HUNTER AND PREY ©

FADE IN ON EXT. CITY STREET - JUST AFTER SUNSET DURING THE 1940’S
WIDE SHOT SHOWING ENTIRE SCENE
Courtney moves through the semi-crowded street toward camera, arms filled with bundled packages. She is moving relatively swiftly at a quick walk, trying to avoid passers by. Mason is moving away from camera at a easy pace while the crowd moves around and past him without paying him notice.

ZOOM TO MEDIUM SHOT
As Courtney begins to pass Mason, a teenage vagabond, YOUNG ROBERT, bumps into her, sending Courtney and the packages flying. The vagabond scoops up the largest of the packages and begins to run, only to be grabbed by the collar with one hand by Mason.

ZOOM TO TWO SHOT
Mason lifts the vagabond to eye level and looks deeply at him. The act of superhuman strength is concealed by Young Robert’s small stature.

MASON (stoic)
What is your name, boy?

YOUNG ROBERT (gulping)
Robert.

MASON
Well Robert, do you not think that the boots in that box
are too small for you?

YOUNG ROBERT
Boots?

Mason glances at the box.
I can sell them for food, sir.

Mason looks deeply at Young Robert, as though he is looking into the boy’s soul. He then removes the package from the vagabond’s hands and sets him gently on the ground. Mason then pulls a money clip from his pocket and hands it to Young Robert.

MASON
You will not be doing any more stealing. Do you understand, Robert?

Young Robert gazes at him with a entranced stare, nodding gently.

I will not tolerate a new employee of mine stealing.
Now take this money and buy food for your brothers and sisters.
Then, tomorrow night, report to me promptly at 8 p.m.
You will begin work then. Do you understand?

Young Robert nods again.

Good.

Mason then breaks the gaze with Young Robert, who snaps out of the entrancement and runs off. Mason’s attention is now leveled towards Courtney.

PAN TO MEDIUM TWO SHOT
Courtney, still on the ground, is attempting to gather her packages from a kneeling position. She is very flustered and off-balance after the altercation. Mason gently moves toward her and presents the box of boots to her. He smiles, exuding a feeling of calmness and comfort.

MASON
Are you all right, miss?

COURTNEY (calming down)
I believe so.

Mason reaches out his hand to Courtney, who cautiously accepts it. With seemingly no effort whatsoever, Courtney rises to her feet and is steadied. Courtney continues to look at Mason questioning.

MASON
May I assist you with your travels?

COURTNEY (questioning)
Thank you, but I....

Courtney begins to bend over, but winces in pain from falling.

MASON
Madam, you have been hurt. Please....

COURTNEY (curt)
What is your name, sir?

MASON
You may call me Mason.

COURTNEY
Mr. Mason. I appreciate the assistance, but I do not often accept offers
from strange men who know my purchases without seeing the contents.

MASON
The smell.

COURTNEY
I beg your pardon?

CUT TO ONE SHOT OF MASON

MASON
I was able to smell the leather, the wood and oil of a well-crafted
and newly-built piece of footwear.

CUT TO ONE SHOT OF COURTNEY

COURTNEY (questioning)
That is a powerful sense of smell you have, Mr. Mason.

CUT TO TWO SHOT

MASON
Yes, it is.

Courtney begins coughing, gently at first.

Is there a problem?

COURTNEY
No, no. Just too much excitement for one day.
You may assist me, Mr. Mason, if you so insist.

MASON
Yes, I believe I do.

Mason grabs up the remaining packages and begins to walk with Courtney.

PAN TO LONG SHOT
The camera pans back from the two.

FADE TO INT. VAMPIRE DEN - THE NEXT DAY - MODERN DAY
TIGHT SHOT OF MASON’S RIGHT EYE
The image of the street is encased inside Mason’s eye.

ZOOM OUT TO TWO SHOT
Mason is again lying in bed with Courtney’s head on his chest. The lights are very dim. A blood tear works its way down Mason’s face, reaching his cheek before being wiped away. Carefully moving Courtney, Mason lays her head on the pillow as he arises. He pulls a housecoat on and begins to leave.

PAN TO MOVING ONE SHOT
Mason leaves the room to head for upstairs.

CUT TO INT. OF BLISS - SAME TIME
MOVING MEDIUM SHOT
Mason exits the back room, walks around the club and walks behind the bar. Pulling out a goblet and a bottle from the refrigerator below the bar, he fills the goblet with blood. He turns his back to us and begins drinking.

PAN TO MEDIUM TWO SHOT
From behind him, Courtney is seen approaching in the mirror.

COURTNEY
You are taking this very hard, Mason.

MASON
How exactly am I supposed to take it?

COURTNEY
It was not this hard on you last time. What is so different now?

MASON
Last time was two decades ago, and it was because Jacob and Rafael were stupid.
They were carried away, allowing the beast within to take over.
This time, Robert and Brittany were innocent.
Well, as innocent as any of us can be.

COURTNEY
Nevertheless, it is not your fault.

Mason turns around and slams down his fist, shattering the now-empty goblet.

MASON
Is it not? I created them both; transformed them into the creatures
that they became - the creatures that were being hunted.
If it was not for me...

COURTNEY
If it were not for you, Robert would have died in some prison
and Brittany would have drown.
You not only extended their lives,
but made them better than either of them could have ever imagined.

MASON
Nevertheless, their deaths are on my hands.
It was the hatred for what I am - what I made them become - that killed them.

COURTNEY
You did not make them do anything.
You gave them each the same choice that you give everyone.

MASON
However, they are after me -
are killing those that I care about - to punish me.

CUT TO TIGHT ONE SHOT ON COURTNEY

COURTNEY
Who are “they”?

CUT TO TIGHT ONE SHOT ON MASON

MASON (tentatively)
Hunters.

CUT TO MEDIUM TWO SHOT

COURTNEY
Obviously, but who? Is it another group of Helsing fanatics again?

MASON
No, I do not think so. It is much more personal than that.

COURTNEY
Then who?

MASON
I cannot say.

COURTNEY
In all the time we’ve known each other,
there has never been anything that you could not tell me.

MASON
I cannot. At least, not yet.

Mason comes out from behind the bar as Courtney turns her back to him. Coming up behind her, he wraps her into his arms and holds her close for a moment. She closes her eyes and allows herself to lean against him.

COURTNEY
The others will be rising soon.

MASON
Yes. There is much to do tonight.
We are going to need supplies, which means leaving our safe haven.

COURTNEY
What do you want me to do?

MASON
Nothing. I want you to stay here.

COURTNEY
I am not going to send anyone else to do anything that I will not do myself.

MASON
I know. Nevertheless, someone needs to stay here and get things ready.

Courtney turns around to face him.

COURTNEY
Thomas can do it just as well as I.

MASON
Point taken. However, you are still not going.
I would not be able to go on if anything were to happen to you.

COURTNEY
Nor I. Be careful?

MASON
Always. I will take Boris and a half dozen others.
Vincent will stay behind with you and finish healing.

CUT TO INT. MORGUE - SAME TIME
WIDE THREE SHOT

ZOOM TO MEDIUM THREE SHOT

KELLY
OK, Mr. Bennett. Can you identify this man?

JOSHUA
Yes sir. That’s my brother.

The coroner starts to re-zip the bag, but is stops after a small shake of Kelly’s head.

KELLY
OK. That takes care of that. You understand that we needed a positive ID.

JOSHUA
Of course.

Joshua turns to start to leave.

KELLY
Would you mind answering a few questions?

Joshua stops with his back to Kelly.

JOSHUA
Certainly.

KELLY
Would you happen to know what your brother was doing in San Francisco?

JOSHUA
No sir.

PAN TO NEW POV FACING JOSHUA
Kelly circles around to face Joshua.

KELLY
Pity. When was the last time you spoke to your brother?

JOSHUA
A couple of years ago.

KELLY
Would that be when the two of you left the armed services?

JOSHUA
Yes. Why?

PAN TO ORIGINAL POV
Kelly circles back again. Joshua turns as well, now facing towards Walter again.

KELLY
Well, in doing a check to discover your brother’s identity,
we came across his - and sub-sequentially your - military record.
The two of you pulled your entire tour of duty together.

JOSHUA
So?

KELLY
That was the last record found for either of you.

JOSHUA
I moved around a lot. I imagine he must have too.

KELLY
Very interesting.
Do you have any idea who might have done this, Mr. Bennett?

JOSHUA
Nope. Why?

KELLY
Well, as far as I can tell, this is a particularly horrific way to die.

Kelly points to the gaping hole in Walter’s chest.

By the looks of things, someone plunged a big,
sharp object through his heart.

Kelly looks at the coroner.

What did you say it was made out of?

CORONER
Wood.

KELLY
Did you find anything else?

CORONER
You mean besides the holes from where he was staked out?

KELLY
Yeah.

CORONER
Well, there were bruise marks all over his arms.

JOSHUA
Detective, am I under suspicion?

Kelly turns his attention back to Joshua.

KELLY
I’m still debating that one. But this wasn’t a one-man job.
And whoever did it had one of two things going through their head.

JOSHUA
And those would be?

KELLY
Either they thought your brother was a vampire,
or it’s what they wanted us to believe.

Joshua gives Detective Kelly a dirty look.

However, of course, there is no such thing as vampires.

JOSHUA
Of course.

Joshua turns to leave again.

KELLY
One last question, Mr. Bennett.

Joshua turns around again.

JOSHUA
Yes?

KELLY
Does either you or your brother have any ties to organized crime?

JOSHUA
I don’t. I wouldn’t know about him.

KELLY
Of course. You haven’t seen him in years.
You can arrange for burial with the front desk.

JOSHUA
Thank you.

Joshua turns to leave for the third time.

KELLY
And please, don’t leave town without informing me first.

JOSHUA
Of course.

Joshua walks out the door.

CUT TO INT. MEAT PROCESSING PLANT - AN HOUR LATER
MEDIUM SHOT OF ENTRY
FRANK, a manager of the plant, opens the outer door. Standing outside is Mason, Boris, WENDY, MEAGAN, Samuel, LINDA, JILL, and Quentin. All are dressed casual. Wendy and Samuel are carrying handled bags. Frank is surprised to see so many of them. He steps aside to allow them entrance, with Boris and Mason leading the way.

FRANK
Hey Mason. What’s with the army?

Mason leaves the progression to stand next to Frank.

MASON
Good evening, Franklin. How are you tonight?

FRANK
I’m doing ok. It’s been a while since you’ve made the pickup yourself.

MASON
We have been having problems with security,
so I am taking some extra precautions.

Wendy, Meagan, Samuel and Linda continue to enter. Frank visually examines each of the women as they pass.

FRANK
Anything I can do to help?

MASON
I do not think so. How have things been going here?

FRANK
Quiet as a...

Jill begins to walk past. As she does, she smiles at Frank and reaches out to brush his face with her fingertips.

Good evening, Jill.

JILL
Hi ya, sweetie.

Mason takes this opportunity to take her place in line, followed by Quentin.

I haven’t seen you at the club in a while. I’ve missed you.

Frank lets go of the door and it swings shut.

FRANK
Really?

Jill wraps her arm through his and they follow as the progression moves down the hall.

PAN TO MOVING MEDIUM SHOT

JILL
Sure.

FRANK (smiling)
Here and all I thought you were just after my blood.

JILL (smiling)
Well, there is that too.

FRANK
Yeah, that’s what I thought.

JILL
But no, really. You’ve been taking real good care of us for quite a while,
and you’re a really nice guy. And we are firm believers in
taking good careof our friends.

Jill coils her arm around, maneuvering Frank’s arm around her back and her’s around his waist.

Really good care.

FRANK
Tease.

JILL
Not really. You know the difference between a tease and me?

FRANK
What?

JILL
I follow through.

As the two reach the open refrigeration door - held open by Boris - Jill reaches up and kisses Frank passionately on the mouth. Frank is surprised and stops in his tracks while Jill proceeds inside.

FRANK
Wow.

BORIS
What can we say? When she finds something she wants, she goes after it.
That’s one thing about being undead - you kinda loose your inhibitions.

Frank starts moving again and enters the refrigeration unit.

FRANK
I guess.

Boris pulls the door shut behind him.

CUT TO INT. REFRIGERATION UNIT - SAME TIME
MEDIUM MOVING SHOT
The room stores slabs of all types of meat before the final cut. Frank and Boris move to the back of the unit where everyone else is gathered. Frank’s is the only breath visible due to the cold. He moves through the crowd to another small door and pulls out a key ring. He opens the door to revile a large metal tank. Pipes lead from other areas of the building into it.

MEAGAN
So that’s it, huh.

FRANK
Yep.

WENDY
Mind if I take a taste?

Frank looks to Mason, who nods slightly.

FRANK
Sure. Help yourself.

Wendy pulls a bottle out of one of the handled bags and puts it under a spout on the front of the tank. Blood pours from the nozzle. She stops the flow after a couple of seconds, filling the bottle 1/8 of the way. She then puts the bottle to her mouth and drinks.

WENDY
Hmm. Tangy.

LINDA
It’s from the metal tank. It fades after its been in the bottles a while.

WENDY
Definitely not as good as the fresh stuff.

SAMUEL
Different enzymes.

JILL
That and you’re used to the adrenaline that’s pumping through them.

LINDA
And the testosterone.

MEAGAN
Hey Frank. How on Earth did you manage a set-up like this?
It isn’t exactly standard procedure, is it?

FRANK
Not typically, but I managed to convince the owners that with current
FDAA regulations being so strict and that this was a lot better
for the environment then just letting it flush down the drain.
I managed to convince them that this storage unit
would be less expensive in the long run.

SAMUEL
And is it?

FRANK
Who knows? All I know is...

CUT TO INT. HALLWAY - SAME TIME
TIGHT SHOT ON DOOR HANDLE
A black-gloved hand slides the lock bolt into the handle.

... it helps you guys out ...

CUT TO INT. REFRIGERATION UNIT - SAME TIME
MEDIUM GROUP SHOT

... and that’s all I care about.

Mason turns to look at the door. Boris notices Mason’s reaction.

BORIS
What is it?

MASON
I just heard something.

FRANK
It’s after hours. No one else is here.

QUENTIN
You mean no one else is supposed to be here.

MASON
Samuel, Wendy - get those bottles filled.

PAN TO MOVING GROUP SHOT
Quentin and Boris take the lead and quickly move to the door. Boris presses against the door release, but fails to open the door.

BORIS
Locked.

Mason, Linda, Jill, Meagan and Frank join them.

FRANK
But that’s not possible.
The only way to lock that door is with the bolt on the outside.

Mason moves over to the door, placing his hand against it.

MASON
There are twelve of them, heavily armed and divided on both sides of the door.

BORIS
Quentin and I can take down the door....
maybe use it as a battering ram to make some room.

MASON
Just be careful.

Mason turns back to Jill and Meagan.

MASON
Stay near Frank. Do not let anything happen to him.

FRANK
Happen?

MASON
I am sorry Frank. We have hunters after us,
and apparently, they have brought the fight here.
Stick close to the girls. They will insure your safety.

(To everyone.)
Once we get outside, everyone separates and head back home.
We should be safe there.

Mason steps away from the door and nods to Quentin and Boris. The two men move to the door and pull back their arms.

CUT TO INT. HALLWAY – SAME TIME
Seven men, lead by Ford, fill the hallway outside the refrigerator door, armed with flame-throwers, Uzi’s and dominators. They seem ready for anything until the door flies off its hinges as the two men push. Once clear of the doorframe, Quentin and Boris turn the door and knock over the three men to the left with it. Quentin and Boris proceed to move over the two downed men and become blurs as they move down the hall. Linda, Jill, Frank, and Meagan are the next out the door as the mercenaries realize what is happening and begin to open fire with the uzis. Using her own body as a shield for Frank, Linda takes the bullets in the back as they proceed down the cleared hall. A flame-thrower burst catches Linda, who falls to the ground screaming. Jill and Meagan grab Frank under each arm and speed up to blur. One of the four men still standing steps forward to get a better look at Linda.

FORD
There’s still…

Mason steps out of the door and slams the man into the wall. He looks down at Linda, who is now smoldering and dead. He then turns toward the remaining mercenaries, grabs the closest one by the arm and spins him around to take the shots fired by ZIGGY. Before the man has a chance to fall, he has moved past Ford and down the hall.

… some left.

Ford points for the three men crawling out from under the door to follow the majority of the vampires, and the one pushing away from the wall in toward the refrigeration room. He then grabs Ziggy and takes off after Mason.

CUT TO INT. OFFICE – SECONDS LATER
MEDIUM TWO SHOT
Ford and Ziggy kick in the door to the main office, taking defensive positions on either side of the door. Ziggy spins around the door and fires a burst of bullets into the room.

FORD
Didn’t any of you listen to Devon? Bullets have no effect.

ZIGGY
It makes me feel better.

From the shadows next to the door, Mason steps out, slabs away Ziggy’s gun, and grab him by the throat.

MASON
Feeling better?

Ford raises his dominator as Mason spins Ziggy around into a human shield. Mason looks at Ford.

Drop the stake-thrower.

FORD
No.

MASON
If you fire that thing, you are going to kill your friend.

FORD
I’ve seen these things go through two bodies before,
and it would be worth losing Ziggy to take you down.

MASON
I believe “Ziggy” would disagree with that statement.

ZIGGY
Don’t do it man. I don’t want to die.

Ford looks at Ziggy, who is on the verge of tears.

FORD
You give mercenaries a bad name.

Ford fires the Dominator, piercing Ziggy through the chest. However, Mason sidesteps as Ziggy is flung backward and pinned to the office wall. Mason then reaches out and snatches the Dominator from the hands of Ford.

MASON
Do you have no regard for life?

FORD
Like you should talk.

Mason snaps the Dominator in half, then grabs Ford by the throat.

MASON
If that were true, you would be a dead man by now.

Mason lifts Ford off the ground.

CUT TO TIGHT SHOT ON FORD’S FEET
The toes of Ford are three inches from the floor.

CUT TO MEDIUM TWO SHOT
Mason braces Ford against the wall, enabling him to breath, but still holding him in the air.

MASON
I do not wish to hurt you, but if you continue to pursue me and mine,
I will have no choice. While we have been standing here,
two of my people have had to take the life of one of your compatriots.
This has upset them gravely.

FORD
Do you expect me to feel sorry for you
because your people had to kill someone?

MASON
No. On the contrary, I feel sorry for you....and your master.

Ford becomes indignant.

FORD
I have no master.

MASON
No? It was my understanding that the man known as Devon was paying you
to achieve his goals for him. On top of that, you expected that man
to lay down his life for the quest.

FORD
He’s our employer, and we have a job to do.

MASON
Listen to me carefully.

Ford begins to stare at him as though mesmerized.

I have a new job for you. You will take a message to Devon for me.
Tell him to end his obsession of vengeance for a crime that was never committed.

Mason lowers Ford back down to the ground.

In exchange for this errand, I spare your life....this once.
I do not ever want to cross paths with you again.
If I do, I will not be so generous again.

FORD (still mesmerized)
Yes sir.

MASON
Now go.

Ford turns and leaves the room without looking back.

CUT TO INT. MEAT-CUTTING ROOM – SAME TIME
MEDIUM SHOT
Jill, Meagan and Frank dive behind a bank of jigsaws as a flame shoots over their heads. The three mercenaries sent after them can be seen in the background; the middle one holding the flame-thrower.

MEAGAN (looking around)
Now what?

JILL
I don’t know.

FRANK
Why don’t you gals just leave me behind. I’m slowing you down.
I’m not a vampire. They won’t hurt me.

JILL
I wouldn’t bet on that, hon.
Ten would get you twenty that they would just as soon kill you
and assume you were one of us than take the time to find out.

MEAGAN (looking to her left)
Do you think we could make it to that window?

FRANK
Even if you could, the glass is a foot thick.
Insulation to keep the cold in.

As if to help prove his point, the mercenary on the right – MERCENARY #1 - fires off a volley of bullets across the room which bounce off the window.

JILL
You saw Quentin and Boris take that door off its hinges, right?

FRANK
Yeah.

JILL
Do you think only the men are strong?

Jill glances around and spots a butcher knife sheathed on the side of the table next to her.

Meagan, take out the window.

In a fluid motion, Jill and Meagan stand. While Meagan grabs hold of the jigsaw in front of her, Jill lets the butcher knife fly through the air.

ZOOM ALONG KNIFE TRAJECTORY
The knife flies through the air and imbeds in the forehead of the middle mercenary with the flame-thrower.

CUT TO MEDIUM THREE SHOT
As the middle mercenary falls, Meagan lifts the jigsaw off the ground and throws it through the large window to her left.

MEAGAN
Go!

Jill pulls Frank to his feet and shields him from a new wave of gunfire with her body. As they start to move toward the window, Meagan is hit in the chest with a Dominator stake, knocking her backward to the ground. With the Mercenary #1 and the other mercenary concentrating on the targets in front of them, they do not realize that Mason approaches from behind them. Jill, however, does. Nodding as if given a command, she continues to drag Frank to the window and throw both him and herself out. Meanwhile, Mason grabs Mercenary #1 by the shoulder, spinning him while he continues to fire his Uzi. The mercenary on the left is caught in the spray. Surprised Mercenary #1 slips away from Mason, falling to the ground next to the flame-thrower nozzle. Letting his Uzi fall away from him, Mercenary #1 grabs the flame-thrower and points it at Mason.

MASON
You do not want to do that.

MERCENARY #1
Wanna bet.

Mercenary #1 squeezes the trigger and bursts of flame shoot out toward Mason. Leaping for cover, Mason seems to disappear into the darkness. Mercenary #1 answers this turn of events by removing the tank from his dead comrade and begins to set fire to everything flammable in sight. The cutting boards, hanging smocks and greased mechanisms of the saws are quickly engulfed in fire.

PAN TO MEDIUM MOVING SHOT
Mercenary #1 works his way through the room, ending up next to the window.

MERCENARY #1 (aggravated)
Come out and show yourself.

Mercenary #1 turns the nozzle of the flame-thrower towards the prone body of Meagan and prepares to squeeze the trigger. Mason steps out of the shadows ten feet way.

MASON
Don’t.

Mercenary #1 begins to smile, feeling as though he has the upper hand.

MERCENARY #1
Not a step closer or the girl goes up in a puff of smoke.

MASON
Either way, she will die if you have any say about it.
Whether she goes before or after me is what you mean.

MERCENARY #1
Whatever.

MASON
You see, you are working under several misconceptions.
You believe that I can not harm you from this distance.
You also believe that we are in a standoff.

Mercenary #1 begins to smile as Mason begins to raise his hands. At the halfway point, Mason rotates his hands towards Mercenary #1 and closes his eyes in concentration. Mason’s eyes, teeth, and hands transform. Before Mercenary #1 can react, every pour in his body opens and releases a stream of blood which flows into Mason’s hands. In seconds, Mercenary #1 falls to the ground dead from blood-loss.

MASON
In both cases, you were in error.

Mason steps forward, picks up Meagan, and leaps out of the inferno through the window.

FADE OUT

continue …