF DISSOLVES


           Abigail sits before a laptop, creating another custom MP3
           playlist.  We watch as she hi-lights songs with her mouse,
           moves them over to her portable device with a few CLICKS.


           Abigail unhooks her MP3 device, slips her earbud headphones
           into her ears.  The SOUNDS of Fluke’s track Atom Bomb fade up,
           gradually shifting from tinny source music to SOUNDTRACK.


           MORE DISSOLVES


           Blade and Abigail suit up, arming themselves.  We SEE:


           Blade loading rounds into his pistols.


           Abigail selecting arrows, checking the range-dials.


           Blade sliding silver stakes into his bandoliers.


           Abigail working with Caulder, affixing the plague capsule to
           one of her arrowheads.


           Blade polishes his sword.  Finished, he sights down the length
           of it, takes a practice swing, then secures it in his back
           scabbard with a flourish.


           EXT. DEEP-SIX AQUARIUM STOCK - BACK ALLEY - NIGHT


           We hear the RUMBLE of two motorcycles.  Blade emerges from the
           alley astride his signature Ducati ST2 crotch-rocket.  Abigail
           appears a moment later on her own customized bike.


           Blade revs his engine.  Then the two bikes take off.


                                                                 CUT TO:


           INT. PHOENIX TOWERS - DRAKE’S QUARTERS - NIGHT


           Drake sits before Zoe, who has been shackled to the wall, his


           right arm encased in one of the armored gauntlets from his
           burial armor.  The rest of the armor has been propped up on a
           stand nearby.


                               DRAKE
                    Do you know who I am?


                               ZOE
                    You’re the Nome King.


           Drake smiles at this.


                               DRAKE
                    The Nome King.  I like that.
                         (leaning closer)
                    Tell me, child.  Do you want to die?


           Zoe is terrified but tries to remain defiant.


                               ZOE
                    I’m not afraid -- I’ll go to Heaven.


                               DRAKE
                    There is no Heaven.  No God.  No angels.
                    No happy ending for good little girls.
                    The only thing you have to look forward to
                    is nothingness.


           As Drake talks his pupils seem to widen -- until the darkness
           nearly occludes the whites of his eyes.  Zoe stares at him. 
           Can’t tear her gaze away.  His eyes are hypnotic.


                               DRAKE
                    But what if you could change that?  What
                    if you could remain a child forever?


           He reaches out, running a sharp fingernail over her cheek.


                               DRAKE
                    What if you could keep this little doll-
                    like face of yours until the sun itself
                    cooled to a cold, hard rock?
                         (beat)
                    Wouldn’t you like that?  Wouldn’t you
                    accept that gift?


           Zoe reaches out, calmly touches Drake’s cheek.


                               ZOE
                    My friends are coming to kill you.


           INT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           WHACK!  Grimwood PUNCHES King, whose body sags, weakened from
           the beatings he has undergone.  Asher and Danica look on.


                               KING
                    -- gonna be sorry you did that --


                               ASHER
                    Nobody’s coming for you, King.


                               KING
                    Sure they are.  Left a trail of digital
                    bread crumbs --


                               DANICA
                    Excuse me?


                               KING
                    One thing you need to know about us
                    Nightstalkers.  When you join our club,
                    you get this nifty little tracking node
                    surgically implanted in your body --


                               GRIMWOOD
                    Bullshit.


                               KING
                    Scout’s honor.  One of us gets lost, the
                    others just dial up the satellite and
                    presto, instant cavalry.


           Grimwood looks to Asher and Danica, unsure.


                               AS HER
                    He’s bluffing.


                               DANICA
                         (smiling, playing along)
                    Okay, King, where did they put this
                    tracking node of yours?


           He motions for her to draw closer, whispering.


                               KING
                    It’s in my left ass-cheek --


           WHACK!  Danica slaps King’s face, making him see stars.


                               KING
                    Alright.  alright, it’s in my right ass-
                    cheek --


           WHACK!  Danica slaps King again, this time knocking his head
           the other way.  He spits out blood --


                               KING
                    No, seriously --
                         (gasping)
                    -- it’s in the meat of my butt, right
                    below my Bart Simpson tattoo --


           Danica PUNCHES King’s mid-section.  He sucks air.  Despite his
           attempts at humor, he’s hurting now.  His body sags --


                               KING
                    -- pull down my tighty-whities -- see for
                    yourself.


                               DANICA
                    ENOUGH!  It’s not funny anymore!


           Behind Danica, Grimwood and Asher both COUGH.


           King lifts his bruised face, staring up at Danica through
           blood-shrouded eyes.  For the first time, we get a sense of
           his true hatred for her.


                               KING
                    No, it’s not, you horse-humping bitch --
                         (wincing as he breathes)
                    -- but it will be a few seconds from now.


                               DANICA
                         (coughing)
                    And what happens then, lover?


                               KING
                    Hammer time.
                         (beat)
                    See, that tickle in your throat you’re
                    feeling right now?


           Danica COUGHS again, blinks repeatedly, as if her eyes were
           irritated.  She rubs them, looks to the others.  They’re
           feeling the effects too.  And Grimwood’s face is smoking!


                               KING
                    That’s atomized colloidal silver.


           Danica keys into the RUMBLE of the air-conditioning system and
           a HISSING SOUND beneath that.  She looks up --


                               KING
                    It’s being pumped into the building’s air
                    conditioning system.


           ANGLE ON THE HEATING REGISTER ABOVE


           We GO MACRO, shrinking down until we see a CLOUD OF TINY
           SILVER PARTICLES blowing into the room.  The particles are
           dusting the vampires, being unwittingly inhaled by them and --


           WE’RE BACK TO NORMAL


           as the vampires react en mass, suddenly gagging, their throats
           and faces on fire.


                               KING
                    Which means that the fat lady should be
                    singing right about --


           GRIMWOOD


           has caught the worst of it.  A whole lung-full.  He SHRIEKS as
           He coughs up blue-tinged FLAMES, the flesh on his face
           simultaneously burning away and --


                               KING
                    -- NOW


           THE SKYLIGHT ABOVE THEM


           SHATTERS as Blade crashes down.  He lands in a cat-like
           stance, then flips over into a cartwheel, KICKING Grimwood in
           the face.  As Grimwood goes down, Asher and Danica scatter --


           Blade tackles Grimwood, sending both of them over the railing
           into the lower level of the penthouse.


           INT. PHOENIX TOWERS - HALLWAY - NIGHT


           ALARMS are ringing.  Asher and Danica rush down the hall,
           trying not to breathe the silver-contaminated air.  We SEE
           other vampires staggering from doorways, COUGHING, GAGGING.


           INT. PHOENIX TOWERS - DRAKE’S QUARTERS - NIGHT


           Drake hears the ALARMS.  He reaches for his sword, which rests
           in a nearby stand.  As he heads out, he strides past Zoe,
           still chained to the wall.


           INT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           On the lower level, Blade and Grimwood are going at it.


           REINFORCENENTS


           flood in from multiple entry ways.  It’s an all-out melee. 
           Blade is seriously overwhelmed, but the sheer number of
           vampires and humans is actually slowing them down.


           Blade takes on a half-dozen of them at once, stunning one of
           the familiars, using him as a human shield, TOSSING him aside
           to trip up another on-rushing pair.


           Then he pauses, instantly calculating the geography of the
           room, the relative positions of the other combatants,
           assessing decorations and furniture as possible weapons.  His
           battle plan ready, Blade engages his enemies once again.


           MEANWHILE, ON THE UPPER LEVEL


           Abigail appears at the lip of the smashed-in skylight.  She
           lowers herself down on a rope, rushes to King’s side --


                               ABIGAIL
                    You alright?


                               KING
                    Nothing a hot tub full of Bactine won’t
                    fix.


           Abigail hits the release switch on the high-tech pillory and
           the cuffs around his wrists open.  As Abigail helps King out:


                               ABIGAIL
                    Zoe --


                               KING
                    Drake’s got her.


           Abigail nods, handing King her pistol.  Then she’s out the
           door.  Seconds later, King follows --


           INT. PHOENIX TOWERS - HALLWAYS - VARIOUS - NIGHT


           Abigail pauses, slipping her earbuds in, turning on her MP3
           player.  The bumping-strains of Fluke’s Absurd track kick in. 
           Abigail uncilps her UV arc, telescopes it outward and --


           -- suddenly it’s like we’re in a first-person shooter video
           game.  She moves through the corridors with mathematical
           precision, feeling the MUSIC in her bones, slicing through
           every vampire she encounters with deadly efficiency.


           VAMPIRES AND HUMAN FAMILIARS


           are coming out from every doorway.


           Abigail PUNCHES one in the solar plexus, DECAPITATES another,
           finishes off the first.  Then she’s moving on, taking down a
           third, fourth, and fifth vampire with her rapid-fire stake
           dispenser.  Throwing stakes with blinding speed.


           After a half-dozen stakes, her dispenser is empty.  Without
           missing a beat, she presses a tab on the dispenser, ejects the
           clip, then reaches to her belt where a back-up is secured and
           slaps it in place.  The mayhem continues.


           INT. PHOENIX TOWERS - PENTHOUSE - LOWER LEVEL - NIGHT


           Blade unsheathes his sword.  He parries two combatants with
           clubs, then whirls around, DEFLECTING a GUNSHOT from a third
           with the flat of his sword.


           Grimwood is furious.  His men are tripping all over
           themselves.  He grabs an antique battle axe that’s secured to
           the wall.  He sees an opening, SWINGS at Blade’s head --


           -- Blade drops and the axe slices through one of Grimwood’s
           own men.


           In an eye-blink, Blade is up again, advancing.  He cuts down
           another familiar, pushes forward, cuts oown a second --


           Now Blade and Grimwood are face to face.  Grimwood swings his
           axe again.  Blade hooks his sword beneath it, FLIPPING it from
           Grimwood’s hands.


           Blade sweeps his sword around in a wide arc, CUTTING straight
           through Grimwood’s mid-section.  The upper half of Grimwood’s
           body topples away --


           -- then he rights himself.  A half-vampire.  He’s still alive,
           running forward on his hands, trailing viscera.  He SPRINGS UP
           at Blade, all claws and gnashing teeth.


           Blade catches Grimwood by the throat, whirls him around --


           --  and manages to IMPALE what’s left of Grimwood with his
           sword-point.  Grimwood ASHES in Blade’s arms.  The only thing
           left are his steel teeth, which CLATTER to the floor at
           Blade’s feet.


           INT. PHOENIX TOWERS - DRAKE’S QUARTERS - NIGHT


           Abigail enters, SEES Zoe.  TWO VAMPIRES GUARDS stand nearby. 
           In a flash, Abigail flings TWO SILVER STAKES at them.  Both
           stakes hit their mark and the vamps crumple to ASH.


           Abigail hurries over, SHOOTS apart the lock on Zoe’s shackle.
           Zoe wraps her arms around Abigail, hugging her tight.  Abigail
           takes Zoe by the hand, pulling her towards the door.


                               ABIGAIL
                    Come on, hon.  Let’s get you out of here.


           INT. PHOENIX TOWERS - HALLWAY - NIGHT


           King stumbles out into the hallway, pulling his shirt back on. 
           As he limps down the corridor, a GROWL makes him pause --


           KING’S POV


           Beau, the vampire rottweiler, lopes around the corner.  Then --


           TWO MORE ROTTWEILERS


           emerge behind Beau.  They’re all GROWLING now.


                               KING
                         (under his breath)
                    Fuck.  Me.  Sideways.


           The three of them break, BARKING like crazy, snouts splitting
           open as their jaws flower apart.


           CUT T0:


           INT. PHOENIX TOWERS - ATRIUM - UPPER GALLERY - NIGHT


           Blade moves into the upper gallery of a vast atrium.


           DRAKE


           stands before him, waiting, sword in hand.  He extends it,
           touching the tip to the floor.  A challenge.


                               DRAKE
                    Are you ready to die, Blade?


                               BLADE
                    Been ready since the day I was born,
                    mother-fucker.


                               DRAKE
                         (with a smile)
                    Then allow me to accommodate you.


           Drake does a back-flip over the balcony.  Forty feet down.


           Blade follows, drawing his sword as he LEAPS --


           INT. PHOENIX TOWERS - ATRIUM - GROUND FLOOR - NIGHT


           -- and lands.  Now the two warriors face each other, swords
           raised, eyes locked, their stances frozen.  Like classic
           samurai.  Whoever moves first, loses.


           Beat.  MOVING IN on both men, CIRCLING around them.  Slow the
           heart.  Slow the breath.  Find the opening.


           DRAKE


           breaks first, bringing his sword over in less time than it
           takes to blink an eye.  No one could possibly deflect the
           blow.  And yet --


           BLADE


           manages a COUNTER-STROKE with super-human grace.  He advances,
           parries, his sword CLANGING and SINGING like a blacksmith’s
           hammer on sheet metal.


           Cut, thrust, block, diagonal downward slashes.  The moves come
           faster.  Drake DUCKS, barely avoiding being decapitated. 
           Blade’s sword cuts right through a column instead.


           Drake retaliates.  Blade locks swords with him.  For a moment,
           the two warriors are nose to nose.  Then Blade twists his
           sword free, cutting open Drake’s cheek --


           Drake GROWLS, back-flipping up onto a ledge.  He touches his
           fingertips to the cut, tastes his own blood.  Then we hear the
           telltale sounds of CARTILAGE POPPING.  For a brief moment, his
           facial features shift, giving us yet another glimpse of his
           true form.  As his anger increases, Drake begins to devolve.


           He DIVES at Blade, HOWLING, raking his CLAWS at Blade’s face. 
           He strikes out, KNOCKING Blade across the atrium.  He SPRINGS
           forward, dragging Blade up by his throat, sinking his fangs
           into Blade’s shoulder.  Blide SCREAMS and we --


                                                                 CUT TO:


           INT. PHOENIX TOWERS - HALLWAY - NIGHT


           -- as King runs.  He hazards a look back.  The vampire dogs
           are quickly gaining on him.


           UP AHEAD


           It’s a dead-end.  Just plate glass windows and a whole lot of
           nothing beyond.


           The dogs are almost on King when suddenly, King JUMPS,
           snagging an overhead pipe.  As he swings his body upward --


           THE DOGS


           skid on the floor, unable to stop their momentum, and CRASH
           straight through the plate glass window.


           EXT. PHOENIX TOWERS - PENTHOUSE - NIGHT


           An EXPLOSION OF GLASS as two of the vampire rottweilers tumble
           into the night.  They fall like stones -- twenty stories down
           into the traffic-clogged intersection below.


           INT. PHOENIX TOWERS - HALLWAY - NIGHT


           King drops back to the floor, cackling, pleased with himself. 
           It takes him a second to realize that --


           ONE OF THE ROTTWEILERS (BEAU)


           -- didn’t take a swan dive out the window.  He’s right behind
           King.  And now he’s SPRINGING FORWARD --


           WHAM!  King is hit in the chest by the SNARLING beast.  He
           drops the pistol as he’s knocked back onto the floor.  The dog
           LUNGES again --


           With one arm, King struggles to keep his face from being bit
           off, while searching blindly for the discarded pistol.  King
           locates it, FIRING into the beast’s chest --


           THE ROTTWEILER


           ASHES, disintegrating all over King’s face.  King gets a
           mouthful of the charcoal remains, tries to SPIT them out.


                               KING
                         (making a face)
                    Bad dog.


                                                                 CUT TO:


           INT. PHOENIX TOWERS - ATRIUM - UPPER GALLERY - NIGHT


           Abigail emerges onto the gallery with Zoe.  She spots an
           alcove, indicates that Zoe should hide.  Then she slips a
           silver stake into Zoe’s hand.  Just in case.


           Abigail rushes to the handrail, looking down at Blade and
           Drake.  Her view is obscured.  She can’t get a good shot.


           INT. PHOENIX TOWERS - ATRIUM - GROUND FLOOR - NIGHT


           Drake digs his fangs into Blade’s shoulder.  Blade struggles,
           manages to slip a stake from his bandolier --


           WHAM!  Blade SLAMS the stake into Drake’s ear canal.  The
           beast SHRIEKS in pain, dropping Blade.  But all the gambit has
           done is drive Drake into a berserker rage.


           Drake swings his fist.  Blade ducks.  Drake’s fist goes
           through the wall, PUNCTURING a steam pipe.  Steam vents --


           Drake reaches in, RIPS an eight-foot section of the pipe from
           the wall, bringing a SPARKING nest of electrical cables along
           with it.  He swings the pipe section around, WHACKING Blade.


           KRUNCH!  Drake swings the makeshift club again.  He’s a one
           man demolition crew, decimating everything in his path.  He’s
           SMASHING holes in the floor, the walls, plowing through
           partitions of glass and steel.


           INT. PHOENIX TOWERS - ATRIUM - UPPER GALLERY - NIGHT


           Abigail moves down the gallery, looks up --


           A SERIES OF LIGHTING GANTRIES


           span the length of the atrium ceiling.


           Abigail balances on the handrail, then jumps out into space --


           -- catching hold of one of the crosspieces.  Like an acrobat,
           she monkey-swings her way beneath the gantry.  If she loses
           her grip, she’ll fall more than fifty feet.


           BA-BANG!  A bullet strikes just in front of Abigail, showering
           her with SPARKS.  MORE BULLETS follow.


           ANGLE ON PAIR OF VAMPIRES


           FIRING from below, trying to pick her off.  Suddenly, UV
           BULLETS strike each of the vampires.  As they ASH we --


           WHIP-PAN BACK TO KING,


           having dragged his battered body out onto the upper gallery. 
           He’s playing guardian angel to Abigail, laying down cover fire
           so she can continue.  But then --


                               DANICA
                    KING!!!


           DANICA


           appears behind King.  She TACKLES him, wrestling him to the
           floor, pummeling his face with her fist.


           King tries to ward of f the blows, but he’s sorely outmatched.
           He swings his electronic pistol up --


           Danica twists it from his grip, ejecting the clip from the
           stock.  King’s sun dog bullets spill out all over the floor. 
           She tosses the gun aside, reaches for King again --


           INT. PHOENIX TOWERS - LIGHTING GANTRY - NIGHT


           Back to Abigail.  She’s breathing heavily, trying to call up
           new reserves of strength.  She glances down --


           Big mistake.


           She forces herself to look back up.  She swings herself
           pendulum-style, manages to snag yet another crosspiece.  A
           SHOT RINGS OUT --


           ANGLE ON ASHER,


           down below, armed with a rifle.  He FIRES again --


           -- grazing Abigail’s shoulder with the bullet.  Abigail CRIES
           OUT, nearly losing her grip.


           INT. PHOENIX TOWERS - ATRIUM - UPPER GALLERY - NIGHT


           King rolls on his side, spits out a bloody tooth.


                               KING
                    No offense, Danica --
                         (gasping in pain)
                    -- but I’ve wanted to kill you since the
                    moment we slept together.


                               DANICA
                    I was that bad, huh?


           King reaches a palsied hand for his discarded pistol, points
           it vaguely in Danica’s direction.  She LAUGHS.


                               DANICA
                    No bullets in your gun, King.


                               KING
                    Yeah, but here’s the beauty --
                         (wiping his bloody mouth)
                    -- these babies can be triggered remotely.


           King pulls the trigger.  The scattered sun dog bullets ERUPT
           with UV LIGHT.  Danica SHRIEKS, trying to shield her already
           burning face from the glare.  She runs, horribly wounded.


           INT. PHOENIX TOWERS - ATRIUM - GROUND FLOOR - NIGHT


           Drake pummels Blade, flinging his body about like a ragdoll. 
           He grabs Blade by his ankle, swings him upwards some thirty
           feet --


           SMASH!  Blade collides with the underside of a massive hanging
           glass chandelier/lighting fixture.


           Blade FALLS back to the ground, stunned, dropping his sword. 
           Drake pounces on him.  Blade can barely fend off Drake’s blows
           anymore.  In desperation he digs his fingers into Drake’s
           eyes.


           Drake swings both fists downward, Hulk-style, SHATTERING an
           entire section of the limestone flooring.


           A SHOCK-WAVE ripples out from the point of impact, sending
           waves of two-foot stone tiles flipping up into the air,
           knocking Blade off his feet.


           INT. PHOENIX TOWERS - ATRIUM - UPPER GALLERY - NIGHT


           King loads a sun dog into his pistol, steadies his aim on the
           railing, and FIRES at Asher --


           THE SUN DOG


           screams across the atrium, striking dead-center in Asher’s
           open mouth.  The bullet EXPLODES.  UV LIGHT causes Asher’s
           skull to burn up from the inside out.  His headless corpse
           falls forward over the gallery railing.  Then it too
           carbonizes and BURNS UP.


           Relieved, King sinks to his knees.


           BEHIND KING,


           we SEE Zoe slip from the alcove.  She makes for the stairs.


           INT. PHOENIX TOWERS - LIGHTING GANTRY - NIGHT


           King has bought Abigail more time.  She swings her body
           forward, hooking her legs over the next crosspiece.  Then she
           lets go with her hands.  Now she is hanging upside down,
           secured only by the tension in her calves.


           Abigail reaches behind her, removes her bow.  BLOOD from her
           wounded shoulder drips down over her collar bone, reaching her
           cheek, briefly obscuring her vision.  She wipes it away.  Then
           she reaches back once more and --


           -- because her quiver is pointed downward, a number of arrows
           slide out. Abigail panics, twisting her body --


           -- managing to lust barely snag the ~la~ue arrow as it tumbles
           Past her!


           Beat.  Abigail shuts her eyes, trying to find her center. 
           With her eyes closed, she nocks the arrow and draws the bow
           back.  Then she opens her eyes.


           She’s only going to get one shot -- and she’s going to have to
           take it while hanging upside down.


168 a ABIGAIL’S POV 168 a


           On Drake and Blade below, locked in combat.  She tracks their
           progress, waits for Drake to move into a better position --


           INT. PHOENIX TOWERS - ATRIUM - GROUND FLOOR - NIGHT


           Drake shoulders a support column, SNAPPING it in two.  An
           entire section of the gallery walkway above comes CRASHING
           DOWN, burying Blade in debris --


           -- but it’s not enough for Drake.  He LEAPS forward, fishing
           Blade out, hauling him up --


           Drake head-butts Blade -- once, twice.  Blade’s eyes roll to
           whites.  Drake looks down, SEES Blade’s discarded sword. 
           Drake scoops it up, STRIKES at Blade --


           Blade manages to roll to the side, avoiding the blow.


           Drake STRIKES again, dealing Blade a glancing blow --


           INT. PHOENIX TOWERS - LIGHTING GANTRY - NIGHT


           ON ABIGAIL.  Waiting.  More blood has trickled down her neck,
           into her eyes.  But she can’t wipe them anymore.  She’s
           already got her bow drawn.  She’s committed to the shot.


           We can hear ABIGAIL’S HEARTBEAT as she settles.  She takes a
           final breath, holds it -- and lets the plague arrow fly.


           ON THE PLAGUE ARROW


           as it streaks downward, hurtling towards Drake at more than
           300 feet per second.  Then, at the last possible instant	--


           INT. PHOENIX TOWERS - ATRIUM - GROUND FLOOR - NIGHT


           CHINGG!  Drake deflects the arrow with his sword.  It
           harmlessly falls to the floor, rolling a few yards away.


           ON ABIGAIL,


           stunned, her expression melting into despair.


           BACK TO DRAKE


           swinging Blade’s sword around.  PLUNGING it into Blade’s side.
           As he pulls it back out again --


           BLADE


           GASPS, sinking downward.  He’s on his knees now, in shock.


           Drake ROARS again shifting, conjuring up seventy centuries of
           violence and predation.  And the nightmare shape that was only
           hinted at before, finally takes center-stage.


           BLOOD suffuses Drake’s flesh, turning his skin crimson.  His
           canines elongate, his lower jaw distends. 
           Jagged bone spurs erupt all over his body -- like he’s growing
           a suit of razor-sharp thorns.  He doesn’t need a sword
           anymore.  He’s become a living weapon.  Drake is gone.  Now he
           is --


           THE BEAST


           Drake swings the sword overhead.  He’s going to decapitate
           Blade.  And just as the sword reaches the top of its arc --


           ZOE


           emerges from the shadows behind Drake, clutching a silver
           stake.  She SHOVES it into Drake’s back,  pushing with all the
           strength her little body can muster.


           Drake staggers.  The blow wasn’t lethal, but it hurt all the
           same.  He turns on Zoe, enraged, his attention distracted for
           one crucial second --


           ON BLADE,


           summoning the last of his reserves.  He pitches his body
           forward, managing to snag the end of the plague arrow.  And
           before Drake even realizes what is happening --


           WHAM!  Blade sinks the plague arrow deep into Drake’s chest. 
           Drake drops the sword, turning back to face Blade --


           Exhausted beyond measure, Blade sags.


           INSIDE DRAKE’S CHEST - MACRO SHOT


           as the arrowhead dispense the bio-weapon.  We SEE the virus
           flooding Drake’s internal organs, causing them to blacken as
           his circulatory system carries it throughout his body.


           ON DRAKE’S FACE,


           letting loose an INHUMAN SCREAM, vomiting up a spray of blood
           mist.  His monstrous features begin to melt, reshaping into
           his more familiar face.  At the same time we --


           GO MACR0 ONCE MORE


           Shrinking until we are amidst the spray of blood Drake
           expelled.  We continue shrinking until we are moving with the
           individual molecules of Drake’s breath as the plague virions
           latch onto them, causing them to blacken and become necrotic. 
           Moving with the twirling molecules until they are inhaled by --


           DANICA,


           having retreated from her defeat by King.  She clutches her
           throat.  We can see the virus infiltrating her system as tiny
           BLACK THREADS expand across her face.  She sways, falling onto
           the floor.  She reaches a beseeching hand towards King --


           -- then dies, a final still-born curse on her lips.


           MORE VAMPIRES


           are feeling the effects now too.  One by one they drop,
           choking, going into convulsions.  As they writhe on the floor,
           we watch the Daystar virus ravaging their bodies.


           BACK TO BLADE AND DRAKE


           Drake slumps against the wall.  Hero and villain are now
           separated by only a few feet.  Both at death’s door.


                               DRAKE
                    Well done, hunter.  Well done.


           Blade stares back.  At this point, he’s just trying to remain
           conscious.  He’s lost a ton of blood.


                               DRAKE 
                    You fought with honor --


           Drake shudders, his breathing becoming increasingly shallow.


                               DRAKE
                    -- as I knew you would.  The humans are
                    coming for you, you know.  In their eyes,
                    you and I are the same.
                    Allow me one last indulgence, then --
                         (gasping)
                    -- a parting gift --


           Drake grows still, his eyes locked on Blade’s.


           ABIGAIL AND KING


           rush to Blade’s side.  Zoe joins them.  Blade is dying, fading
           fast.  Abigail shakes Blade --


                               ABIGAIL
                    Blade!


           Her voice sounds distant and muted, overridden by Blade’s own
           HEARTBEAT which is fading up, dominating the soundtrack.


                               ABIGAIL
                    BLADE!!!


           Blade’s eyes can’t focus anymore.  They’re clouding over.


                               BLADE’S POV
                    We drop away from Abigail and King -- like
                    we’re falling down


           a dark tunnel.	 Then the world FADES TO WHITE.


           EXT. CITYSCAPE	- DAWN


           FADE IN FROM WHITE.  We see the sky, the burning orb of the
           rising sun.  A trio of FBI helicopters ride out from the dawn,
           swooping down over the stirring city.


                               ABIGAIL (V.0.)
                    It didn’t take long for the authorities
                    to arrive.


           INT. LEAD HELICOPTER - DAWN


           Cumberland sits in the front passenger seat, Hale behind him.


           EXT. PHOENIX TOWERS - PLAZA - DAWN


           As the helicopters touch down in the plaza we see a small
           convoy of POLICE and FBI VEHICLES converging around them.


           Cumberland and Hale are among the first out.  They rush
           towards the Phoenix Towers entrance, guns drawn, DOZENS OF
           AGENTS and OFFICERS behind them.


           INT. PHOENIX TOWERS - ATRIUM - DAWN


           The first rays of sun penetrate through the atrium windows
           setting the scattered vampire corpses ablaze.  Danica, Asher,
           and the others all ignite.


                               ABIGAIL (V.0.)
                    When they got there, all of Drake’s
                    people were dead.


           By the time Cumberland and his men have entered, fanning out
           through the atrium, all they find are a series of corpse
           shaped piles of ash and singe marks.


                               ABIGAIL (V.0.)
                    In the weeks that followed, the rest of
                    the world’s vampires also perished.
                         (beat)
                    We’d finally won.


           ON CUMBERLAND,


           surveying the scene, frustrated by what he’s found.  Then we
           hear SHOUTS coming from the back of the atrium.


           AT THE BACK OF THE ATRIUM


           they find Blade.  He’s dead, slumped against a wall.  There’s
           no sign of Drake.  The vampire king is gone.


           INT. FBI MORGUE - DAY


           CLOSE ON Blade’s face, his body being wheeled on an autopsy
           gurney.  PULL BACK to reveal that we are in an FBI morgue.
           Cumberland and Hale stand nearby, overseeing everything as --


           A TRIO OF MEDICAL EXAMINERS


           lift Blade’s body onto an autopsy table.  They turn on a bank
           of overhead UV lights.  The lead examiner reaches for a
           scalpel.  But as he touches the scalpel to Blade’s chest --


                               ABIGAIL (V.0.)
                    And Blade?  Cumberland and Hale finally
                    got their body --


           BLADE’S FACE


           changes.  We hear a series of POPS and CRACKS as subdermal
           cartilage begins to loosen and shift.  At the same time, the
           skin begins to lighten as melanin is gradually leached away.


                               ABIGAIL (V.0.) (CONT’D)
                    -- but it wasn’t the one they were banking
                    on.


           ON CUMBERLAND AND THE OTHERS


           as they react with varying degrees of shock.


           BACK TO THE BODY


           We realize that it’s not Blade lying before them.  It’s Drake.
           Somehow, even in death, the vampire king managed to take
           Blade’s shape and temporarily retain it.


                               ABIGAIL (V.O.)
                    The virus didn’t kill Blade.  But the
                    authorities very well could have.  So in
                    the end, realizing that own his people
                    were doomed, Drake decided to give Blade a
                    gift.


           (beat)


                               ABIGAIL (CONT ÔD)
                    By taking Blade’s shape, he bought Blade
                    enough time to escape.  Offering Blade a
                    second chance at life - -


                                                             DISSOLVE TO:


           EXT. SEASIDE CLIFF - DAY


           A bright summer day.  Blade stands at the edge of a cliff,
           looking out over a sun-struck ocean.  For the first time since
           we’ve seen him, he’s not wearing armor or sunglasses or
           handguns or rifles.  And were it not for the sword he holds,
           we might even mistake him for an ordinary man.


                               ABIGAIL (V.0.)
                    And so Blade took it.


           Blade flings his sword over the cliff, into the ocean below.


                               ABIGAIL (V.0.)
                    We never saw him again.


           UNDERWATER


           We see the sword sinking, reflecting the refracted sunlight
           from above as it twirls end over end.


           BACK TO BLADE


           At peace with himself at last.  After a moment’s reflection,
           he turns and walks away.


                               ABIGAIL (V.0.)
                    He disappeared completely.
                         (beat)
                    But that’s what heroes do.  They simply
                    fade out.  And in this way --


           A SERIES OF DISSOLVES


           as Blade moves further and further away from us, dwindling
           into the horizon until he disappears entirely.


                               ABIGAIL (V.0.)
                    -- they become legends.


                                                           FADE TO BLACK.


           Over darkness we hear the sound of TRAFFIC.


           EXT. THE SLAUGHTERED LAMB - NIGHT


           FADE IN.  We are moving towards a local punk dive wedged into
           a crowded block in the meat packing district.


           A DOORMAN (LUCIUS) stands outside, checking CUSTOMERS’ IDs.We
           hear HILLBILLY THRASH MUSIC coming from within.


           ANGLE ON KING AND ABIGAIL


           approaching.  King holds his four-barreled rifle.  Abigail
           peels away, disappearing into an alley as King nears the front
           door.  The doorman recognizes King, knows he’s trouble.


                               KING
                    Evening Lucius.


                               LUCIUS
                    King, what the hell are you doing here?


                               KING
                    Just a little sport hunting.


           INT. CLUB CROWBAR - NIGHT


           A BAND belts out a cover of Sam and the Shams’ Little Red
           Riding Hood.  The band members look a little lupine.  As King
           weaves his way through the crowd, Lucius hurries alongside.


                               LUCIUS
                    Ain’t no vampires left, King.  So who do
                    you have to hunt?


                               KING
                    That’s an interesting question, my friend. 
                    And I’ve got a question for you in return.


           INT. CLUB CROWBAR - BACK AREA - NIGHT


           As King pushes his way through to the bathrooms, we hear an
           UNEARTHLY ROAR coming from the men’s room.


                               KING
                    What do you get when you cross a vampire
                    with a werewolf?


           The door to the men’s room EXPLODES OPEN.  Abigail comes
           flying out.  She hits the far wall of the hallway, slides to
           th floor.  But she’s up in an instant, pulling a knife on --


                               KING
                         (raising his four-barrel)
                    A fur coat that sticks to your neck.


           A HILL-BILLY HIPSTER WERE-CREATURE,


           wearing a blood-soaked Stray Cats-style suit.  The ephedrine
           nightmare creature looks at King, opening his elongated snout
           to flash a set of razor-sharp canid teeth.


                               KING
                    Don’t you know fur is murder?


           As King FIRES point-blank into the were-creature we --


                                                            CUT TO BLACK.


           CUE MUSIC.


           END CREDITS ROLL