INVOLVED PARTIES

INCIDENT REPORT

Over the Span of Several Days...

Josi realizes that she is unable to wash off the symbols that Aradia drew on her arm. She can however feel the innate power coursing through them. Pius is taken aback by the symbols, immediately identifying the script as infernal, but otherwise unaware of their purpose. He is furious that some Tremere would do this. He informs Josi that he will be contacting an old ally of his who specializes in just this sort of thing.

Aradia shows Camilla the pencil transfers she made of these sigils. Camilla claims to be unaware of the purpose or background of them. She does however take all of the tracings from Aradia, intending to investigate further.

As Camilla comes and goes, Aradia continues to investigate their shared penthouse. She never does find the vial of Leah's blood, but she does find a curious piece of jewelry. It's a locket much like her own, yet whereas hers contains a photo of her daughter, Lavinia Marie, this one pictures Aradia and her husband Luca. In fact, this found locket belonged to Lavinia, and was assumed destroyed in the explosion that killed her.

Aradia meets with Regent Abraham DuSable, at the Schwarzman Library Chantry. She confides that she is looking into a set of symbols, which she inscribed on her friend's arm. To his credit, DuSable calmly explains the potential dangers involved — namely, demonic possession. He recommends Aradia bring her friend by the chantry, as he and his coven adhere strictly to the path of Golconda, and may be able to quell the evil growing inside of Josi.

Using her powers of Auspex, Aradia inadvertently discovers a brilliant third eye present in DuSable's aura. When asked of it, he reluctantly comes clean, explaining that the path of Golconda was originally forged by an Antediluvian named Saulot. Saulot, and his childer, were known to manifest this third eye. Unfortunately, when a house of magi from the Order of Hermes were looking to gain immortality, they diablerized Saulot, and thus became Clan Tremere. Since then, the Tremere have hunted the remaining Salubri to near extinction, branding them as infernalists, diablerists, and "soul eaters" within the Camarilla. It is not something that DuSable wants released as general knowledge, especially to the other Regents.

Kalliste seeks out Erzulie, Drag Mother of the House of Inanna. Kalliste almost immediately grabs her attentions as she hits the scene dressed to the nines. The two hit it off, especially given Kalliste's preceding reputation. Extending an invitation to join her House, Erzulie has Kalliste consider what "categories" she would like to walk at the upcoming ball. They can practice at Erzulie's converted loft, which is lusciously decorated with dozens of living plants.

The Motorola DynaTAC 8000X retailed for $4,000 in 1986.

Dave shows up at the Gilded Lion, embarrassingly in his khakis and RadioShack (StereoHut?) branded polo-shirt. He has that Motorola DynaTAC-8000X mobile phone that Kalliste had requested, apparently freshly lifted using his five-finger employee discount (MSRP: $4,000). It has a monthly service fee of $50, and only 35 minutes of battery life, but it's certainly something of a status symbol.

As payment, Kalliste takes Dave clothes shopping, updating his look to something a little more akin to Peter Murphy. She gives him some Kohl eyeliner and tells him to practice his look, 'cause they're going to the Théâtre de Douleur tomorrow evening.

Leah is delivered a crate of tactical vests and gas masks, paid for by the Camarilla's coffers. Being Sheriff has its benefits. Afterwards she goes on the hunt in Manhattan, finding a suitably dressed businesswoman. Unfortunately, her hunger gets the best of her, and she causes more injury than intended. Bringing the woman back to the Mosh Pit, she calls Josi for medical aid.

Upon arriving at the scene, Josi notices that one of the exterior walls of the Mosh Pit — the one facing the side alley — has been defaced. Spray painted is a life-size group of standing figures. Though they are portrayed as mere silhouettes — akin to the "nuclear shadows" of Hiroshima and Nagasaki — each has the symbol Ⅶ on their foreheads. Above the group is a scrawled phrase:

"Peter's shadow has run away.
The Lost Boys are on the hunt."

Leah doesn't know anything about the graffiti. She puts in a call to Aradia while Josi patches up the mortal and sends her on her way.

Aradia shows up at the Mosh Pit, and speaks with Leah about working the graffiti into a larger mural — something with mushroom clouds and the Berlin Wall.

Kalliste notices the sigils on Josi's arm, and can't help but stare. She eventually broaches the subject, telling Josi that the "temple" she attends deals in this sort of thing. In fact, Kalliste recognizes the sigil as the nearly complete truename of the Leviathan (לויתן), one of the Princes of Hell. Once a seraphim, the Leviathan now rules over the Eighth Circle of Hell as Prince of Envy. The Leviathan and the Gates of Hell are inextricably linked to one another, as such it is said that the demon's very mouth, famously known as the "Hellmouth", can lead to the depths of the Abyss itself.

A Night at the Theatre...

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Josi picks up Alter and Emily in style — she's hired a limousine and chauffeur for the evening. She has made plans to pick up the rest of the coterie as well, but first she has a surprise for Emily. Calling in the minor boon that Prince Cortés owed, Josi is permitted unfettered after-hours access to Apple Blossoms, a trendy boutique in Manhattan. Josi treats Emily, telling her to pick out several outfits.

As Emily shops, Alter informs Josi that he managed to uncover some more information about the Nosferatu body Khalid had her examine. Known on the scene simply as Carson, he was not always a Nosferatu — in fact, he was originally a Thin-Blood. It seems that after graduating from Nicodemus' Academy Eternal, Carson somehow convinced the Camarilla brass to give him a shot at some wetwork. Whether he worked with an Alastor or not, it seems he bagged a Nosferatu on or approaching the Red List. As reward, the Prince sanctioned the diablerie of this fugitive, thus granting Carson blood rights into Clan Nosferatu.

Josi gives Alter an old book of hers, a 1944 printing of Le Petit Prince, by Antoine de Saint-Exupéry. The inner cover contains two inscriptions. The first, dated as Josi's birthday and written in flowing French cursive reads:

"To our daughter, may you always remember to look at the world through other's eyes."

The second inscription, written out in Josi's precise script is a quote from the book itself and reads:

"Goodbye," said the fox. "Here is my secret. It’s quite simple: One sees clearly only with the heart. Anything essential is invisible to the eyes. . . . It’s the time that you spent on your rose that makes your rose so important. . . . People have forgotten this truth," the fox said, "But you mustn’t forget it."

She professes her "undying" love of Alter, and suggests that the three of them (Josi, Alter, and Emily) can be the family none of them now possess. Alter is caught off guard, and is obviously flustered, but is pleased by the gesture none the less. He's keen to be with Josi, but is unsure of the logistics of starting this little vampire family.

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The rest of the coterie (as well as Camilla and Dave) board the limo, then they all head for Staten Island. It's home to the sprawling Fresh Kills Landfill, which is immediately apparent from the stench on the wind. Still, everyone is dressed to the nines — Camilla and Kalliste (Joseph) both in well tailored suits, Josi in a haute couture gown, Aradia in a shimmering cloak, Leah in a gas mask and henna, Dave who finally managed a look, Alter in a tuxedo-print tee shirt, and Emily in an asymmetrical number with plenty of jelly bracelets.

Théâtre de Douleur occupies the remnants of an old mission church. Though in clear disrepair, the remaining foundation makes it clear that this was once a massive complex.

The coterie arrives at the old mission church that Théâtre de Douleur inhabits. It's rundown and would probably pass for abandoned if it weren't for the sparse lighting and event posters promulgating tonight's performance of "Dracula 20XX: Diabolus in Musica".

An extra ticket is purchased at the door for Dave, while everyone else's is punched. It seems a private box is awaiting the coterie. Josi leaves several bouquets at the box office to be delivered to Étienne, Amelia, and Suzette.

Josi personally delivers the last bouquet to Nathaniel, as he is standing just inside the lobby. In exchange, he plucks a single black rose from the bouquet he was already cradling, and gives it to Josi. His immense Presence washes over Josi like a tidal wave, forcing her to stumble over words.

Kalliste sense the change, and signals as much to Aradia, who in turn whips open her Cloak of Abalone. The dazzling display inlaid into the cloak catches Nathaniel off guard, seemingly mesmerizing him. His eyes narrow as his gaze shifts to Emily, he's rapt in her style — if not beauty. He plucks another black rose from his bouquet and presents it to Emily, apologizing for his previous oversight. Their hands linger as the flower is exchanged, Nathaniel eventually bringing it toward his lips to kiss.

Alter's anger grows more palpable as this Toreador dandy's predation shifts between loved ones. He shoves Nathaniel back and away from Emily, but before it can escalate further, the rest of the coterie move them out of the vicinity and toward the stairs. Nathaniel chuckles to himself as they all go to find their seats.

Once seated in the box, the majority of the theatre comes into view. The box is part of a wrap-around balcony, providing private seating on either side, and perhaps once general seating in the center. Though much of the center has been replaced with an old projector, track lighting, and an accompanying control booth. Below, the bulk of the auditorium is full of attached flip down seats. Odd segments are missing throughout however, with some housing grungy lawn chairs instead.

The stage itself is largely obscured by a dramatic curtain. Thought primarily red, it seems to have been patched together with several other fabrics, and perhaps even a silver polyethylene tarp. Just below the stage, off to one side, is an electric organ. One the side sits a cello and what appears to be a theremin. Together, these instruments make up the orchestra pit.

The group is greeted by the maître d’, who also takes their dinner orders. Some order "basghetti and meatballs" while others choose the "sesame chicken with rice". A bottle of wine is also requested.

Dracula 20XX: Diabolus in Musica...

The lights dim, and the spinning reel of the old projector can faintly be heard. It casts a beam of light onto the closed stage curtain, displaying the title card of the film in bold gothic font, the tips of the R and the L slowly dripping blood.

A cloaked figure parts the curtain. Their face is not visible, and the only detail of their costume is an hourglass hanging from their waist via a chain. They speak, the projector showing moving images against the curtain to illustrate their monologue:

"You are being transported to a dark and grim future. A future which snakes and splitters along an unchangeable path of events and decisions. It will begin in our present, with a falling star and the death of a teacher. It will become known as the red towers fail, and blanket the sky with their fire. Once firm walls will be brought low, and the forgetful Actor will eventually give way to the Apprentice, who will in turn become Emperor of Terra. Ruling from on high in his gilded tower in the city of Nuevo York, this father of barons will claim the lineage of Ventrue himself. Welcome to the far-flung year of 2019."

The projector shows the aforementioned Terran Emperor, a rotund and pustulous old man, his face spotted with syphilitic infections. He only seems capable of movement by the grace of an anti-gravity belt, which allows limited flight around a murky medical bay. It is with surprising deft that he levitates across the surface of the curtain, toward a young lady, blindfolded, a scale in one hand, a sword in the other. He sets upon her, prying at the mechanical implant in the center of her chest. Once unplugged, the metal rim begins to gush fresh heart’s blood. The Emperor laps at it greedily, as a paramilitary force stands guard, emblazoned with the cross. The scene fades as the projector dims. The cloaked figure exit stage right.

The projector illuminates the curtain once more, a plain title card stating:

“Across the galaxy, on the human-colonized planet of Transylvania...”

The curtains part, revealing a deep stage. The foreground has sparse props, such as an occasional iron fence, to create the sense of additional depth. The backdrop is plain, allowing the film projector to cast a scene of moving clouds and a waning moon. Making up the bulk of the set is a small yet aerodynamic vehicle, and two freestanding castle walls, one with an attached staircase and door, the other with an open ground level archway. Along the back wall is a stack of televisions, two wide and fifteen high. They’re arranged in the shape of a cross, and all tuned to the static of a dead channel.

The door of the vehicle opens upward. A man, tastefully dressed, steps out. He carries little more than a sleek silver briefcase as he strides confidently up the stairs, and raps upon the door. It takes but a moment for it to creek open. He introduces himself to the occupant as Jonathan Harker, the solicitor hired to help arrange real estate acquisitions on Terra Prime. From within, an arm extends. As if pulling themselves out byway of the handshake, Count Dracula appears.

As they stare upon Dracula, each member of the coterie feels lightheaded. Their vision blurs around the edges. What little light there is seems to be over-exposed, causing blown out halos. The walls dance with a previously unseen pattern, as all of the once dull colors pulsate in vibrancy. The set seems to shift under the flicker of the projector, the walls of the castle set becoming heavy and foreboding, stretching upward far higher than possible. The televisions making up the central crucifix snap to life, buzzing with the colors of a test pattern. The uppermost screen hums with the steady image of a halo, its shape creating the outside of a dilated eyeball which frantically glances around the audience. The projected light of the title card reads:

"The Lone Wolf can no longer resist the tug of its leash."

The coterie completely give themselves over to the experience, being fully enveloped by the sights, sounds, smells, and feelings of the production. Time slips, and even though their concentration remains attuned to the happenings on stage, the can only recall fragments of the proceeding, each a violent flash of memory that slowly reveals itself after the fact...

Jonathan stares up at the blinking stack of televisions, looking to find sense in the madness of this castle. Below, the three enchanting Brides of Dracula emerge from the shadows. One recognizable as Nathaniel, another played by Kaiya. The scene flashes, almost as if being viewed from Jonathan’s perspective. The three vampires seduce him, feeding from him, but also offering themselves to be tasted. Another flash. A young boy is thrown to the ground, pleading to be spared. The three vampires encircle him, hissing through grins and bared fangs. The boy crawls toward the edge of the stage, crying out for salvation... yet no one gives aid — indeed, those who try find they cannot. Another flash, the vampires have seized the boy. Bodices are torn and petticoats shifted as the three vampires descend into a blood-covered orgy. Jonathan watches in horror from the side, as Dracula himself leads him away. Another flash. Suzette, out of character, levitates above the stage, head thrown back, eyes clouded and milky. She speaks:

“A long shadow looms over the Gentleman, pulling at strings unseen.”

These brief flashes of scenes are all anyone have to hold onto. The basic outline mirrors what has been read in the words of Bram Stoker, or seen on the celluloid of Bela Lugosi or Christopher Lee. Still differences abound. Such as Lucy's revery of vampirism.

Suzette is once more seen in a flash, speaking out of character. A wind of unknown origin whipping through her hair. She speaks, her voice echoing near Josi:

"From the ruins of the Third City, upon the backs of snakes, the lion’s wings are slow to mend. Thy kingdom come!"

Dracula’s spaceship, the USS Demeter, departs from the planet Transylvania at 11:08pm. It’s hull is being filled with soil from Dracula’s homeworld, shoveled by Jake's character, Renfield. He intends to begin terraforming the Earth upon arrival. A flash shows the Judas Tree, in brilliant red bloom on Earth. Its branches almost seem like tendrils, reaching toward the stars which gave it birth. It’s bark is fleshy, and inside its trunk beats a poisoned heart. A phrase echoes:

"A sacred fertilization of the earth."

Another flash. Dracula is at large within the Terran Empire. He descends upon Amelia's character, Mina Harker, in an elaborate bat-themed ballet number. Flash. Suzette appears in Aradia’s mind’s eye, though the experience is somehow shared by all. Her presence booms, blood dripping from the corners of her eyes:

"Distant memories may become waking dreams, if only you open your eye."

Étienne's character, Caiaphas Smith, is revealed to be none other than Abraham Van Helsing. Another flash. Suzette argues with Van Helsing, stating:

"The minister's daughter is in love with the Snake, but her brother is in bed with the Devil."

Another flash. Dracula's castle slowly fades from existence, as he has been defeated by Van Helsing. The theatre erupts into applause as the coterie regain their faculties. It would seem that their meals were delivered at some point, but with wiggling worms in place of spaghetti noodles, and crawling maggots where rice should have been.

The Cast...