bloodline - (stumbleupon) 8-6-2012

7/31/2019 Bloodline - (StumbleUpon) 8-6-2012

1/21

Bloodline

An Original Screenplay

by

Douglas A. Osby


2/21

OVER BLACK:

LASILA (V.O.)Most never show who they truly are'til something horrible happens...

INT. UNKNOWN ATRIUM - NIGHT

Aftermath -- slowly, we move through the dark room -- taking

in what little we can see splayed across the floor --gradually having more and more revealed to us --

FLASHES

-- Of unbelievable destruction -- shattered chairs --splintered wooden furniture covered in blood -- fire andsmoke -- and lying amongst it all --

-- A decapitated male body -- fingers missing from one hand --its head lying a few inches away -- burning --

-- Burning between the bloody feet of an unknown female.

Slowly we rise -- making our way up her bruised body, stoppingat her sweat and blood covered face...

LASILA (V.O.)Something horrible has happened.

BLACK

INT. JANE NAVON'S HOUSE, BEDROOM -- NIGHT - ONE MONTHEARLIER

JANE NAVON, 52, lies in bed asleep. The moonlight shows herface. Aged and pale white -- almost all of her hair is gone.

Beyond her closed door -- faint screams...

LASILA (O.S.)No!

Jane stirs. Her eyes open.

LASILA (O.S.)No! Please don't! Please!

She quickly rises, rushing into the

HALLWAY

heading toward a closed door.

JANESila!


3/21

2.

LASILA (O.S.)Please, no! Don't...!

Jane quickly opens the bedroom door to...

LASILA NAVON, 20, young with long black hair, huddling in adark corner with her eyes closed tight, swinging her fistswildly at nothing. She looks to be dreaming as tears rundown her face -- a horrible nightmare.

Jane rushes into

LASILA'S BEDROOM

trying to grab Lasila's arms.

JANESila, wake up!

LASILAGet away from me!

JANEWake up! I'm here!

LASILAPlease...!

JANEIt's okay, Sila!

Jane grabs Lasila's wrists, finally getting them undercontrol.

JANEIt's okay! It's okay!

Lasila fights her -- but slowly stops, calming. She beginsto relax -- leaving herself to only cry.

Jane pulls her close, holding Lasila tight.

JANEI'm here, Sila. It's okay.

Jane strokes Lasila's hair as her eyes also start to tear,not letting her go.

The dark room fades...

INT. JANE NAVON'S HOUSE, KITCHEN -- NIGHT - LATER

Clean. Decorated like most homes. Nick-nacks. Pots andpans hanging from hooks.

A Plasmatech Pharmaceuticals nurse's badge, showing Jane'sface, sits next to a pile of mail.


4/21

3.

Jane stands by a stove, cooking breakfast. Eggs, slabs ofham. A digital clock on the microwave shows 7:42pm.

Jane looks toward the hallway...

JANESila, hurry up! You're gonna belate!

LASILA'S BEDROOM

Around the room -- 1970's rock-band posters, gothic jewelry,college text books on contemporary art and psychology, recordalbums and an old record player. Numerous black coloredclothes hanging over chairs and out of dressers.

Lasila sits on her bed, lacing up black boots. Her longdark hair blocks most of her face, until she finishes andstands.

Pale, petite and gothic -- all mixed with a look of innocence,she runs her fingers through her hair like a comb, walking

to her window shade. She pulls the shade open, letting inthe beautiful moonlight.

She walks into her...

BATHROOM

... with no mirrors and pulls three chrome rings off thesink. Meticulously sliding each one on her right hand.

JANE (O.S.)Sila!

Her face shows -- she likes these rings.

KITCHEN

Lasila walks in, carrying five of her text books. Janenotices.

JANE(smiling)

You know kids today put those inback packs.

Lasila doesn't smile.

LASILAIf I could find one all in blackthat I actually liked, maybe I would.

Jane fixes a plate for herself, setting it on the table andpours herself a glass of V-8 juice.

Lasila has a glass of red juice in front of her.


5/21

4.

JANEDo you want to talk about earlier?

LASILA(quickly)

No.

Lasila looks rushed...

LASILAI'm late. Don't have time to eat.

JANEYou're not leaving unless you putsomething in your stomach. You'realready running on little sleep.

LASILAOkay, here...

Lasila grabs the juice, throwing back the entire glass inone hit. She licks the red on the outside of her mouth,

getting it all.

LASILAJust what a growing girl needs.

She puts the glass down, grabs her books and hurries out.

LASILA (O.S.)I'll see ya' tonight.

Jane just watches her leave -- a look of concern.

EXT. DAVENVILLE COLLEGE, PARKING LOT -- NIGHT

Lasila pulls up in a black, late model Pontiac Sunfire, getsout and walks toward the towering brick building.

INSIDE - HALLWAY

Lasila walks the long corridor with her head down, passingnumerous students. She looks like none of them. Herappearance clashing against them.

Three FEMALE STUDENTS, all beautiful, gaze at Lasila as sheapproaches them, whisper and laughing to each other as she

gets closer.

Loud enough for Lasila to hear...

FEMALE STUDENT 1College can't help that get a job.

FEMALE STUDENT 2(giggling)

Halloween freak.


6/21

5.

Lasila keeps her head down, hearing them both, seeing theirjudgmental eyes. She walks passed, entering a doorway.

CLASSROOM

A handful of STUDENTS sit in the spacious room full of moreempty seats than anything else. Scattered students face apodium and a massive chalkboard.

Lasila sits away from the other students, doodling on a notepad.

She draws with the skill and ease of a professional. Withinseconds, the drawing of an angel -- with the wings of a demon --comes to life -- emerging from the darkness she creates.

She gives it more detail, turning the angel into somethingterrifying...

SKY'LARNice.

Lasila looks up to SKY'LAR THANE, 21, standing next to her,staring down at the drawing -- and her chrome rings. Helooks as if he likes them.

She doesn't reply -- taken by his looks. Hair as black asher's -- draping across his eyes like fine feathers of araven -- dressed in clothes tailored only for him.

Snapping out of her daze...

LASILAWhat did you say?

SKY'LARI said, nice.

PROFESSOR ENNIS (O.S.)If everyone would take their seats.We'll begin tonight's chapters.

PROFESSOR DAVID ENNIS, late 30's, a look of professionalismand purpose toward teaching, walks into the room.

He sets his leather shoulder bag down and prepares his notesat the podium.

Sky'lar steps back and takes a seat next to her.

Lasila covers the picture with her text book and tries tokeep her eyes forward.

A smile on his lips -- never looking back at her -- Sky'larfeels her attraction.


7/21

6.

PROFESSOR ENNISAs promised, tonight we'll continueour studies of the mind, moving onto psychology, abnormal psychologyand their treatments. If you'llopen your text books to page twoeighty-one, we'll begin with the...

Professor Ennis's voice fades...

TIME LAPSE - MONTAGE

Lasila tries to listen to the lecture.

Her attention split between what is being said, written onthe chalkboard and Sky'lar's face.

She steals quick glances of him.

He continues to smile, never looking her way.

MONTAGE - END

Professor Ennis closes his folder.

PROFESSOR ENNISSo, in short definition: Psychologyis the scientific study of thoughtand behavior. You, as futurepsychologists, will study how thebrain creates thoughts, feelings,and actions, and how internal andexternal environments affect them.

A FEMALE STUDENT, 20s, raises her hand.

PROFESSOR ENNISYes.

FEMALE STUDENTWill we be discussing any of thetreatments of psychopathology?

PROFESSOR ENNISWe'll touch on the five mainpsychological therapies: classicalpsychoanalysis from Freud,

psychodynamic, humanistic, andbehavior and cognitive therapies.

Professor Ennis looks for more hands. None.

PROFESSOR ENNISOkay then, I'll see you all onTuesday.

All of the students prepare to leave.


8/21

7.

PROFESSOR ENNISMiss Navon, I'd like to speak to youbefore you leave.

Lasila frowns, gathering her things. She knows what it'sabout.

Sky'lar gives her a glance and heads for the exit.

Professor Ennis packs folders into his shoulder bag -- notfacing Lasila standing by his podium.

PROFESSOR ENNISWe did have an understanding thatyour studies are important -- as ismy time?

She stares at his back, but doesn't answer...

PROFESSOR ENNISMiss Navon...

LASILAYes-yes we did. I mean we do.

PROFESSOR ENNISThen, why was I the only one preparedto tutor you this evening beforeclass?

Again, no answer.

PROFESSOR ENNISEither you're not serious about myclass or you're not serious aboutyour future. Which is it?

LASILAIt's neither. I am serious aboutboth. I'm just dealing with somethings.

He looks at her. He sees it -- believing her...

PROFESSOR ENNISI understand. Well, we can reschedulefor next week -- but I need you to

show more commitment to this, Lasila.I hear it's difficult making a livingas an artist.

He can see her drawing of the angel. She places her armover it. He continues to pack his things.

PROFESSOR ENNISSee you next week?


9/21

8.

LASILAYes. Thank you, Professor Ennis.

She heads for the exit.

HALLWAY

Lasila walks toward double doors showing darkness beyondtheir glass windows.

SKY'LARSo, how much trouble are you in?

Out of nowhere, Sky'lar walks up beside her.

LASILAI'm not in trouble. If it's any ofyour business.

Lasila keeps walking...

SKY'LAR

Oh, she has claws.

Sky'lar keeps up...

SKY'LARYou know I've heard -- all you haveto do is sleep with a professor andfrom then on -- boom -- you've got'em by the balls.

(smiling)Literally.

Lasila, not comfortable with the conversation, doesn't answer.A book slips from her pile.

They stop walking as Sky'lar kneels down and picks it up.He looks at the cover.

SKY'LARContemporary art. Nice. Exceptyour angel doesn't seem to fit this.

She takes the book from him.

LASILA

I'm learning something differentfrom what I normally draw.

SKY'LARAnd what's wrong with the norm? I'msure I've seen worse than your angel.

Lasila's tone changes... darkens.


10/21

9.

LASILAI don't think so.

There's a seriousness on her face that he sees.

SKY'LARWell, if you don't believe me. Letme show you.

LASILASo, what -- you draw?

SKY'LARNo. I hate drawing -- but, I loveart. Expensive art -- and finejewelry.

He reaches into his coat pocket, pulling out a business sizecard. He hands it to her.

SKY'LARFriend of mine is having an art

gallery opening this Friday. Ifyou're free, maybe we could check itout -- together.

She reads the pure white card:

MICHAEL GRIFFIN GALLERY

She feels the raised lettering and flips the card over -- noaddress, no phone...

SKY'LARIt's invitation only. Believe meyou'll regret not going. A beautifulartist like yourself should see thework of others.

She looks at him -- his dark eyes...

LASILA... Okay.

Sky'lar smiles -- pulling out a pen.

SKY'LAR

Here's my number.

He gently holds her hand steady with the card lying in herpalm and writes on the back.

SKY'LARGive me a call on Friday.

She looks at the number...


11/21

10.

LASILAOkay.

She walks away, trying not to smile.

SKY'LAROh, and my name's Sky'lar.

She stops and turns back...

LASILA AND SKY'LARLasila.

SKY'LARI know.

She can't stop the smile forming on her lips. She turns andwalks out the double doors.

Sky'lar watches her, until she disappears into the dark beyondthe doors.

INT. JANE NAVON'S HOUSE -- NIGHT

The house is dark and quiet. We move throughout, until wereach ...

JANE'S BEDROOM

Her bed looks slept in, but she's not in it...

HALLWAY

A light shines from underneath a closed door.

BATHROOM

Jane sits on the floor close to the toilet, holding a handtowel stained with blood. Her head lying against the toiletseat. Blood and traces of digested food in the corners ofher mouth.

Sweat covers her brow as she violently vomits into the bowl.Breathing heavily, the wave passes...

JANEAh, God...

She vomits again... recovering, breathing deep... her headagainst the seat...

LASILA'S BEDROOM

She lies there in the dark, facing the door. Her eyes open,staring at the white light shining beneath it. She listensto the sound of her mother as tears slide down her face --she listens quietly to the sound of her mother dying.


12/21

11.

Lasila cries silently in the darkness.

INT. DAVENVILLE COLLEGE, PROFESSOR ENNIS'S OFFICE -- LATEEVENING

Professor Ennis sits at his desk with an open text book andnotes spread out.

Lasila sits at a student desk in front of him. Her dark

hair and hands hiding most of her face. They're alone.

PROFESSOR ENNIS(reading from notes)

... with these necessary treatments,controlling psychotic behavior becomesa possibility with unknown --

He looks up at Lasila... something is wrong...

PROFESSOR ENNISLasila?

She raises her head enough for Professor Ennis to see she'scrying.

PROFESSOR ENNISLasila, are you all right?

He gets up and comes around to the front of the desk.

LASILAI'm all right.

(wiping her tears)Really.

PROFESSOR ENNISWhat's the matter? Has somethinghappened?

She's hesitant to answer...

LASILANo... not yet. But, it will.

PROFESSOR ENNISWhat will?

LASILAMy mother's going to die.

Professor Ennis is taken aback by what she's saying.

PROFESSOR ENNISI'm sorry, Lasila. I didn't knowshe was ill.


13/21

12.

LASILAWhen you don't have friends who'sthere to tell?

His tone is compassionate...

PROFESSOR ENNISIs this what you've been goingthrough?

LASILAI'm not going through anything. Idon't have cancer.

PROFESSOR ENNISYou are going through things, Lasila.And unfortunately, everything thatlives dies.

LASILA(pondering his words)

... Not everything.

He looks at her, confused by the statement.

PROFESSOR ENNISLasila --

LASILAHas anyone in your life ever diedthat you were close to? Someone youknew you couldn't live without?Someone who made you who you are.

A silent moment...

PROFESSOR ENNISYes... my parents... my wife.

Lasila hears the pain in his voice -- sees it on his face.

LASILAAnd how did you deal with them leavingyou? Leaving you here alone withoutthem?

She looks into his solemn eyes -- waiting for an answer...

He just looks at her -- he doesn't have one to give.

INT. JANE NAVON'S HOUSE, BASEMENT -- LATE EVENING

A lone naked light bulb illuminates gray brick walls and aconcrete floor. It creates shadows filling every corner.

A long wooden crate being used as a work table is coveredwith numerous large tubes of different colored paints.


14/21

13.

Each is covered in dry paint and almost squeezed empty.

Lasila sits on a stool in front of an extremely old woodenpainting easel. She carefully works on a large portrait ofa woman. A beautiful and terrifying woman --

-- Slow, meticulous strokes of her brush glide against thecanvas --

-- Her work is amazing -- the woman is nothing shy ofperfection -- looking as if she could step from the paintingitself.

Dark and elegant with hair blacker than black. Her skinpale with piercing maroon eyes -- she seems to stare back atLasila -- looking into her very soul.

INT. JANE NAVON'S HOUSE, LASILA'S ROOM -- NIGHT

Lasila sits at a small vanity with no mirror. Combs, brushesand fingernail polish sit out.

She finishes a fresh coat of black nail polish on her righthand -- admiring her work. She adjusts one of the threechrome rings on her finger and continues to get ready.

KITCHEN - LATER

Jane sits at the dining room table, looking at artwork doneon vellum, fine parchment, drawn in black ink. Unaware --

Lasila walks in, dressed all in black -- long fingerlessgloves covering her arms -- a beautiful silk 17th Centurycorset with a floor-length chiffon skirt woven with lace.

LASILAHey.

Surprised, Jane stares Lasila up and down...

JANEWell, don't you look nice.

LASILACan't a girl dress up once?

JANE

Yes, a girl can. You don't.(smiling)What's the occasion?

LASILAJust going to a gallery.

(hesitant)With a boy.

Jane's expression changes -- her smile fades.


15/21

14.

JANEA boy? You didn't tell me you metsomeone.

LASILAAnd I think we both know why.

JANEWe've talked about this before, Sila.

LASILAThen, there's no need to talk aboutit again.

(changing the subject)What are you looking at?

JANEI was going through some boxes andfound these pictures you coloredwhen you were little. You had themwith you when...

Jane stops herself from mentioning her sad memory. She handsone of the pictures to Lasila.

LASILAI don't remember these.

Lasila looks at the drawings -- nothing recognizable -- justscribbles of a child.

JANEYou've forgotten a lot. You wereprobably three or four. An innocentchild.

LASILAYeah. That sounds like me.

JANE(changing it back,direct)

I don't think you know what you'redoing, Sila.

LASILADon't treat me like a child. It's

just a date.

JANEDates lead to more than "just dates."

LASILAEverything will be fine.


16/21

15.

JANE(louder)

You think everything will be fine?

LASILAYes! I said I didn't want to talkabout this again!

JANE

Well, it looks like we have to!

LASILA(calming)

What does it matter? I just want tospend time with someone.

JANEYou mean someone else?

LASILAYes, someone else!

Silence...

JANE(hurt)

I see.

Lasila looks down at the floor.

LASILAI didn't mean it that way. I -- I'mjust never around anyone else...ever. And no one's ever noticedme... known my name.

Jane sighs, calms...

JANESila, you know I love you and I'mnot trying to keep you from beingaround other people. But this --this could end badly.

LASILAIf it does -- you'll be here to makeit all better. Like always -- right?

Jane silently stares at her.

LASILAI gotta get going.

Lasila grabs her small purse and walks out. Jane lets herleave.


17/21

16.

EXT. DAVENVILLE COLLEGE, PARKING LOT -- NIGHT

Lasila pulls up, parks and gets out of her Sunfire. Sky'lardrives up in a flawless Black Corvette. Lasila gets in.

INT. SKY'LAR'S CORVETTE -- NIGHT - CONTINUOUS

SKY'LARRight on time.

LASILAThanks for meeting me here.

SKY'LARNo problem.

OUTSIDE

The Corvette makes its way out of the parking lot.

EXT. MICHAEL GRIFFIN ART GALLERY -- NIGHT - CONTINUOUS

The Corvette pulls up front to valet parking. Sky'lar andLasila step out into a crowd of people. VALET, takes theCorvette.

They walk

INSIDE

the gallery. It's packed with people. Rich, beautifulpeople. Lasila can see the distinct difference between themand her. Their expensive jewelry and radiant clothing.

Sky'lar, like her, is also dressed completely in black -- asmall comfort.

SKY'LARLet's find the bar. I could use adrink.

Sky'lar takes her hand and escorts her through the crowd.

BAR

They take seats at a long bar. Every bottle of hard andsoft liquor imaginable is displayed behind it. High quality

portable stove heaters keep hors d'oeuvres warm.

The bartender, MAXIMILLIAN COSETTA, 25, tall and thin withdark eye-shadow around his eyes, mixes different drinks forother guests at a hurried pace.

He's good at what he's doing, but also has a look of notbelonging here.

He looks up and sees Lasila.


18/21

17.

MAXIMILLIANWhat can I get you?

LASILAI'm fine.

SKY'LARI'll have a Scotch neat.

MAXIMILLIANComin' up.

SKY'LAR(to Lasila)

You don't drink?

LASILANot alcohol.

SKY'LARSo, you're a good girl.

LASILAWhat's your definition of good?

SKY'LARDon't smoke, don't drink, don't stayout late.

LASILAWell, you got one out of three. Ilove the night.

Sky'lar smiles.

SKY'LARDarker the better?

LASILASomething like that.

SKY'LARThen, I guess we have something incommon. I love what happens at night.

LASILAOh? What happens at night?

SKY'LAREveryone becomes a little lessinhibited.

LASILAAnd that's a good thing?

SKY'LAROf course, it is.


19/21

18.

Sky'lar looks into the pools of blue that are her eyes.

Maximillian watches Sky'lar stare at her as he works -- anunpleasant stare.

LASILASo, how did you know my name?

SKY'LAR

Professor Ennis called you to hisdesk. Remember?

She does...

LASILAAnd finally hearing my name made youask me out?

He leans in closer to her ear...

SKY'LAR(whispering)

I have a secret -- I already knewwho you were.

She gently eases him back...

LASILANo one knows who I am.

SKY'LARSo, you think. First thing inbusiness -- as my up and coming jobpreaches, is to know exactly whatyou want -- and do everythingto getit.

LASILASo, this is business and you're doingeverything to get me?

SKY'LAR(smiling)

Of course not, this is pleasure.

MAXIMILLIAN(unfriendly, to Sky'lar)

Here ya' go.

Maximillian sets down Sky'lar's Scotch and a glass of waterwith ice and lemon for Lasila.

Lasila looks at her water.

MAXIMILLIANIt's on the house.


20/21

19.

LASILA(to Maximillian)

Thank you.(to Sky'lar)

So, what's the new job?

SKY'LARThompson Commodities. I start aftergraduation. The men I'll work for

own this gallery.(smiling)

And some of the people in here.

A joke she doesn't laugh at. Sky'lar notices someone in thecrowd.

SKY'LARHey, wait right here. There's someoneI want you to meet.

With that, he's gone. Lasila sips her water, looking around.

MAXIMILLIANSo, what's a nice girl like you doingin an un-nice place like this?

LASILAHow can an art gallery be un-nice?

MAXIMILLIANIt's not the gallery -- but the peopleinside. Look around. Shallow,egotistical, self-centered humanbeings. All rich, blessed withwealth, creating an illusion of beautyand contentment.

Lasila chuckles.

MAXIMILLIAN(still looking serious)

What?

LASILAI've finally found someone moredepressing than me.

MAXIMILLIANI'm just an observer. People areblind to what's right in front oftheir face everyday.

SKY'LAR (O.S.)Lasila.


21/21

20.

Lasila turns to Sky'lar and MICHAEL GRIFFIN, early 40s,handsome and well-dressed with hair like an angel -- longand flowing.

SKY'LARLasila, this is Michael Griffin.

LASILAHi.

MICHAELHello. That's a beautiful name.

LASILAThank you.

MICHAELI don't think I've ever heard itbefore.

LASILAMy mother tells me it's unique. She

says it's a reminder that I'm special.

Michael looks her over.

MICHAELI can see that.

Lasila looks slightly embarrassed.

MICHAELThank you for coming to my opening.Sky'lar tells me you're an artist.And a very good one.

LASILAI don't know if I'm very good.

MICHAELModest, too. That's very rare inthis crowd.

They all laugh.

MICHAELWell, since this is my opening -- I

should see to my other guests, butI'd like to invite you to an afterparty. Maybe we could discuss yourartwork further? Find something youmight want to display.

A little overwhelmed...

bloodline - (stumbleupon) 8-6-2012

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