Story [Vampire: The Masquerade] Baptism by Fire - Ep 1 of the Forged in Steel Chronicle. Note: Script Form

Title: Forged in Steel, Episode 1: Baptism by Fire
Author: Danaan
Genre: drama, romance, angst, intrigue
Author's Notes: This is my Vampire: The Masquerade table-top role-playing Chronicle converted into a screenplay. Why sp? Cuz this is what I would have wanted to see on the TV screen, rather than the adaption Kindred: The Embraced, which was, imho, a very poor representation of the much richer tt rpg setting. Thus, each story should convert to roughly a 50 minute episode in a TV show. In later episodes, the dialogue is based on recordings directly from the gaming table, but at times, adaptions have been made to make the story fit the (imagined) TV show format...
Disclaimer: The players own their characters, WW owns Vampire: the Masquerade.
Spoiler warning: This is directly based on the Chicago by Night Chronicles for the above mentioned game. If you haven't played it but want to do so, then read no further...


BAPTISM BY FIRE




DECEMBER 31, 1991

INT. HOTEL LUXURY SUITE WASHROOM - NIGHT

Pitch dark. The sounds of someone moving, ruffling through sheets. Stands up. Feet over washroom tiles. A hand fumbling along a wall. The lightswitch is flipped. LIGHTS reveals a

WASHROOM

It has a sizable jacuzzi, shower, details in shiny chrome. And on the floor a matress. A towel is tucked under the door, preventing any light from entering. The window is covered by layers of towels.

JAMES? (late 20s) pale, slender figure stands by the lightswitch, blinking at the light. He?s a very handsome anglo-american, though not athletic, with brilliant blue eyes and ruffled light brown hair. He checks his rolex, then proceeds to

SHOWER.

He wraps a towel around himself, unlocks the washroom door, exiting

INT. HOTEL LUXURY SUITE - NIGHT

Spacious, with everything in perfect order, from the untouched bed to the business papers and office supplies on the desk with the portable computer and phone.

James glances over everything, then looks towards the closet.

MONTAGE:

A: James shines his shoes,

B: dons his shirt,

C: trousers,

D: tailed tuxedo jacket,

E: and ties his white bow tie.

Looking into the mirror, he puts on his dazzling smile. He polishes his rolex and checks it again, then walks over to the bedside phone and dials.

JAMES
Yes, this is Mr. Longmann, could you please have the limousine outside in about 15 minutes?...Thank you.

He hangs up.

INT. WAREHOUSE - NIGHT

Some empty crates linger on the floor, covered by dust. Torn papers, empty pop cans and other refuse litters the floor. Water leaks through the roof. Some of the window panes are still intact and look out over the fires of a bum camp.

A closet door opens.

MYRA (early 20s) enters, moving with the energy of youth. She is lithe, clad in dirt stained jeans, a t-shirt and a worn trenchcoat. Her face and hair are covered by a white mask with a painted face on it.

She sits down on one of the crates by the window and looks out, studying the bums.

INT. BASEMENT APARTMENT - NIGHT

Pitch dark. The sound of bedclothes being ruffled. The table light switch is flipped. A timid light illuminates a closet sized, yet tidy, student?s bachelor. No windows. The den kitchen is unused.

Pale SARAH (mid 20s), in a silk night gown, gets out of bed, checking the alarm clock. She has alert eyes in a very pretty face, framed by shoulder-length hair.

MONTAGE

A: She takes a shower

B: sits by the mirror

C: applies make-up

D: eye liner

E: produces the only evening dress from the closet

F: puts it on.

She checks the alarm clock again: 6:13 PM. She puts on her best high heels, takes her purse, and leaves.

INT. SMALL OFFICE - NIGHT

Pitch dark. Sound of hand fumbling over a bedside table. Finds the lightswitch on the table lamp. Soft light unveils the windowless room with a bed and a chest of drawers crammed into the small space.

The pale hand belongs to STACEY (mid 30s), in a pair of warm blue flanell pyjamas.

She gets out of bed, opens the chest and takes her black jeans and shirt,

 

I don't know the fandom (I don't know anything), but that was very visual. I could definitely see all the people and events it was describing.

Kind of a loltastic idea that vampires get drunk off of drunk people's blood, too. Gotta watch out for those chemically-altered folks!

 

Thanks! I'm really glad that it's possible to visualize. It really would defeat the purpose if not, so your comments soothes my worries =).

That you don't know that fandom excites me - I've mostly discussed this with die-hard veterans so I have NO idea how someone unfamiliar will "see" this: will it be intelligeable at all? Any comments or insights you could offer coming from the outside will be greatly appreciated!

So, as a carrot - here's an update =D.

-----------
EXT. APARTMENT BUILDING - NIGHT

Unassuming square, three story brick building a few blocks from the nightspots. Cars are parked outside.

Sarah approaches, unaffected by the cold that has frozen the pools of water on the sidewalk. She walks right up to the front door, opens and enters.

INT. APARTMENT BUILDING - NIGHT

Sarah walks up the stairs and to apartment no. 313. She knocks.

No answer.

She waits.

Knocks again. Nothing.

SARAH
Edge, are you there?

She knocks again, longer this time.

Nothing.

She leans against the wall, and stamps her foot in frustration.

EXT. ROADSIDE FAST FOOD JOINT - NIGHT

A busy place, packed with people going to and from parties.

Stacey, no longer tipsy, stands by a corner, waiting.

From the backlot, ROSE (early 20s) walks towards her, all smiles. She is Latin American, wearing tight jeans, a T-shirt and a blue suit jacket, her long hair collected by a lime green plastic tiara.

ROSE
(slight Spanish accent)
Ola, my dear! Are you ready for the big night?

STACEY
Yeah, sure, I guess so.

They meet, embrace and kiss on cheeks, then walk away arm-in-arm.



CUT TO:

EXT. RESIDENTIAL AREA - NIGHT

A panorama. The houses were once opulent and costly, now in disrepair, overgrown, surrounded by high chain link fences. Garbage litters the streets, stray dogs rumage through it. Homeless camp around small fires.

PAN TO:

EXT. PRINCE?S MANSION - NIGHT

A manor. The windows are boarded shut, no lights escape from inside. There are cracks in the walls and tiles have fallen down, leaving gaping black wholes in the roof. The gate in the fence is hanging ajar.

A LIMO

pulls up in front. The chauffeur exits and opens the passenger door. James emerges. He looks over the building. He tilts his head, listening. Sounds of steps emanate from inside. And voices.

MODIUS (V.O.)
Put the champagne glasses on that table over there. I want the rug in the middle of the floor--no, the cheese snacks should be here, see, it goes tone in--

James stop listening, goes through the gate, up the porch stairs and knock on the door. Nothing. He waits.

Footsteps inside. The lock rattles.

The door creaks open ever so slightly. A BUTLER (early 30s) stands in the crack. James presents a gold-plated invitation card.

JAMES
Good evening. My name is James Longmann, I have an invitation.

The door swings open. The butler is dressed in a white tie, tailed tuxedo with 18th century style high stockings. James enters.

INT. THE PRINCE?S FOYER - NIGHT

A bucket collets dripping water. The wall paper is patchy and has paled with age. There are two flights of stairs to the second floor flanking the main double doors that dominate the room.

James steps in, passing his coat to the butler. The butler shows him to the side. A doorway without a door leads into a sideroom. James enters it.

INT. THE PRINCE?S WAITING ROOM - NIGHT

A grandfather?s watch stands in the corner. The tic-toc of the pendulum dominates. A moth eaten sofa and dito recliner stands along the walls. The windows are covered with heavy, black drapes, effectively stopping any light from emerging. The only light come electric fake candles mounted on the walls.

James enters and takes a seat, looking at his rolex. It?s 8.59 PM.

INT. APARTMENT BUILDING - NIGHT

Sarah sits on the floor next to apartment 313, head in her hands, eyes wide with stress.

Footsteps coming down the hall.

Sarah flies up in excitment only to be disappointed. TOM, a broad shouldered suit approaches.

TOM
Good evening, Miss.

 

I am curious is this your take on the story? I have a passing familiarity with the fandom and I thought Nosferatu were disfigured looking more like the movie version. It is indeed an intriguing tale. I have always liked the clan idea the best when dealing with vampires the covens make it seem I don't know more witchlike I suppose.

 

Thank you for your comment!

Well, I'm an old hand in the fandom to be sure -or maybe the right word is "junky" . Anyway, this is script form, right, so what I write down is what the audience would see. And as you might know, the Nosferatu have ways of masking their appearance so that they might look more pleasing. Alexander, having been around the block a couple of times, would have access to such powers. Myra, as you might have noted, is constantly wearing a mask, so as of yet, we just don't know what she looks like.

I guess what I'm trying to say is that since I'm treating this as a "what if it was a TV show", I'm presenting the setting little by little, so the secrets and internal workings of the Clans would be only gradually revealed, as it were.

Hope you'll enjoy the take, anyway, and so 'ere we go with...

an update!

----------

INT. THE PRINCE?S FOYER - NIGHT

They all pass through the foyer, the butler first, with Sarah, Stacey, James and Myra in tow. The butler opens the double-doors to the court-room and they enter.



INT. PRINCE?S AUDIENCE HALL - NIGHT

A hall, tables against the wall. They are burdened by feast-treats; a pyramid of champagne glasses, small snacks and pastries. Over the tables, precious paintings. In one corner, an aged boom box pumps out CLASSICAL MUSIC. A moth eaten red rug covers the centre floor. An empty fireplace on one wall. A battered recliner in front of it. A clock on the wall.

The guests stands on both flanks; Lucian, Rose, Alexander. In a corner, Michael. Further to the sides, two SERVANTS dressed like the butler.

Opposite the double doors is MODIUS (late 40s) and ALICIA (early 20s). He is graying, hair combed back, and an intellectual goatie and wears a white tie tuxedo with high stockings and plenty of lace, kneading his hands. She is a effortlessly shy blond, with an innocent, almost doll like prettiness, wears a timeless dress as appropriate in the 50s as now. Behind her stands Tom.

The four new guests enter and stops just inside the doors, while the butler closes behind them. Modius nods to the servant next to the boom box. He pushes a button.

The music stops.

MODIUS
We have been informed that a fledling of the Toreador line is here to be presented before us. Who speaks on her behalf?

Alicia passes a note to Tom.

TOM
I, Alicia, Childe of Modius, does.

Alicia, Tom one step behind, approaches Sarah and takes her hand. She leads Sarah to Modius. Sarah courtsies.

MODIUS
Please, Childe, state your name and lineage to the court.

SARAH
I am Sarah Stanley, Childe of Edge of the Toreador Clan.

MODIUS
Sarah Stanley, we assume that Edge has taught you the Traditions of our kind well. Would you be so kind as to recite the Fourth and Fifth Tradition to the Court as a token of your readiness to enter our society?

SARAH
The Fourth Tradition: The Accounting. Those thou create are thine own children. Until thy Progeny shall be Released, thou shall command them in all things. Their sins are thine to endure. The Fifth Tradition: Hospitality: Honor one another?s domain. When thou comest to a foreign city, thou shall present thyself to the one who ruleth there. Without the word of acceptance, thou art nothing.

MODIUS
Sarah Stanley, rise a worthy member of our society. We are proud and happy to number a young talent who bring such beauty among our subjects.

Modius gestures her towards the audience. Alicia leads her there.

MODIUS
We have been informed that one of the Tremere Clan seeks refuge in our Domain. Please step forward and present yourself, that we might acknowledge you.

James steps forward and bows before Modius.

JAMES
I am J