Zero Hunters [Screenplay]
By Jay Carvajal
()
About this ebook
The year is twenty thirty three in Los Angeles. A police officer in a special crimes unit that hunts down the things that go bump in the night is obsessed with killing the vampires that murdered his family. He will do whatever it takes to hunt them down, no matter the cost to his soul.
Jay Carvajal
Jay is a published author with a large body of work. He has produced Graphic Novels, Comic Books, Screenplays and Novels. Jay also owns and manages Cinemacomics Entertainment.
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Zero Hunters [Screenplay] - Jay Carvajal
ZERO
HUNTERS
The Screenplay
Jay Carvajal
WGAW#: 1753132
CinemaComics Press
A Division of CinemaComics Entertainment
ZERO HUNTERS © 2014 Jay Carvajal
All rights reserved. This screenplay is a work of fiction. Any resemblance between persons living or dead, events, locations is coincidental. No part of this publication may be reproduced or transmitted in any form or by any means, except for short excerpts for review purposes, without the express written permission of the Copyright holder.
CinemaComics Press is a trademark of
CinemaComics Entertainment
Writers Guild of America, West#: 1753132
www.cinemacomics.com
ALSO BY JAY CARVAJAL
Zero Hunters (Graphic Novel)
Zero Hunters: Dravald (Graphic Novel)
The Last Warring Angel (Graphic Novel, Screenplay)
ONE: Season 1 (Graphic Novel)
ONE: Season 2 (Graphic Novel)
The Misadventures of Clark & Jefferson:
Creatures From The Sky (Graphic Novel)
The Misadventures of Clark & Jefferson:
Hairy Things (Graphic Novel)
The Misadventures of Clark & Jefferson:
Creatures From The Sky (Novel)
The Disc (Graphic Novel, Screenplay)
Of Evil and Darkness (Graphic Novel)
Going Home (Comic Book)
Outpost Purgatory (Graphic Novel)
ZERO
HUNTERS
EXT. LOS ANGELES SKYLINE - NIGHT
SUPERIMPOSE: LOS ANGELES, 2033
The city skyline fades in and out of the soupy mess that is a blend of smog and marine layer. The thick mixture causes the light from the city to take on a blue-like tint. Tall buildings, jammed tightly together, disappear into the atmosphere.
A flying police cruiser travels through the sky. The lights on the vehicle are flashing as it heads for some unknown emergency.
Several other law enforcement vehicles fly over the city, each patrolling their own section.
EXT. CITY OF LOS ANGELES
We are descending down toward the city, into the decay.
Skyscrapers give way to the thickly congested smaller buildings and the claustrophobic streets.
Scores of denizens of all types make their way along the overcrowded sidewalks. The roads are virtual parking lots, filled with vehicles moving at a very slow pace.
As we drift down toward the ground we focus on a restored nineteen sixty eight Ford Mustang parked outside a rundown apartment complex.
INT. MUSTANG
Close on a man's hand holding a piece of paper with an address scribbled on it. He crumples the paper up and tosses it onto the passenger seat. On each hand there is a black tattoo of a cross that forms near the knuckles when he makes a fist to strike.
We still can't see the face of the man in the Mustang as he pulls out a handgun. He ejects the clip and checks the bullets.
The first bullet showing in the clip has a small cross at the very tip of it and the bullet head itself looks light gray in color.
MAN (V.O.)
...Each bullet is made of pure silver with a titanium cross for the tip. Silver is toxic to those that I hunt, all you gotta do is strike bone and leave a little behind. Once it hits their bloodstream they're usually dead within a half hour. It's not as fast as a stake to the heart, but a kill's a kill.
He inserts the clip into the gun and then chambers a round.
MAN (V.O.)
One round up the pipe, fifteen in the mag...More than enough...
EXT. MUSTANG
The Man is exiting his car as he slides the gun into its holster attached to his waist. We still can't see his face as he shuts the car door and heads for the apartment complex.
A ROUGH MAN leans against the doorway to the apartment complex with one leg blocking the entrance as the Man walks up the stairs toward him.
ROUGH MAN
(gestures to his leg blocking the door)
...You want the bridge to raise, you gotta pay the toll, hoss.
We still can't see the Man's face as he pulls open his trench coat to reveal several other handguns in their holsters along with other weapons attached to his battle harness. He looks like a walking one man army.
MAN
I don't pay tolls. Now, get the fuck out of my way.
The Rough Man has a fearful look on his face as he quickly lowers his leg from the doorway. He is nervous as he fumbles for the doorknob on the front door.
ROUGH MAN
...Fuh...Fucking just kidding, my man...Here, let me get the door for you...
INT. LOBBY OF THE APARTMENT COMPLEX
The Man walks into the dimly lit lobby of the old rundown apartment complex.
We still can't see the Man's face as he cautiously makes his way up the stairs leading to the higher floors. The stairs, like the rest of the interior of the building, are littered with trash and graffiti.
He has reached the second floor now and he pulls out his handgun as he looks up at the higher floors above.
MAN (V.O.)
...The smell hit me at the second floor-
He continues his ascent.
MAN (V.O.)
-Four more flights later and it's bad enough to make a maggot puke.
The Man cautiously walks down the hallway of the sixth floor. He holds his gun at the ready while swiping at several flies that buzz his face.
He reaches a door and runs a hand over the rough paint-chipped exterior. The Man reaches into a pouch on his battle vest and pulls out a small flashlight that attaches to his handgun. He secures it to the gun and turns it on.
MAN (V.O.)
Ain't gonna be a pretty sight on the other side of this door-
He rears back and kicks open the door.
MAN (V.O.)
-It never is.
INT. APARTMENT
The Man follows his gun into the dimly lit apartment. The interior is more of a mess than the garbage filled hallway. He points his gun at a wall and the flashlight illuminates the blood splattered across it.
He cautiously makes his way through the apartment and comes upon a large pile of dead bodies in the livingroom.
The bodies are stacked on top of each other, mingling together, creating a grotesque mound of rotting flesh.
MAN (V.O.)
...At least thirty bodies, maybe more. Throats torn open...Blood drained, then tossed aside like garbage.
There is a hand of a small child sticking out from the pile.
MAN (V.O.)
Mixed in the pile are children...A delicacy to the things that did this.
Focus on the Man's face for the first time. His name is WILLIAM GARRICK. He is in his mid-thirties, white, long dark brown hair tied in a ponytail. Vertical scars run under each eye downward about three to four inches. He also has crosses tattooed on each side of his neck over his jugular veins.
Behind and above him some human-like shapes are clinging and scurrying across the walls and ceiling. Garrick glances over his shoulder.
GARRICK
...I don't know what smells worse, this pile of rotting bodies...Or, the four pieces of shit hanging from the ceiling behind me.
Garrick spins around and shines his light onto the VAMPIRES clinging to the wall and ceiling with their long fingernails. They all HISS