HUNTER AND PREY ©

FADE TO EXT. REAR OF FARMHOUSE - A NIGHT IN THE LATE 1940’S
TIGHT SHOT ON BACK DOOR
An eight-year-old YOUNG DEVON runs through the back door. He is dressed in standard 1940’s child’s wear.

YOUNG DEVON (yelling)
Courtney, where are you?

PANNING SHOT OF YOUNG DEVON
Young Devon moves out of the farmhouse and starts searching the area for Courtney. He eventually moves towards the barn, seeing a lantern burning through the cracked-open door.

CUT TO INT. SHOT OF BARN - SAME TIME
TIGHT SHOT ON DOOR
Young Devon eases the door open slowly and peers inside.

PANNING SHOT TO YOUNG DEVON’S POV
Young Devon witnesses Mason holding Courtney in his arms, sucking the blood from her neck. Both are dressed in standard 1940’s clothing. Mason feels Young Devon’s presence and turns toward him, vampire in appearance. Young Devon screams in fear.

PANNING SHOT OF MASON
Mason sweeps Courtney’s body up in his arms and rushes towards the door. The movement knocks over the lantern and sets the hay on fire. He throws Young Devon against a wall and continues running through the door. Upon exiting the barn, he launches into the air and flies away, leaving Young Devon crawling out of the flaming barn.

CUT TO INT. MOTEL ROOM - JUST BEFORE DAWN
TIGHT ONE SHOT OF DEVON
Devon is still mimicking the thought-filled stare.

FADE OUT

FADE IN ON EXT. NEWS REPORT - SUNSET
WIDE SHOT OF CRIME SCENE
A southern view of the city is seen in the background. Police officers, ambulances and reporters are scattered along the highway. A body is rolled to the mortician’s truck. A lovely young woman, LOIS GRANT, stands in the forefront, holding a microphone and speaking to the camera.

LOIS GRANT
...this heinous crime is yet to be determined; though police do suspect
mob involvement. To be honest with you, Clark, this is probably the most
violent occurrence that I have ever witnessed. The body was decapitated,
staked through the heart and impaled to the ground. With this type of
damage done, we can only suspect some form of...just a second...I see
Inspector Kelly. He may be able to shed more light on this.

Speaking to Kelly.

Inspector Kelly. Do you feel as though this is a sign of
a reemergence of mob activity in the San Francisco area?

KELLY has been making the rounds to all of the stations. He appears a bit smarmy; eager to share his thoughts and summations with anyone who will listen, and now it is Lois’ turn.

KELLY
I have no doubt in my mind, Lois. This is but the beginning of the
incredible violence to be wreaked upon our city. It is surprising,
however, in a case such as this to find any viable ways of identification.
We were lucky - such as it is - that the face and hands were not damaged
in any way.

CUT TO INT. MOTEL ROOM - SAME MOMENT
TIGHT SHOT OF TELEVISION SET

KELLY
We expect to have a positive identification of the victim within hours.
I am willing to guarantee that justice will be served and the perpetrators
will be held accountable for their actions...

The television clicks off.

CUT TO DEVON
Devon is sitting alone in the motel room on the edge of the bed. He holds the remote control in his hand.

DEVON
Very good, Mason. First round goes to you.
But I don’t take kindly to you killing one of my men.

CUT TO INT. BLISS - SAME TIME
TIGHT SHOT OF TELEVISION SET BEHIND BAR

LOIS
There you have it. This is Lois Grant for Channel 4 News.

Mason’s hand reaches up and turns off the set.

PANNING SHOT OF MASON
Mason’s hand falls back to his side as he walks out from behind the bar. He is also alone as he is the first to rise. He travels back to the vampire den to greet his people as they awaken.

CUT TO INT. VAMPIRE DEN
Mason enters the room just as the vampires are beginning to wake. He walks over to the edge of the king and kneels next to Courtney.

TIGHT SHOT OF COURTNEY FROM MASON’S POV
Again, Courtney’s beauty is evident as she sleeps in a death-like stillness. Then her eyes flitter slightly and she awakens.

COURTNEY
Pleasant dreams?

CUT TO TWO SHOT OF MASON AND COURTNEY
Mason looks slightly worried, but quickly changes expression.

MASON
Only the ones of you.

COURTNEY
Six decades and you are still trying to sweet-talk me.

Mason smiles.

CUT TO WIDE SHOT OF ENTIRE ROOM FAVORING MASON
Mason spins to his feet and steps forward to address the congregation. Courtney rises from the bed and stands to Mason’s left.

MASON
Good morning. It will be a very busy evening tonight,
so we need to make sure that everything is ready.
How are we standing on supplies?

Boris steps forward.

BORIS
We should be o.k. for tonight, but we will need to make a blood run
before opening tomorrow.

Brittany moves more center.

BRITTANY
If you would like, I could swing by there on my way back.

PAN TO MEDIUM SHOT OF SMALLER GROUP
Mason begins to move towards Brittany.

MASON
Back?

BRITTANY
Yes.

Brittany begins to look embraced and hurt.

Tonight is my anniversary. I need to see my husband.

Now it is Mason’s turn to look embarrassed. His is accompanied by worry, however.

MASON
I am sorry Brittany. With everything that has been going on in my mind,
the date had completely slipped my mind.

BRITTANY
Then I can go?

MASON
Have I ever stopped you before? I do not think I could if I tried.
Just one thing...

Mason examines the room with a quick glance.

...Please take Robert with you.

CUT TO WIDE SHOT OF ROOM
Mason addresses everyone.

MASON
For the next few nights, I do not want anyone traveling alone.

(To everyone.)
Let us start getting ready for business.

The group begins mulling around. ROBERT, another one of the bouncers, moves across the room and joins Mason and Brittany. Courtney moves in closer to Mason.

CUT TO MEDIUM SHOT OF THE QUARTET

ROBERT
Is there a problem, sire?

MASON
Just call it one of my hunches.
I do not want anyone going out alone until it passes. Besides...

Mason smiles.

...the two of you should have more time with each other.

Robert and Brittany smile as he slips his arm around her waist. Brittany then slips from Robert and leaves to get ready. Mason’s expression turns somber.

Be careful Robert. Take good care...of both of you.

ROBERT
Not to worry Mason. I can handle anything that might come up.

Robert moves away to get ready.

TIGHT SHOT OF MASON

MASON
I hope so.

CUT TO EXT. PATH TO CEMETERY - A FEW HOURS LATER
MEDIUM TWO SHOT OF BRITTANY AND ROBERT THROUGH FENCE
Brittany and Robert are walking along a sidewalk in front of an iron fence. The cemetery is behind the camera, allowing a view of the street behind Brittany and Robert. Robert is dressed in black jeans, a flannel shirt, and cowboy boots while Brittany is dressed in a very conservative black dress. They are strolling in silence with a little bit of distance between them. After a few steps, Brittany strides ahead of Robert, then pirouettes to face him; stopping both of them in their tracks.

BRITTANY
O.K. What’s going on?

ROBERT (mumbling)
Nothing.

BRITTANY
Robert?

ROBERT (normal voice)
It’s just that...

Brittany moves a little bit closer to Robert.

BRITTANY
That you’re feeling uncomfortable about coming with me tonight.

ROBERT
Yeah.

BRITTANY
But why?

CUT TO BRITTANY'S POV FEATURING ROBERT

ROBERT
You have always maintained a line between your life before
and after the war. We have always accepted that...
I have always accepted that. But now, tonight,
we are being forced to merge the two.

CUT TO BRITTANY

BRITTANY
There’s nothing to worry about.

CUT TO TWO SHOT

ROBERT
But visiting your husband is a very personal time for you. I’m intruding.

Brittany moves into Robert’s arms.

BRITTANY
There is nothing about me that you can intrude in.
You are as much a part of my life now as he was back then.
As such, I want you to share in everything that I do.
And that includes this.

ROBERT
Are you sure?

BRITTANY
Yes. Come on. It’s time the love of my life met the love of my afterlife.

PAN OUT TO WIDE SHOT
The two embrace and kiss. They turn and walk through the entrance of the steel fence arm-in-arm. On the gate is a sign: EVERLASTING HOPE CEMETERY.

CUT TO EXT. SHOT IN CEMETERY
The couple moves slowly and respectfully through the veteran section of the cemetery. They maneuver their way through the tombstones towards the largest of them.

CUT TO TIGHT SHOT OF TOMBSTONE
We see a very detailed and elaborate tombstone baring the name Douglas. Underneath is the division between husband and wife: Marshal; born March 24, 1949; died April 9, 1970. Brittany; born October 17, 1949; died April 12, 1970.

BRITTANY
I have always wished that it could read the truth. “Reborn April 12, 1970.”

CUT TO WIDE SHOT FEATURING BRITTANY
We see Brittany slowly kneel in front of the tombstone. Robert stands in the background, being respectful but uncomfortable.

BRITTANY
I come here each year on this night out of respect and love for you Marshal.
Though we were married for only a short period of time,
I have loved you every day since.

CUT TO ROBERT’S POV FEATURING BRITTANY
Turning back towards Robert.

It was a high school romance.
Of course, our parents were against it, but we didn’t care.
We lived happily for about a year, until things went haywire in Vietnam.
Marshal’s number was drawn and he went off bravely to serve his country.
He was over there almost a year when he was shot by a sniper.

CUT TO CLOSE SHOT OF BRITTANY
A blood tear runs down her cheek.

The day I learned of my husband’s death,
I decided that life wasn’t worth living anymore. It was shortly
after nightfall when I drove my car out to the Golden Gate Bridge,
parked and dove toward the water below. I would have suffered
final death that night if it hadn’t been for Mason.
He saw from a distant bank what I was attempting to do and
swooped in to catch me. That was the night I learned of
the existence of our kind and begged for him to take my life.
He refused to kill me, but offered instead to bring me over.
He knew, even though I didn’t at the time, that something greater
was waiting for me. That something was my second love.… Robert.

CUT TO ROBERT’S POV FEATURING BRITTANY
Turning back towards the tombstone.

But I can’t help, especially on this night, to miss my former love. Robert?

ROBERT
Yes Brittany.

BRITTANY
I am going to rejoin my husband for a little while;
but remember that I still, and always will, love you.

CUT TO CLOSE SHOT ON BRITTANY
Brittany lies down on top of the grave and slowly sinks into the undisturbed ground.

CUT TO WIDE SHOT FEATURING ROBERT
Robert is alone in the middle of the graveyard. He proceeds to sit down Indian-style on the ground in front of the grave. In the background, the night begins to come alive as six soldiers of fortune begin to appear behind him.

CUT TO PANNING SHOT OF SOLDIERS
They are armed with weaponry ranging from machine guns to rocket launchers. They are moving slowly and carefully, sneaking up on their prey.

CUT TO MEDIUM SHOT FEATURING ROBERT
Robert sits quietly until he hears something that is beyond the range of human hearing.

ROBERT (spinning around into a half-stance)
What the...?

At this point, the mercenaries charge at him in full force. NATE leads the soldiers in the charge.

NATE
Time to die, bloodsucker.

CUT TO WIDE SHOT FEATURING ROBERT
The soldiers open fire on Robert and hit him precise with their opening volley.

CUT TO INT. BLISS - SAME TIME
TIGHT SHOT OF MASON
Mason gets a look of shock on his face. He knows what is happening to Robert.

CUT TO EXT. SHOT IN CEMETERY - SAME TIME
WIDE SHOT FEATURING ROBERT
The mercenaries move slowly towards Robert’s still body. When they are close to the body, Robert springs to his feet and smiles. His appearance has morphed into that of a vampire: Extended canine teeth, claw-like fingernails and reversed pupils. Other than these trademark traits, however, he still looks human.

ROBERT
You boys aren’t very up-to-date on your vampire lore, are you?

Robert launches himself into the air, taking the nearest man with him.

CUT TO INT. BLISS - SAME TIME
PANNING SHOT OF MASON
Mason is now moving through the club, finding Boris, Vincent, SAMUEL and QUENTIN huddled together by the bar. Boris is the first to see Mason and realizes that something is wrong. He and the other men break off discussions as Mason comes upon them.

MEDIUM SHOT OF THE FIVE MEN

BORIS
What is it, sire?

MASON
Robert and Brittany are in trouble.

BORIS
I’m with you.

Mason pauses a half heartbeat to think.

MASON
No Boris. I want you here in case trouble finds its way back here.

BORIS
I should be with you.

MASON
No. I will take Vincent, Samuel and Quentin with, but you stay here.

Boris looks as though he is about to argue more.

No more arguments. They are my responsibility, as are you.

CUT TO EXT. SHOT IN CEMETERY - SAME TIME
MEDIUM SHOT OF SOLDIERS
The corpse of the soldier drops to the ground at his comrade’s feet as they continue to fire on Robert.

CUT TO PANNING SHOT FEATURING ROBERT
Robert swoops down on the soldiers, grabbing another by the lapels. As he starts to rise, however, a crossbow bolt comes soaring through the air, piercing through the soldiers body and into Robert’s heart.

PAN TRAJECTORY OF ARROW TO DEVON
Devon stands with a gas-charged Dominator crossbow raised, smiling like the devil himself.

CUT TO PANNING SHOT OF ROBERT
Robert quickly plummets to the ground, landing on top of the now-dead man in his arms and driving the bolt through his own body.

CUT TO DEVON
Devon slowly lowers the Dominator.

DEVON (enthused)
Now that’s the way to take down a vampire.
I told you boys those things wouldn’t do you any good.

(Commanding)
Quickly, douse it in gas and light it up. We have work to do.

CUT TO MEDIUM SHOT OF SOLDIERS
All of the men look dumbfounded.

NATE
What about those two?

He points towards the dead soldiers.

DEVON
It’s too late for them already. Burn them too.

The men look at each other questioning.

Do it now...before the other one resurfaces.

The soldiers hesitantly begin their duties.

CUT TO INT. BLISS - SAME TIME
TIGHT TWO SHOT OF MASON AND BORIS
Mason moves to Boris and gets a grim look on his face.

MASON
It is already too late for Robert, but if we hurry,
we can still help Brittany. Look after Courtney.
No harm is to come to her. That is your duty.

Boris nods his head in agreement.

PANNING SHOT OF MASON AND HIS MEN

MASON
Let us go.

The quartet rushes through the club and out through the doors. As the doors begin to swing closed, the men leap into the air and take flight.

CUT TO EXT. SHOT IN CEMETERY - SAME TIME
MOVING WIDE SHOT BRITTANY’S POV FEATURING SOLDIERS
Brittany is underground with her view blocked by dirt. She begins to move towards the surface. Upon breaking the surface, she sees the grave surrounded by the remaining four soldiers. Nate is standing to her right with a stake and hammer in his hand. He quickly brings the stake down to her chest and begins to hammer it in. Brittany screams out in horror and pain. In the background, Robert fights with all of his might to get up against the arrow through his chest and the flames that are engulfing him.

DEVON
OK men; let’s get the hell out of here. Mason will be showing up any second
with a squad of these monsters. We don’t want to be here when they show up.

CUT TO WIDE SHOT FEATURING DEVON

DEVON (almost to himself)
Mason’s turn will be soon enough.
He must saver the pain of loosing loved ones
before he joins them in hell.

As the final blow is delivered to the stake plunged into Brittany’s heart, the soldiers begin to swiftly evacuate the area. They are gone from view in less than a second.

CUT TO PANNING SHOT INTO SKY
Mason, Vincent, Samuel and Quentin swoop into view.

CUT TO AERIAL SHOT
Mason and his men see an overview shot of the battlefield.

PANNING SHOT OF MASON AND HIS MEN
The four men land near the half-emerged form of Brittany.

MASON
Quentin, take care of Robert. Vincent, Samuel, find out who did this.

CUT TO MEDIUM TWO SHOT OF MASON AND BRITTANY
Mason drops to one knee and starts to attend to Brittany.
It is ok. You are going to be all right. We will get you back to Bliss and you will be ok.

BRITTANY
No Mason, it’s too late. They caught me in the process of surfacing.
I’m already gone.

MASON
I am sorry Brittany. I should not have let you go out.
I knew that it was dangerous and I should have stopped you.

BRITTANY
Nonsense.

CUT TO BRITTANY'S WIDE SHOT POV
Brittany looks past Mason to see Quentin putting out the charred remains of Robert. She then looks back at Mason.

CUT TO TIGHT TWO SHOT OF MASON AND BRITTANY

BRITTANY
Honor my last request Mason; bury me here with my husband.
Place me in my grave and lay Robert beside me.
I wish to spend eternity beside both of my loves.

With that statement, she dies quietly. Mason reaches over and closes her eyes.

MASON
As you wish.

Mason speaks to Quentin without ever looking away from Brittany.

Quentin. Bring Robert over here. We are going to give him and Brittany
the proper burial that they were robbed of so many years ago.

CUT TO WIDE SHOT OF MASON
Mason bends over and picks up Brittany, leaving an indention in the ground that perfectly mimics her body. He takes a few steps backwards and lets his eyes close. Quentin walks over beside Mason holding Robert’s body, which is quickly turning to ash. The ground begins to shake slightly as the dirt on the grave begins to part and Brittany’s coffin rises gently to the surface. The lid of the coffin flips open on its own volition as Mason and Quentin step forward. Mason gently lowers Brittany into the coffin; straightening her clothes and hair and placing her arms across her chest.

MASON (whispering)
Ashes to ashes and dust to dust.

Mason then takes the ashen Robert from Quentin and gently allows it to fall like sand through his arms upon Brittany. The pair of men somberly backs away from the coffin as it closes gently and begins to sink back into the ground. When the ground finishes moving, it appears as it did before anything occurred.

CUT TO TIGHT SHOT OF MASON
POV BEHIND GRAVE
Mason kneels down next to the grave and moves his hand over the engraving.

MASON
I hope you find the happiness you earned during this life in the next.

Mason stands and starts to walk off screen.

Quentin, order a tombstone for Robert to be placed next to Brittany’s.

PANNING SHOT AROUND TOMBSTONE
The camera reveals that Mason has changed the date of death to tonight’s date; no sign of change is evident however.

CUT TO PANNING MEDIUM SHOT OF MASON AND QUENTIN
Mason and Quentin head into the cemetery in search of Vincent, Samuel and the mercenaries. A burst of machine gun fire draws them deep into the grounds.

CUT TO WIDE SHOT OF FIREFIGHT
Mason and Quentin find Vincent and Samuel closing in on ZACK, one of the mercenaries. Zack is firing random bursts into Vincent and Samuel from panic while the duo advance upon him without flinching. As Samuel gets a hold of Zack, Mason rushes up to them and stops Samuel from killing him.

CUT TO MEDIUM THREE SHOT OF MASON, SAMUEL AND ZACK

MASON
Don’t.

SAMUEL
But...

MASON
I know. The taste for vengeance is sweet on my tongue as well.
But we need to identify our enemy if we are to stop the killing.

CUT TO TIGHT SHOT OF SAMUEL AND ZACK
Samuel reaches down and takes the now-empty gun from Zack’s grip. He releases his grip from Zack and crumples the gun in Zack’s face. He then throws the gun on the ground and steps away.

PAN TO MEDIUM SHOT OF MASON, SAMUEL AND ZACK
Mason now steps forward to face Zack. Samuel steps back with respect to Mason.

TWO SHOT OF MASON AND ZACK

MASON
What is your name, son?

This statement is ironic because Zack appears to be in his late 30’s.

ZACK
Fuck off monster.
If I had a stake, I’d end your miserable excuse for an existence right now.

MASON (pausing)
Nevertheless, you do not.

ZACK
No, I don’t. Come on all ready and get it over with.

MASON
Get over with what?

ZACK
Ripping my throat out. Tearing me limb from limb.
Decapitating me and using my head as a brandy snifter.

CUT TO MEDIUM SHOT OF ENTIRE GROUP

MASON (half-smiling)
My God, man, that is disgusting.
I think you have watched one to many cheap horror films.

The other three men begin to laugh quietly.

CUT TO TIGHT SHOT OF MASON

Besides, it would mess up my suit.

CUT TO MEDIUM SHOT OF MASON AND ZACK
Zack is obviously taken aback by the light-hearted attitude the vampires are taking. Mason returns to his somber attitude.

MASON
Why are you attacking my people?

ZACK (still dumbfounded)
We’re vampire hunters. That’s what we do.

MASON
So, do you send in an essay with your three box tops to get
your hunting license?

ZACK
What?

MASON
Never mind. Why did you become a “vampire hunter”?

CUT TO TIGHT SHOT OF ZACK
Zack recites his next statement like a good soldier, memorized to perfection and with the dramatization of a drill sergeant.

ZACK
To save humanity from annihilation. If we fail to stop you and your kind,
you will over-run this planet and wipe out the human race.
It is up to us to keep this from happening.

CUT TO TIGHT SHOT OF MASON

MASON
By wiping us out first.

CUT TO TIGHT SHOT OF ZACK

ZACK
Correct.

CUT TO TIGHT SHOT OF MASON
Mason rolls his eyes in frustration.

MASON
Listen son, I hate to spoil your dreams of heroism,
but I’ve been alive for over four hundred years.
Do you not think that, if I wanted to wipe out the human race,
I would have done so by now?

CUT TO MEDIUM SHOT OF MASON AND ZACK

ZACK
Well, we’re not about to stand by and be food for you and your bloodsuckers.

MASON
Fair enough. I don’t know of any creature that wants to stand still
and become a meal for another. I’m sure that the cow has higher hopes
than to become part of a Big Mac.

ZACK
See, you’re comparing humankind to cattle.

CUT TO TIGHT SHOT OF MASON

MASON
Not at all. I am simply saying that all creatures would like to be
the last link in the food chain. Nevertheless, it does not happen.
At least we have the capability to take our nourishment
without having to kill the supplier.

CUT TO MEDIUM SHOT OF MASON AND ZACK

ZACK
Huh?

MASON
Unlike you mortals, we do not kill to eat,
let alone drive the resources to extinction.
It does not make much sense, does it,
to kill off your source of food?

Zack is completely dumbfounded at this revelation and seems to be fighting with all of the facts that have been presented to him.

ZACK
But Devon explained it all as you being a bunch of monsters.

MASON
Devon?

ZACK
Yeah. The boss.

Mason is finally starting to realize what is going on and who is responsible for it. As Mason turns to ask Zack another question, Zack’s head snaps backwards from the blow of a large-caliber bullet from a silenced sniper rifle.

CUT TO TIGHT SHOT OF ZACK’S HEAD
The bullet leaves a round dot in Zack’s forehead and plasters his brains on the tombstone behind him.

CUT TO WIDE SHOT OF ENTIRE GROUP
From another angle, a crossbow bolt flies through the air, hitting Vincent in the chest and throwing him into a nearby tombstone.

MASON
Take cover!

All three men become a blur, disappearing from sight just as another bolt misses Mason.

CUT TO MEDIUM SHOT OF VINCENT
Mason swoops in at high speed and grabs Vincent.

PANNING SHOT OF MASON AND VINCENT
Mason pulls the bolt from Vincent’s chest on the run. With a flick of his wrist, he sends the bolt flying.

PANNING SHOT FOLLOWING THE CROSSBOW BOLT
The bolt flies freely through the air, plunging itself in the chest of a sniper and knocking him out of the tree.

CUT TO PANNING SHOT FROM AERIAL POV OF BATTLEGROUND
The area grows quiet as the mercenary hits the ground. The view moves skyward, showing the death and damage caused by the encounter.

FADE OUT

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