Van Helsing Syndrome
Hey, you know what we need? A lot of talking scenes featuring our government-backed vampire hunter. And boy, do we have a lot of it, with one long sequence setting up new plot developments for the story going forward. I'll be honest, though: were we to film this as a movie I might very well cut this section. While it certainly has world-building implications, not a whole lot here is essential to the story (not until the end section). If the movie were too long, or some bits needed to be cut for pacing, this would be the first section left on the cutting room floor.
Still, I wrote it for the movie. Right now we're leaving it in just in case people like the world building. I just think this would be one of those bonus scenes on a DVD. But who knows, maybe with the right actors this section could absolutely sing.
Remember to catch up on Van Helsing Syndrome in the Works of Mike FinkelsteinWhat's that, you want to read various creative works from Asteroid G Lead Editor Mike Finkelstein? Well, if that's what you want... archive before reading this part.
Van Helsing Syndrome: Part 6
INT: VAMPIRE DEN, LOWER FLOOR, PAST, DAY.
We see younger MARK wandering through the dusty vampire house, rifle drawn and out, wavering. MARK clearly doesn't know what he's doing and really didn't expect to find actual vampires in this place. We begin to follow from over his shoulder as he steps into one darkly lit room.
SFX: Running feet.
A vampire jumps out at MARK. He blasts with his shotgun and the vampire drops to the floor. As MARK walks past we see the vampire sink in upon itself and quietly dissolve.
MARK runs back out of the room and we follow behind him. He bounds up some rickety stairs, and we see him run into a room where a vampire is feeding on SAMANTHA.
*incoherent scream of rage*
The vampire looks up, blood running down his face. He stands and then leaps out of a window with MARK firing two shots after it. He moves over to SAMANTHA, leaning over her. He sets down his gun, reaches slowly for her neck to see if she has a pulse, and then-
INT: MARK'S HOUSE, AFTERNOON.
We immediately slam-cut to MARK waking up on his couch. He looks groggy but shaken.
He then looks at his watch.
He quickly gets up and runs to his front door.
EXT: MARK'S HOUSE, AFTERNOON.
Mark runs out into the daylight, wind blowing around him. A black Lincoln is sitting there, waiting for him. An AGENT in a black suit gets out of the back and motions to MARK to join him inside the car. Both get into the car, and it pulls away from the house.
INT: SENATOR'S LIMO, AFTERNOON.
We see Mark and the man sitting in back as trees and buildings pass by. MARK looks over and notices that the man (a very serious individual) is wearing one of those ear pieces you always see Secret Service agents wearing.
Do those hurt?
The radio thingies. I always wondered if they hurt. Seems like they would.
AGENT just stares blankly at MARK for a moment, then just goes back to ignoring him.
EXT: GOVERNMENTAL OFFICE BUILDING, AFTERNOON.
We see MARK and AGENT exit the car and move across the parking lot, into the building.
INT: GOVERNMENTAL OFFICE BUILDING, LOBBY, AFTERNOON.
MARK and AGENT go through the security check inside the door of the office building and move across the lobby.
INT: GOVERNMENTAL OFFICE BUILDING, DAVIS OFFICES, AFTERNOON.
SECRETARY looks up, then immediately pushes a button on her desk. AGENT goes to stand by the door while Mark just looks around at the office. Sparsely decorated with two black chairs and a single fake plant. No magazines. The desk equipment buzzes.
(impatiently) The Senator will see you now.
SECRETARY motions MARK to a door to the right of her desk.
INT: GOVERNMENTAL OFFICE BUILDING, DAVIS PRIVATE OFFICE, AFTERNOON.
We see DAVIS, conservatively dressed, sitting behind a glossy oak desk. The room is darkened, the shades pulled, and the Senator sits in the dark room with only his desk lamp on. Mark sits down at the desk.
Afternoon, Mr. Jacobs. I trust your ride was pleasant? I'm sure you are curious as to why I invited you here.
(smiles) I wouldn't have called it an "invitation".
(ignoring the barb) Mr. Jacobs, there is a force at work, far greater than anything you could ever imagine.
A strange look comes over MARK's face. He looks around and realization strikes. Then he pushes away from the desk and gives DAVIS a glare as he pats his belt for the gun that's not there (because of security).
You... you're a vampire!
DAVIS looks shocked, then laughs.
The cheesy lines, the dark interior. It's obvious!
Your powers of deduction are quite impressive, I'll give you that.
MARK grabs a pitcher of water on the desk and starts saying a prayer over it as he takes a crucifix out of his pocket in an attempt to bless the water.
I wouldn't advise that. There is a reason why you allowed in a room with me, alone, and it's not because I trust you.
MARK looks at DAVIS and then at the water.
How old are you?
(a simple smile on his face) Old enough that holy water, along with any of your other tricks, won't have the desired effect you're looking for. It will make me quite angry and then you'd be dead before you pushed out of that chair.
MARK gently puts the water back on the desk, his cross still floating in it.
Good. Now, you were asked to come here because of the case you are working on. Or, should I say, cases.
The vampires you've been hunting for the last couple days, plus a case about some missing lycanthropes.
(trying to cover) I don't-
(shuffling papers) Don't pretend. I know a lot about you. Let's say you caught my eye?
You have an impressive record hunting my kind's... strays. And to think, the state wanted you locked up for your mental disorder.
Why do you know so much about me?
(hand wave) Please, I serve on the Senate's oversight committee for your organization.
...Wha? You're lying.
Your organization is a necessary step for my people, a way to control our renegades.
Why tell me this? I'm perfectly happy killing all of you.
We vampires will happily remain quite civilized, and have for hundreds of years. Occasionally, though, one of us steps out of line. Like the group you're pursuing, the ones hunting humans and lycanthropes.
Honestly, Mr. Jacobs, do you actually think that a group of humans would be able to hunt all of the vampires in the world. We are a more powerful species... (Eases back into his chair) Think about it. Who has more to gain from secrecy and control? Humans or Vampires? We have all the power. We control a large part of human society now, as well as using the humans to control all the other species, animal, vegetable, or mineral.
MARK just glares.
Look, I'll make it simple. I can help you track down the person behind the killings. You can save your fellow humans, be a hero, and life can go on again for everyone else as normal.
MARK just sits quietly, then gets up.
I don't know what to think, Senator DAVIS. You strike me as a... person too full of themselves. But, you do make a valid point: a kiss of vampires is killing people, human and lycanthropes, and I'll find them and kill them. I don't need your help for that.
You really have no idea. The killings aren't headed by a group of vampires. One person is behind it all.
(At the door) And I suppose you know who it is...
(Leaning forward) Not as yet, so I hope you can figure it. Remember, if you need assistance, feel free to call. Good day, Mr. Jacobs.
EXT: MARK'S HOUSE. EVENING.
We see MARK getting out of the Lincoln out front of his home. It's nearly dark, and a strong breeze picks up as the car pulls away. MARK is just walking up to his house when there is a rustling in the bushes near the edge of his house. MARK stops, and then pulls out his gun.
Look, I'm tired of games, and I doubt you are a beautiful naked woman just waiting to jump out of my bushes to ravish me. I suggest you show yourself slowly so we can get this over with.
We see JULIET emerge from his bushes. We catch a glimpse of some bare skin, and as she emerges we see that yes, she is naked. A shot of Mark's face shows a confused look in his eyes.
You aren't here to ravish me are you?
The woman smiles, and we see animal like fangs.
Mr. Jacobs, my name is Juliet. I am your armed escort this evening.
The packs want to make sure you arrive safe for tonight's meeting.
Ahhh... So you're...?
Cold and naked. Can we get on with this? I was supposed to have you at the house of our leader, DOUG, fifteen minutes ago.
MARK walks to his car and unlocks the passenger side door.
I will not need to ride with you. I can lead on foot.
A couple of neighbor kids walk past, and then stop when they see JULIET. They both laugh and stare. JULIET looks over, and they must see something in her face, as they run.
Right... You do that.
MARK gets into his car as JULIET dives into bushes again.
SFX: Wet, popping noises, followed by a growl.
A huge, grey wolf emerges from the bushes. The wolf sits on the lawn as MARK starts his car and drives off, the wolf running past.
EXT: DOUG'S HOUSE, NIGHT.
We see MARK's car pull up to DOUG's house. It's a smaller house than Mark's, set in a lower middle-class style neighborhood. The vehicle pulls into an open spot along the crowded street. Various cars are packed along both sides of the road, all of random looks and costs. MARK gets out of his car and walks up to the front door. The wolf runs up and sits at the front door as MARK walks up. He doesn't even have to knock, as DOUG opens the door as soon as MARK's foot first touches the porch.
You're late. (To the wolf) Inside, JULIET.
The wolf barks once, then enters the house. MARK just stands there for a moment, then steps inside.
End Part 6:
Now we have another meeting we'll be getting into. I almost put it in with this section here, but it's another long one and this section was long enough. So for next time: the meeting with the Lycans and then, hopefully, some kind of action or something to break up all this talking.