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MOONLIGHT
“Diamond Blood” by Sabine Atkins



TEASER
 
FADE IN:
INT. SMALL CONFERENCE ROOM - NIGHT

SEVERAL YOUNG MEN and WOMEN are standing in front of a glass wall, looking into the room, utterly fascinated.
Suddenly, a large office table CRASHES into the glass wall, the GLASS CRACKS but doesn’t break. Torn between fear and fascination, some of the people take a step back, some take a step forward.

MICK (V.O.)
Here’s the thing about being trapped: People see who we really are. They see what we look like behind those facades we put up every day. In my case, of course, it’s a bit more complicated.

INT. APARTMENT - NIGHT

BETH TURNER FRANTICALLY RIPS OPEN all the drawers of a desk, emptying their contents onto the surface of the desk. She licks sweat from her upper lip, EXHALES SHARPLY and starts to dig through the RUSTLING papers, notes and manila folders.

ADA BEN TALBOT grabs her arm.

BEN
Beth, for God’s sake, calm down!
We’re gonna find him! He’s a tough guy, he’ll --

BETH
He’s not ... he needs ... He intensively glances at her.

BEN
What does he need? Hm?

BETH
We don’t have time for this!

BEN
What do you know about the disappearance of the woman who lived in this apartment? Was she taken my the same people who kidnapped Mick?

BETH
No! I can’t tell you who took her! We need to find Mick!

WE SEE A BIRD’S EYE SHOT OF THE ADIRONDACK PARK: A SPRAWLING, DENSELY WOODED AREA WITH AUTUMN FOLIAGE AND SEVERAL MOUNTAIN PEAKS.

INT. SMALL CONFERENCE ROOM - NIGHT

MICK ST. JOHN squeezes himself into a corner, PANTING and sweating profusely. His eyes are blood-shot, and his skin is greyish pale. He is trembling with rage.

MICK (V.O.)
This is the raw me. At first, I was ashamed. Not anymore. Now I just want to get out of here. He sprints forward, grabs the office table with both hands, effortlessly lifts it up and SMASHES it into the glass wall. The GLASS BREAKS, and the table gets stuck. The people outside GASP.

Transforming into a vampire, Mick GROWLS at them MENACINGLY.
He pulls the table out of the glass wall, and SHARDS RAIN DOWN onto the floor.
He jumps through the opening, but at the same moment, one of the young men, VICTOR HACKETT, aims and FIRES a modified hand gun at him. A large strangely shaped bullet HITS Mick’s chest.

INT. SHOOTING RANGE - NIGHT

It is one week earlier.
BEN KENDALL and GREG FOWLER, both in their mid-twenties, load modified hand guns with special bullets.

JOHN FOWLER, Greg’s brother, well-dressed, in his early thirties, stands nearby and holds a cell phone to his ear.

JOHN
(into the cell phone)
Too bad you couldn’t make it, Victor. The Big Pharma CEO’s are keeping you busy, huh? Yeah, we’re all okay. Catching them was easier than we thought. The list you got sure helped a lot. Encouragingly, he smiles at the other men.

JOHN
(into the cell phone)

We’re testing it now. John ends the call. He walks into the area where the targets are. Instead of the usual paper targets, there are TWO MALE VAMPIRES lying on the floor with stakes in their hearts. He kneels down and looks at one of them.

JOHN
I wish I could say I’m sorry, but -- He gets up and walks out of the target area.

JOHN
Okay.

Weapons FIRE.
INT. SHOOTING RANGE - NIGHT

The VAMPIRES die within seconds. Their wide open eyes look like big marbles coated with a shimmering blue-silver membrane.
END OF TEASER

ACT ONE

INT. MICK’S APARTMENT - NIGHT

Mick opens the door for MARY, a vampire. TWO FEMALE VAMPIRES are accompanying her.

MICK (V.O.)
Usually, I try to avoid taking on other vampires as clients. But when a vampire like Mary knocks on my door, I know I have to make an exception. She’s legendary, beautiful and -

Mick’s head jerks back when Mary passes him by.

MICK (V.O.)
She’s a reeker. That’s what we call the extremely old vampires who can’t even go anywhere near humans anymore because of their peculiar scent. This one smells like fresh picked roses inside a crypt. Female Vampire #1 puts a briefcase on Mick’s desk. Female Vampire #2 SNAPS OPEN the clasps of the briefcase, showing the bundles of cash inside.

MARY
This should be enough. A necklace was stolen a few months ago. It’s a gift from my husband.

MICK
You want me to find this necklace.

MARY
No. I’ve found out who stole it.

MICK
Okay ...

MARY
I give you one week to convince him to give back the necklace. The man is Nathan Clarke, and he’s a criminal, but the police could never gather enough evidence for his crimes. If you don’t succeed, he’s fair game.

INT. MICK’S APARTMENT - LATER

Mick opens the door again, this time for Beth. She holds up a take-out bag and a DVD case.

BETH
Dinner and a movie.
He CHUCKLES, embraces her gently and kisses her softly. The open briefcase on the desk catches her eye.

BETH
An open leather briefcase ... I bet it’s full of money.

He closes the door.

MICK
It actually is.

BETH
Oh, very cloak and dagger ... He walks over to the desk and closes the briefcase.

MICK
I haven’t earned this money yet.

INT. MICK’S APARTMENT - MOMENTS LATER

Beth and Mick are sitting on the couch, very close to each other. While watching the movie, she is eating a chocolate dessert.

There are SOUNDS OF AN OLD BLACK AND WHITE MYSTERY
MOVIE.

He is continuously glancing at her.

Briefly looking at him, she CHUCKLES.

BETH
I brought this movie along, so you don’t have to watch me eat.

MICK
I told you, it doesn’t bother me.

He puts his arm around her, and she stops eating. He takes the plate with the dessert away from her and holds it in his hand.

Their lips touch. His lips move down to her neck, kissing it softly. His appearance doesn’t change. He smiles proudly, and he hands the plate back to her. He turns his face toward the TV screen, but his eyes wander over to her. An amused smile is tugging at the corners of his mouth.

She continues eating the dessert.

BETH
I’m invited to a party next week. Wanna come?

MICK
What kind of party is it?

BETH
A friend of mine knows this designer. She’s launching her new clothing line. A top model will be there. I think her name’s Tamara Cole. Supposedly she’s also going to wear a piece of jewelry which will be put on auction soon.

MICK
Uh, thanks, but I’ll pass.

BETH
Paparazzi.

MICK
Exactly.

She smiles, sets the plate on the coffee table. She takes the remote and TURNS THE VOLUME DOWN. She moves very close to him.

BETH
I know you don’t like having your picture taken, but I could never have enough photos of you.

Softly looking at her, he caresses her face.

MICK
Oh, really?

They embrace and kiss again.

INT. MICK’S APARTMENT - DAY

Mick RESTLESSLY PACES around his desk, holding his cell phone to his ear.

MICK
No, Miss, I really need to talk to Mr. Clarke now! No, I do not want to be connected to the voice mail of his personal assistant!

He STOPS PACING, SIGHS ANGRILY and rolls his eyes.

MICK
Uh, hi, my name’s Mick St. John. I’m a private investigator. I’m currently working on a case that requires Mr. Clarke’s immediate assistance.

INT. HIGH-END JEWELRY STORE - AFTERNOON

Waiting for someone, Mick stands at a large glass case with a lot of different kind of jewelry spread out inside.

MICK (V.O.)
It was almost a year ago, I met Beth. Again. I should buy her something nice ...
He glances at the CUSTOMERS circling the other glass cases.

MICK (V.O.)
But definitely not from this store.

CLARKE’S PERSONAL ASSISTANT, a beautiful young woman,
approaches Mick.

PERSONAL ASSISTANT
Mr. Clarke is very sorry, but he can’t see you today. He steps closer to the woman.

MICK
(whispers)
Miss, I need to talk to him. His life is in danger.

She trembles slightly, then PRESSES a speed dial key on her cell phone.

PERSONAL ASSISTANT
Security.
He INHALES SHARPLY and leaves the store.

INT. NIGHT CLUB - LATE AFTERNOON

Top Model TAMARA COLE is wearing the red diamond necklace.
The brightly lit room is CROWDED WITH FANS, REPORTERS and
SECURITY STAFF. A DJ is PLAYING CLUB MUSIC, and SOME GUESTS
are dancing. Next to Tamara stands NATHAN CLARKE with a big smile.

INT. NIGHT CLUB - LATE AFTERNOON

Beth and the CAMERA MAN finish their report, just in time before Beth gets pushed away by a few other reporters CLAMORING for Tamara’s and Nathan’s attention. A hand reaches out for hers, and suddenly she is at Mick’s side. She looks happily surprised.

MICK
Hi, Beth.

BETH
Mick! What are you doing here? If I had known you were invited, I would've -

MICK
I'm not invited. I have to talk to Nathan Clarke on behalf of a client. I’ve been trying to make an appointment with him for almost a week now, but he wouldn’t see me.

BETH
Why can't your client talk to him?

MICK
It’s better if I talk to him.

Beth suspiciously glances at Nathan.

BETH
Did Clarke do something wrong?

Mick smiles at her enigmatically.

BETH
He’ll be surrounded by Tamara’s bodyguards the whole evening. You absolutely can’t tell me what’s going on?
He still smiles while shaking his head.

MICK
I have a confidentiality agreement with my client.

BETH
If Clarke’s involved in something bad, I’m going to find it out, one way or another.

MICK
Beth, please stay out of this. It’s too dangerous.

BETH
Why?

He SIGHS.

MICK
My client’s vampire, and she’s considered to be extremely vicious
and cruel --

INT. NIGHT CLUB - CONTINUOUS

Suddenly, Mick reacts to a sudden scent, but it is too late:

There are SEVERAL GUN SHOTS. He immediately goes down to the floor, dragging Beth with him. Chaos breaks loose: The guests, camera men and reporters SCRAMBLE to protect themselves. There are MORE GUN SHOTS. An ARMED MAN, dressed in black combat fatigues, with a ski mask covering his face, is running toward the dance floor, holding his gun in the air.

ARMED MAN
Nobody move!

INT. NIGHT CLUB - CONTINUOUS

FOUR ARMED MEN, all dressed in black combat fatigues, with ski masks covering their faces, run through the room amid LOTS OF SCREAMING, YELL at guests and hold the security staff at gun point.

The armed man on the dance floor heads straight for Tamara, who is lying on the floor next to Nathan, who frantically tries to dial 911 on his cell phone.

The man aims his gun directly at Tamara, with his foot KICKING the cell phone out of Nathan's hand.

ARMED MAN
Give me the necklace!

INT. NIGHT CLUB - CONTINUOUS

A CAMERA MAN, lying close to Beth and Mick, films everything, until one of the armed men FIRES one SHOT into the camera.

With a reflex, Mick begins to transform into a vampire. He SNARLS. Beth grabs his hand and holds it tightly. He grimly looks around and notices that Nathan is staring at him. Mick quickly turns his head away.

INT. NIGHT CLUB - CONTINUOUS

Tamara slowly gets up. Distress is written all over her face as she opens the clasp of the necklace and gives it to the man. He gestures to the other armed men.
ARMED MAN
Let's go!

EXT. NIGHT CLUB - EVENING

There are police cars standing around with their alarm lights turned on. MANY CURIOUS ONLOOKERS and REPORTERS are being held back by POLICE OFFICERS. SEVERAL POLICE OFFICERS listen to the accounts of the eye witnesses.

Ben Talbot arrives and approaches Beth and Mick, standing nearby. He stares at Mick.

BEN
If I didn’t know better I’d say you have a Sixth Sense for crime.

Mick smirks at him, lightly taking Beth’s hand.

Ben turns to Beth.

BEN
Are you okay, Beth?

BETH
Oh, yeah. Nobody got injured. It all went really smooth. For a robbery at gunpoint, I mean.

BEN
We still have to open a case. These robbers went in there with the coordinated precision of a SWAT team. And criminals like that usually have big funds at their
disposal. Funds they receive from other criminals.

Mick looks alarmed.

MICK
Ben, I’d like Beth to stay out of this.

BEN
That’s not your call, Mick. Actually, I’d rather like you to stay out of this. Let’s go, Beth.

Ben starts to walk, while Beth stares at him with a slightly annoyed look on her face. Apologetically, she glances at Mick.

EXT. NIGHT CLUB - CONTINUOUS

Nathan steps out of the building with LT. CARL DAVIS.

Both men are heading straight for Mick, who tries to follow Ben and Beth. Nathan seems very agitated.

NATHAN
This is the guy!

Lt. Davis and Nathan walk up to Mick.

LT. DAVIS
Your name wasn't on the guest list, Mick.

NATHAN
You know him?

LT. DAVIS
Yes, of course. This is Mick St. John. He's a private investigator.

Lt. Davis turns to Mick.

LT. DAVIS
Why were you at the party?

MICK
The real owner of the necklace came by my office a week ago. She claims it was stolen from her recently -

NATHAN
This is a lie!

LT. CARL DAVIS
Calm down, Mr. Clarke, we'll get to the bottom of this.

NATHAN
Actually, I’d prefer to hire Mr. St. John to find the necklace.

LT. DAVIS
You can do that, but an armed robbery has just occurred. We also need to find these people before they hold up another place.

Lt. Davis walks over to his colleagues.

Nathan angrily looks at Mick.

NATHAN
I think your client stole the necklace.

He considers his next words for a moment.

NATHAN
You know, one of my, uh, associates told me that he saw something really weird when he came into the possession of the necklace.

He steps a lot closer to Mick, almost too close.

MICK
What do you mean?

NATHAN
He couldn’t say what it was, but it scared the living daylights out of him. Of course, I thought he was crazy. But now, after I’ve seen your face, I’m not so sure
anymore ...
Nathan waits for a reaction from Mick, but there is none.

NATHAN
Bring me the necklace back, and I’ll forget what I’ve seen.

Nathan takes one of his business cards out of his jacket.

Mick tries his best to stay calm. Nathan puts his business card into Mick's jacket pocket.
NATHAN
Don't loose it.

INT. MICK'S OFFICE - EVENING

Mick runs into his office. He is very upset, and he PUSHES his office chair around.
JOSEF (O.S.)
Having a bad day?

Startled, Mick SWITCHES ON the desk light. JOSEF sits on the couch, mischievously smiling at him.

MICK
Damn it, Josef! Stop doing this!

JOSEF
Hey, you invited me. Poker night, remember? But I figured you were busy, because I saw you on TV in a report about a stolen necklace. I told the others not to come by.

Mick TURNS ON his laptop.

MICK
Thanks, but why are you here?

JOSEF
To tell you to keep your face out of the news!

Mick sits down at his desk.

MICK
I really have other problems right now. I've got two clients --

JOSEF
One of them is called Mary, right?

MICK
You know her? Do you know where I can find her?

JOSEF
Yes and no. She made a big fuss when the necklace was stolen. Supposedly, some of the gems are hollow glass, containing her husband’s blood. But you probably already know this.

MICK
No, I didn’t. I really have to find out where she is. Mary probably hired some thugs to steal her necklace back ...

JOSEF
That doesn’t make any sense ... Why would she come to you to talk about this Clarke guy, and then steal the necklace herself?

Mick looks troubled while trying to focus on the laptop screen.

INT. ADA OFFICE - CONTINUOUS

Ben approaches Beth, who sits at her computer, researching the necklace: There are several open browser windows, showing different pictures and articles about the necklace.

BEN
Uh, maybe I should've asked a guy to do the research for this case.

Absentmindedly, Beth raises her head.

BETH
What, Ben?

BEN
Just kidding! Shouldn't you research Nathan Clarke first, and then -

BETH
Already done.
Beth opens several browser windows with small newspaper articles.

BETH
Clarke is a man with a bad reputation. He’s accused of dealing with stolen jewelry, and his nameis mentioned in connection with several unresolved insurance fraud
investigations.

BEN
But why arrange such a publicity circus over a stolen necklace?

BETH
He probably feels invincible. Jewelers are notorious for their love of publicity. And Clarkewanted the highest bid possible at the auction.

BEN
Maybe the real owner took matters into her own hands?

BETH
Well, I don't know about that. The necklace itself has a bad reputation as well ...

BEN
Why?

BETH
The jeweler who made the necklace was murdered.

INT. MICK'S OFFICE - EVENING

Mick sits at his computer, researching Nathan Clarke. He browses several web sites in quick succession.

MICK (V.O.)
The robbery must have been an inside job ...

He looks closer at a web page with Nathan’s picture on it.

MICK (V.O.)
Probably an insurance scam. But that means that Mary still doesn’t have get her necklace back - and Clarke is in real danger now.

EXT. CLARKE'S HOUSE - EVENING

Mick walks up to the house.

MICK (V.O.)
I’m not looking forward seeing Clarke again so soon, but I don’t want him to turn up dead with strange bite marks in his neck either.

He stands in front of the fully illuminated house and rings the doorbell. A HOUSEKEEPER opens the door.
HOUSEKEEPER
Yes?
MICK
I need to talk to Mr. Clarke. My name is Mick St. John. I'm a private investigator.

The housekeeper wants to say something, but suddenly, there are SHOUTS, SOUNDS OF A FIGHT, and then a SHOT.
END OF ACT ONE

ACT TWO
EXT. CLARKE'S HOUSE - EVENING

Mick quickly takes out his gun and almost invisibly runs by the housekeeper into:

INT. ENTRY HALL - CONTINUOUS

MICK jumps up to the second floor, runs into:

INT. MASTER BEDROOM - CONTINUOUS

Nathan Clarke's body lies on the floor. Blood soaks the rug underneath him. The window is wide open and one drape almost torn off the curtain rod.

Mick listens to the heart of the body, while the housekeeper appears in the door frame. He doesn't hear a pulse.

MICK
Call 9-1-1!
He runs over to the window and looks down. He sees a WOMAN get up with some difficulty and disappear into the wooded area in the back yard. He jumps out of the window and runs
into:
EXT. WOODED AREA - CONTINUOUS

Mick pursues the woman, catches and WRESTLES her to the ground. He partially transforms into a vampire and SNARLS THREATENINGLY.

Farther away, police cars are approaching with SIRENS WAILING, distracting Mick for a second.
The woman doesn’t seem to be afraid of him. She quickly presses a taser against Mick’s neck and ZAPS him. Mick GRUNTS, and, frozen in pain, he looks at the woman’s face.
The woman pushes him aside, gets up and escapes.

EXT. WOODED AREAD - EVENING

Mick is slowly getting up.

MICK (V.O.)
I don’t know the woman, and she didn’t have the scent of a vampire.
But that doesn’t mean that Mary wasn’t behind Clarke’s murder. The woman saw what I was, and there was no fear in her eyes.

Lt. Davis approaches him.

LT. DAVIS
Are you all right, Mick?

MICK
Yeah, yeah. She had a taser.

LT. DAVIS
A woman?

MICK
Yeah, a woman.
Mick and Lt. Davis start walking back to the house.
LT. DAVIS
Did you find the necklace anywhere in there?

MICK
I had no time to look.

LT. DAVIS
Clarke had a record. Maybe it was another one of his insurance scams.
But this time it went bad for him.

MICK
I don’t know ... There wasn’t a woman among the people who stole the necklace earlier tonight.

EXT. CLARKE'S HOUSE - EVENING

The entrance yard in front of the house is filled with police cars. MEMBERS OF A CSI TEAM are walking in and out of the main door. Beth and Ben stand in front of the house.

BETH
The housekeeper said Clarke let somebody in earlier. It looks like he knew his murderer.

LT. DAVIS
Maybe Clarke’s past caught up with him ...

EXT. CLARKE'S HOUSE - EVENING

Ben comes out of the house, heading straight for Mick.

BEN
We’ve turned the place upside down. Nothing.

MICK
I’m pretty sure someone else is involved.
Beth approaches with Lt. Davis.

BETH
I researched the necklace, Mick.

Mick looks at her very intensely.

BETH
It was made in 1978 in France by a jewelry maker called Etienne Devert as a wedding anniversary gift.
(pauses)
There’s a rumor that the anonymous patron requested not only red diamonds but ... also hollow glass filled with his blood.

EXT. CLARKE'S HOUSE - EVENING

The entrance yard in front of the house is filled with police cars. MEMBERS OF A CSI TEAM are walking in and out of the main door. Beth and Ben stand in front of the house.

BETH
The housekeeper said Clarke let somebody in earlier. It looks like he knew his murderer.

LT. DAVIS
Maybe Clarke’s past caught up with him ...

EXT. CLARKE'S HOUSE - EVENING

Ben comes out of the house, heading straight for Mick.

BEN
We’ve turned the place upside down. Nothing.

MICK
I’m pretty sure someone else is involved.

Beth approaches with Lt. Davis.

BETH
I researched the necklace, Mick.

Mick looks at her very intensely.

BETH
It was made in 1978 in France by a jewelry maker called Etienne Devert as a wedding anniversary gift.
(pauses)

There’s a rumor that the anonymous patron requested not only red diamonds but ... also hollow glass filled with his blood.

BEN
Thoughtful and kinky. Thanks for the history lesson, Beth, but I don't see how this information is relevant to the case.

BETH
Well, I went on to look at tomorrow's program of the auction house, and the auctioneer for all kinds of jewelry is an Yvonne Devert.

LT. DAVIS
Great job, Beth! I'll check and see whether this Yvonne Devert has a record.

Lt. Davis leaves.

MICK
I’d like to find out Yvonne’s address. She could be trying to get out of the country.

MICK (V.O.)
Actually, I’m more worried that Mary could be after her by now.

Ben angrily looks at Mick.

BEN
You’ll do no such thing! This is our investigation now.

MICK
Ben, I have an obligation to my client.

BEN
Tell your client that you’ve handed the case over to us. We’ll keep you updated.

EXT. CLARKE'S HOUSE - EVENING

BETH and MICK stand in front of Mick’s car.

MICK
Thanks for researching the necklace, Beth.

BETH
There’s something I didn’t tell Carl and Ben ...

MICK
What is it?

BETH
Etienne Devert was killed. My French is rusty, but I’m pretty sure there was something written in the newspaper article about a strange neck wound and
exsanguination.

MICK
So it’s possible that Yvonne knows about vampires. Now I’m pretty convinced that it was her I saw in the backyard.

BETH
Yvonne has an auction tomorrow afternoon. We could go there, and --
MICK
Beth, I can’t jeopardize my good relations with the police ..

BETH
You don’t have to. I could talk to her and say I have to check up on all of Clarke’s contacts.

MICK
I’ll think about it, okay?

EXT. STREET - NIGHT

Mick is about to walk into his apartment building, when his cell phone rings. He picks up.

MICK
Hi, Logan. You’ve found the address?

He alternates between listening and TYPING something into his cell phone.

MICK
Got it. Thanks.

He ends the call and gets back into his car.

INT. APARTMENT - NIGHT

Yvonne is nervously pacing back and forth. John sits in an armchair in front of her, smiling calmly.

YVONNE
You can’t imagine what a relief it is to find out --

JOHN
That you’re not crazy. We’re glad you had the courage to contact us. Did you notice them following you?

YVONNE
No. Your guys apparently distract them with the necklace.

She stops pacing. The look in her eyes is very serious.

YVONNE
I’ll get it tomorrow, right?

MAN
Yes. But ... You know that you don’t have to be there.

YVONNE
I need to make sure that they’re gone. I need to watch them die. John CHUCKLES.

INT. APARTMENT BUILDING/HALLWAY - NIGHT

Mick stands outside the apartment door, listening closely.

MICK (V.O.)
Hearing this man’s voice sends a cold shiver down my spine. It sounds like Yvonne’s just agreed to chase some monsters with the help of a devil.

INT. MICK’S CAR - NIGHT

Mick gets into the car and PRESSES a speed dial key on his cell phone. He hears BETH’S VOICE MAIL MESSAGE.

MICK
Beth, it’s me. I’m going to the auction. Yvonne wants to lure my client into a trap ...

END OF ACT TWO

ACT THREE
INT. MICK’S APARTMENT - DAY

Mick lies on the couch, staring broodingly at the ceiling. He holds his cell phone in his hand.

MICK (V.O.)
Mary’s cell phone number isdisconnected. All I can do is wait ... and hope Beth isn’t anywhere near Yvonne when Mary strikes ..
.
He can barely keep his eyes open.

INT. MICK’S APARTMENT - MOMENTS LATER

Slumbering, Mick wakes up from the RELENTLESS RINGING of his cell phone. A few tiny, scattered sun beams are blinding him. His forehead is covered in sweat, and he looks famished. He answers his cell phone.

MICK
Beth ... Hi!
He quickly gets up and runs upstairs.

EXT. AUCTION HOUSE - DAY

Beth stands outside the building.

BETH
(into her cell phone)

Where are you? Are you okay?

INT. MICK’S APARTMENT/UPSTAIRS - DAY

With his cell phone wedged between his shoulder and his cheek, Mick opens a bottle of blood.

MICK
Yeah ... just fell asleep too late. Be right there!

He ends the call, empties the bottle and runs over to the sink to SPLASH cold water into his face.

EXT. AUCTION HOUSE - DAY

Mick, wearing sunglasses, suddenly appears behind Beth, who turns around, first startles, then smiles at him, but her smile immediately changes into a concerned frown.

BETH
What happened?

Mick seems bothered by the sunlight.

MICK
Shouldn't we go inside?

BETH
The auction has already started, Mick. They won't let anybody in. We have to wait till it's over.

MICK
Yeah, but I’ve got to get out of the sun ...

Mick sees MOVERS walking in and out of a basement entrance.

INT. BASEMENT - DAY

Beth hides behind a statue, and Mick hides behind an antique mirror, while the movers put the last few items down on the floor. The entrance door FALLS SHUT.

BETH
Great. Are we locked in now?

She doesn’t see him.

BETH
Mick, where are you?

On the other side of the room, Mick opens another door leading to a hallway. He quietly closes the door again.

MICK
We’re not locked in.

BETH
What are you doing?
Mick walks carefully around the statues, antique furniture, ornamentally carved empty picture frames and wooden crates. An eerie light shines through the small basement windows, giving the room the illusion of being larger. Surrounded by the statues of all kinds of mythical characters, Mick climbs onto an old CREAKING cabinet, stirring up glittering dust.

MICK
I’m checking whether I can hear something. I think there are offices above us.

Mick hears the FAINT RINGING of a cell phone.

YVONNE (O.S.)
Yes, I’ve got the necklace. Tell them to wait outside. Okay, I have to go back.

INT. BASEMENT - CONTINUOUS

Beth looks around. She finds a wrought iron bench and sits down. Mick approaches her.

BETH
Ben called earlier. He said Yvonne doesn't have a record, and he doesn’t consider her to be a suspect.
.....
MICK
(stubbornly)
I’m still convinced she’s the woman
I saw in Clarke’s backyard ...
Beth patiently smiles at him, then she cranes her neck withgreat curiosity in her eyes.

BETH
I bet there are many forgotten treasures in here ...
Mick glances at the large antique golden frame of a mirror standing nearby. The mirror was shattered, and only a few shards have remained inside the frame.

INT. BASEMENT - CONTINUOUS

Beth picks up a small heart-shaped porcelain box that was sitting on a crate next to the bench.

BETH
I don’t think this object will be regarded as a significant piece of art.
Mick sits down next to her.

MICK
It probably was significant at some point for somebody ...

BETH
Yeah ... So ... What kept you up?

MICK
Mary’s cell was disconnected. I hoped she’d call ...
He takes her hand and caresses it.

MICK
And I was worried, she’d come after you because of what you’ve found out.
She looks at him.

BETH
We have dangerous jobs. I hardly slept as well because I was worried about you.
He deeply glances at her and leans over to kiss her, but then he listens up.

MICK
The auction has ended.

INT. BASEMENT - CONTINUOUS

The outside door opens, movers enter, carrying a crate. Startled, Beth lets go of the porcelain box. Quickly Mick kneels down and catches it. They silently look at each other.
The movers leave, and Mick gets up.

MICK
We need to go. Now.

END OF ACT THREE

ACT FOUR
INT. MAIN ENTRANCE AREA - DAY
Beth and Mick come out of a door saying “AUTHORIZED PERSONNEL
ONLY”. They see MANY PEOPLE leaving the building, some of them LOUDLY TALK with each other. Beth and Mick mingle with them.

MICK
I heard that somebody is waiting outside for Yvonne.

EXT. AUCTION HOUSE - DAY

Beth and Mick get into Beth’s car, while a black limousine is pulling up in front of the main entrance.
INT. BETH’S CAR - DAY
Beth and Mick see YVONNE leaving the building in a hurry.

MICK
There she is.
Yvonne walks up to the black limousine, and FOUR BODYGUARDS step out.

MICK
They are walking toward the bus station.
Beth starts the car.

BETH
Why are they taking the metro?
INT. SUBWAY - DAY

Yvonne and the four men are standing on the platform, vigilantly looking around. Beth and Mick hide behind a column, watching them..

BETH
What do you think they’re doing?

MICK
Getting someone's attention.
He points at a MAN and a WOMAN, who are also watching Yvonne and the men.

MICK
Vampires.

BETH
Oh, God, Mick, we have to call the police!

MICK
And tell them what? If they are planning to attack them, which I doubt, I don't think they'd do that here.

INT. SUBWAY - CONTINUOUS

The vampires are approaching Yvonne and the four men. Yvonne sees the vampires and signals to her companions to move.
The two vampires as well as Mick and Beth are pursuing Yvonne and the men as they briskly walk to a maintenance entrance and break into it.

INT. SUBWAY - DAY

The two vampires meet with Mary and Kristof at the bottom of a maintenance staircase.

KRISTOF
Where are they?

FEMALE VAMPIRE
There must be another door.

MARY
Okay, let’s go back up!

INT. SUBWAY - DAY

The male vampire steps out of a maintenance entrance onto a platform which is under extensive repair.
In the next moment, a large bullet HITS straight into his heart. He GROANS and falls to the ground.
Mary, Kristof and the female vampire are stumbling over his writhing body.
Beth and Mick are already hiding behind a column farther away.

BETH
If we don't do something, they're going to kill each other!

MICK
Yeah, I’ll do something, and you stay here.

BETH
But - Mick holds Beth shoulders.

MICK
You stay here!
Mick takes out his gun and hands it to Beth.

MICK
Stay hidden!

BETH
I can’t promise that.
He SIGHS.

MICK
Yeah, I had a feeling you’d say that.
Beth watches Mick transforming into a vampire.

INT. SUBWAY - DAY

Mary, Kristof and the female vampire are fiercely GROWLING at Yvonne and the four men, who are now all holding modified hand guns.
The female vampire tries to attack one of the men as Mick
suddenly pounces at her, pinning her to the ground.

MARY
Mick! What are you doing here?
Mick gets up and lifts the female vampire up as well. She struggles, and he lets go of her.
Mick steps toward Yvonne.

MICK
Why did you have to kill Clarke?
You already had the necklace!

YVONNE
I would have never seen the necklace again if he hadn’t come to me to arrange the auction. I begged him to sell me the necklace. He wouldn’t listen. So, I decided to
get it another way. But then I got this call from him last night, telling me he suddenly remembered how badly I wanted the necklace ...
Mick SCOFFS, shaking his head.

MICK (V.O.)
Clarke’s preferred method of social networking was blackmail. It worked with me, but with Yvonne it got him killed.

YVONNE
You know, this necklace is all I have left from my father. These monsters ripped his throat out!

KRISTOF
Yvonne, we are very sorry for what we did!
Yvonne’s VOICE IS CHOKED WITH TEARS.

YVONNE
I have nightmares of what happened every single night!

MARY
Kristof and I were looking after you!

YVONNE
That made it even worse! Didn’t you know that children are afraid of monsters? I had real ones always around me, always watching! And one of these monsters was wearing the necklace my father had to die for!
She nods at the four men.

YVONNE
Now we get rid of you once and for all!

INT. SUBWAY - CONTINUOUS

The four men quickly lift their guns, but Beth aims from behind the column, shooting Man #1 in the arm. He SCREAMS and drops his gun.
Startled, Mick turns around to Beth.
Kristof, Mary and the female vampire use the confusion to attack the humans.
An intense fight begins.

INT. SUBWAY - CONTINUOUS

Mick runs to Beth to protect her, but Man #2, aiming his gun at Mick, comes between them.
Beth keeps a safe distance, trying to aim at Man #2.
Mick SNARLS LOUDLY.

MAN #2
You’re next!
Beth quickly FIRES a SHOT into the man’s heart, and he falls to the ground.
Mick runs to Beth, protecting her.
Kristof and the female vampire are attacking and killing Man #3 and Man #4.
Man #1 manages to get a hold of his gun again and FIRES one bullet at Mary who struggles with YVONNE for the necklace.
The bullet HITS Mary in the back, and, LOUDLY SCREAMING, she let's go of Yvonne and collapses.
Yvonne tries to escape, but the female vampire catches her.
Mary dies, and Kristof HOWLS LOUDLY. He immediately attacks and kills Man #1
.
INT. SUBWAY - CONTINUOUS

Kristof walks over to Mary’s body. He drags his feet, burdened with immense sadness. He kneels down and takes the body into his arms.
Beth sees this, runs to Mick. Horrified, she takes Mick’s hand. They walk over to Kristof, who now CRIES uncontrollably.

KRISTOF
What the hell is in these bullets?!
Mick picks up one of the modified guns. He takes a bullet out of it, and he examines it, trying to detect a scent.

MICK
It must be some kind of poison, but it’s odorless.
He tightly closes his hand around the bullet and turns to Yvonne.

MICK
Who makes these bullets?

YVONNE
Somebody who hunts you.
Kristof gently lays Mary’s body back to the ground. He bites into his lips and blood squirts out of them. Without warning, he pounces at Yvonne, and his teeth dive into her throat. He begins to exchange his blood with hers.

MICK
Kristof, stop! I need to know who makes these weapons!
Mick tries to intervene, but the female vampire now holds one of the guns, aiming straight at him.

FEMALE VAMPIRE
Stay out of this, Mick!
Yvonne falls unconscious.
The female vampire drops the gun and takes Yvonne out of Kristof’s arms.

MICK (V.O.)
This is his punishment for Yvonne:
Turning her into the kind of being she hates most. She would never be out of his sight now.
Kristof goes back to Mary’s body and lifts it up. Him and the female vampire, carrying Yvonne, leave quickly.

INT. SUBWAY - DAY

Mick ends a call on his cell phone.
Beth, wrapped in Mick’s jacket, leans against a column. She is pale, and her hands shake slightly.

MICK
The Cleaner will be here in a few minutes.
He walks closer to Beth.

MICK
How do you feel?

BETH
(strained)
I was so afraid he’d kill you.
Mick gently embraces her, holding her for a moment.

MICK
Beth ... I need to know something.

BETH
What?

MICK
When you were growing up, did I give you nightmares?

BETH
You mean, whether I felt your presence when I was growing up?
Mick nods.

MICK (V.O.)
I’m not sure whether I really want to hear the answer to this question. But if there was just one moment in her life I made miserable by not paying attention --
Beth wraps her arms around him.

BETH
Mick, I couldn’t have wished for a better person to watch over me.

MICK
Uh, that’s not what I asked --
She kisses him. For a moment, he hesitates, but then he kisses her back. She let’s go of him and walks to the exit.

BETH
I’m taking you home. You look too tired to drive.

INT. SUBWAY - LATE AFTERNOON

THE CLEANER approaches Mick and Beth.

THE CLEANER
What killed the vampire?

MICK
I don’t know.
THE CLEANER
That’s not a good answer.

MICK
Sorry.

THE CLEANER
I won’t be able to keep quiet about this.

MICK
We need to avoid panic.

MICK (V.O.)
Fear, uncertainty and doubt can mess with the minds of the nicest humans, turning them into nervous wrecks. Now, imagine the same thing happening among vampires.

THE CLEANER
You said another vampire was killed the same way.

MICK
Yes.

THE CLEANER
If there’s a hunter, we need to find him.

MICK
You mean I need to find him.

THE CLEANER
You’re one of the few vampires that hardly raises any suspicions among humans.

MICK
This looks like it was made in some kind of a research facility. I don’t think it’s just one person.

THE CLEANER
Probably not. Find them.
The Cleaner follows her staff, disappearing in the darkness
of the subway tunnel.

INT. SUBWAY - LATE AFTERNOON

Mick and Beth are about to enter the maintenance staircase, when they hear FOOT STEPS. Quickly, they hide behind a column, when SEVERAL MEN and WOMEN dressed in black combat fatigues BURST through the maintenance door.
VICTOR HACKETT cautiously follows them.

VICTOR
Damn, we’re too late ...
Mick peeks around the corner.

MICK
(underneath his breath)
Who are these people?
Beth tries to hold him back, but he slips away from her. He draws his gun and suddenly stands in front of Victor, aiming at him.
With a cold stare in his eyes, Victor draws his gun as well.
Mick sees that Victor’s gun is also modified.
The men and women aim their guns at Mick, disarm him and force him to his knees.

VICTOR
Don’t shoot! He knows what happened!
Sitting behind the column, Beth trembles nervously.
Mick sees her peeking around the corner. With a slight movement of his head he gestures to her to stay put. He stares up at Victor.

MICK
Your guys are all dead, and Yvonne is a vampire now.
Victor SCOFFS.

VICTOR
I knew it was a bad idea to let her participate in the hunt. Too much emotional baggage.

MICK
When did you find out about vampires?

VICTOR
We’ve been tracking several of you for quite a while now.

MICK
You’re playing a dangerous game.

VICTOR
That’s what serious hunters live for.
Victor aims his gun at Mick. Beth steps away from the column.

BETH
No! Please don’t --
Victor looks at Beth. He LAUGHS CRUELLY.

VICTOR
He’s got a human girlfriend! This vampire is full of surprises.
He pulls out another gun.

VICTOR
Change of plan. This is just a tranquilizer. We’re taking him with us.
He FIRES the gun at Mick, who collapses with his eyes wide open.
Man #1 and Man #2 lift him up and carry him to the maintenance door.
Woman #1 aims a regular hand gun at Beth, whose face is flushed with anger.

BETH
I’m going to find him! Mick! I will find you!
Mick is being dragged through the door.
INT. HALLWAY OUTSIDE THE SMALL CONFERENCE ROOM - NIGHT
Victor glances down on Mick, who lies on the floor, motionless.

VICTOR
The hunting season is officially open. Take him outside.
EXT. FOREST - DAWN

Mick awakes abruptly. He lies on large, moss-covered stones near a creek. He sees the tranquilizer bullet in his chest and pulls it out.
The sun slowly comes up.
He shields his eyes as he looks up at the sky.

MICK
(underneath his breath)
Beth! Help me!
He gets up and runs deeper into the forest.
FADE OUT.

END TITLES
Thank you Sabine!





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Kommentar von Rafaela, 21.06.2012 um 10:31 (UTC):
I am not sure where these replies end up on your site lol! But I just watend to say you have helped me add to my library of beading tricks and treasures. And it's been a lot of fun seeing what I can do to warp some of them into something a bit different. I love a good challenge and you do set the bar pretty high. Thanks!



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