Scene Summary: All That Remains

All That Remains
Chronicle	New York Chronicle
Game Date	December 12, 2014
Real Date	February 23 — March 5, 2016
Characters	Brahms Dominic Vaughn Evelyn Summerfield Ian Kross Maeve Glaistig Pieter Van Reise
Locations	Garner House The Carnival St. Luke's Hospital Ventrue Correctional Facility
Previous Scene	House of the Holy (Brahms) Armistice Day (Dominic) We All Want to Go Home (Evelyn, Maeve) What Makes a Man II (Ian) The Ginevra Files: Paris (Pieter)
Next Scene	Maeve's Journal: From Paris to DC (Dominic) A Friend in Need (Evelyn) Everything Comes Down to This (Ian) Tilting at Windmills (Maeve, Pieter)
Content Warnings	Captivity, Mind Control
Original Scene	All That Remains

All That Remains is a scene from the New York Chronicle primarily featuring Evelyn Summerfield and Ian Kross, with cameo appearances by Brahms, Dominic Vaughn, Maeve Glaistig, and Pieter Van Reise. It depicts Evelyn delivering Maeve's trunk of personal items to Ian and him reading through Maeve's scrapbook and Dominic's journal.

Scene Summary

Evelyn returns to Ian's cell block, determined to take action before Marcus Aurelius tells her to, musing about how much she dislikes and mistrusts him in spite of his efforts. She uses Presence to commandeer a ghoul to carry a small wooden trunk for her, although using the power on him makes her uncomfortable. When she arrives at Ian's cell, the guard frowns at her and she knows he will report her visit to Marcus, but he still allows her inside. She considers the plan she is trying to come up with, but decides that no matter what it is, she will need Ian's help.

In the cell, Ian is sitting at his desk with his journal open in front of him. He is surprised to see Evelyn, having expected Olivia Roth. Evelyn says hello and Ian is hostile, causing her to confirm that she is not here because of Marcus. She tells him that she has brought him something, but Ian accuses her of enjoying torturing him, bringing up the last fight they had before the fall of Chicago. Evelyn is frightened, but then asks him if he remembers that conversation, pointing out that he called her terrible things and was cruel to her about her dead fiance, Alexander Kross. She begins to cry and tells Ian he isn't the victim here, and he disagrees, pointing out that he's the one locked in a cell and now penniless. When he accuses her of colluding with Chason Wells and Jean Claude Danut to take everything from him, she gets angry and tells him that while she used to think that he was a good person, she's learned that he's a bully who deserved what happened to him.

Furious and barely containing his urge to becoe violent, Ian tells Evelyn to leave, but she refuses, remaining silently in the room until he asks what she wants. She replies that she does not know, feeling bad about what she said to him, and tells him that she found the trunk in his things from his Chicago apartment and thought that he would want it. Ian finally notices the trunk and sits down on the bed, staring at it. When Evelyn turns to go, he tells her in parting that he tried to warn her about Chason.

Ian stares at the trunk for a long time, considering just throwing it away, until he gets up, kneels, and opens it. The trunk is full of Maeve's mementos, including items from both of her sires, her friends, and Ian himself. A sticky note stuck to the inside of the lid scolds Ian for looking at her things, causing him to pause before becoming curious about what she was working on. He finds a large photo album labeled CHICAGO and opens it to find a letter on the inside cover from Maeve to him, in which she tells him that she is proud of him and supports him as Prince. Devastated, he throws the album back into the trunk and begins to cry. He calls out to Maeve to ask why she is doing this to him, but knows that he's only blaming her because it makes it easier to deal with his grief.

He retrieves the scrapbook, looking through it to find photographs, mementos, and handwritten notes from Maeve to him, and realizes that it is a memory book she was in the middle of making for him of their time together in Chicago. He relives happy memories as he reads through it and wonders if she was ever happy in the relationship. After reaching a page with half-written notes and extra photographs, he finds the rest of the album empty and realizes that she never had time to finish it. He cries again as he realizes that he never treated her as well as he wanted to. He rereads the album over and over until falling unconscious at dawn.

While asleep, Ian dreams about walking down a street with his dead wife Rebecca Kross, whose image keeps changing to Maeve's and back during the dream. She disappears and he begins running, dreaming snippets of memories of when Becky was in labor and his rush to the hospital then. Voices keep expressing sympathy for her and judgment about his absence, as well as trying to offer him condolences that he avoids. Eventually he has to crawl until he reaches the hotel room, where he finds that it is Maeve in the bed, her face severely bruised. His senses are overwhelmed and when a voice tries to comfort him again, he lashes out and hits the speaker, only to realize that it is Becky before waking up.

When Ian awakes, he ignores the blood delivered to him for the evening and returns the photo album to the trunk, saving a photograph on his desk of himself and Maeve hugging that she had noted was her favorite. He organizes the jumbled contents of the trunk carefully and then takes one of the books out of it, sitting down to read it with the stuffed teddy bear that he won for Maeve in Chicago. He discovers photographs of Maeve as well as of Dominic when the two were married and realizes that he is reading Dominic's journal.

He finds that most of the journal is not in English and contains a number of chemical formulae as well as a list of Dominic's childer and ghouls. From the pages that are in English, he is able to piece together Dominic's account of some kind of experiments that are not going well and frequently make him ill, and also his Embrace of and marriage to Maeve. He recognizes the story of Dominic Embracing Maeve quickly to prevent Octavius Sage from stealing her from Maeve's own account, as well as reading about Pieter Van Reise's mental degradation and Dominic's opinions of the progress of his ghouls. Ian finds it painful to read Dominic's descriptions of Maeve, recognizing that he should have treated her better when she was with him.

Grieving and unable to hate Dominic the way he hoped he would, Ian throws the book against the wall and sits shaking on the bed, trying to steady himself on the frame only to bend it.

Script Summary

The script summary for this scene pares it down to only dialogue and action directions, allowing for a quicker and easier read through what was actually said and done by the characters. Click on the "Expand" tag to the right to view the entire script summary for this scene.

All That Remains Script Summary

Evelyn comes down the stairs in the Ventrue Correctional facility. She uses the Presence Discipline on a ghoul and asks them to carry a wooden trunk for her. He does so and she arrives at Ian's cell door, where the guard frowns at her but lets her inside. Ian is sitting at the desk in the cell, looking at his journal.

EVELYN: Hey.

IAN: More good news? Marcus gives you the best jobs, you know that?

EVELYN: I don't know. I've had worse jobs.

She walks into the room and motions for the ghoul to put the trunk in the corner. He does so and leaves.

EVELYN: Marcus didn't send me. Honestly, I'll probably get another lecture for this. He really is insufferable.

She sighs.

EVELYN: I brought you something.

Ian turns to face her and leans back in his chair.

IAN: Oh yeah? Can't wait. Your last big reveal was so lovely. Maybe you get a kick out of it, huh? You were so very upset last time we really talked. You know, before New York. Before you drained the accounts.

Evelyn takes a step back.

EVELYN: I remember. Do you? Do you remember what you said to me? What you called me? Because I do.

She steps forward.

EVELYN: You called me a whore, Ian. You called me worse than that. Do you remember? Hm? You said — You said that it was good that Xander was dead. So he couldn't see what I'd become.

She begins to weep.

EVELYN: I made a mistake. But you are not the fucking victim here!

Ian slams the journal down on the desk and stands up.

IAN: Yeah? Not from where I'm standing. Or did you forget I'm the one in the cell.

He walks to the bed and bumps her on the way past, making her wobble, before sitting on it.

IAN: Penniless. With, what, a warrant out for my arrest? I have nothing! And you... You played your part, didn't you?

EVELYN: Am I supposed to feel sorry for you?

She laughs.

EVELYN: Me? You know, I used to think you were a good man. Even with all the bullshit — and it was a lot, Ian — I thought that underneath everything, there was something so worthwhile.

She shakes her head.

EVELYN: It got me through a lot of long nights. That belief. But I was wrong. You are nothing but a bully. A selfish, self-righteous bully. And you got everything you deserved. From where I'm standing.

IAN: Get out.

He grips the bed and closes his eyes, then opens them again.

IAN: I said... Get. Out.

He slams his palm down on the bed.

IAN: Dammit! What do you want?

EVELYN: I don't know if, if I even know anymore.

She shakes her head.

EVELYN: I brought you something. A few weeks ago I had your old apartment cleared and its contents shipped here. I thought you miht want your stuff. Marcus had everything else put into storage, but I kept that out.

She nods at the trunk.

EVELYN: I remembered it... I thought it was yours.

Ian stands up and looks at the trunk, then immediately sits back down again. There is a long pause.

IAN: So you brought it.

There is a very long silence while Ian stares at the trunk. Evelyn opens the door to the cell.

IAN: Do you remember what else I said, Evie? I told you that if you kept fucking with him, you'd wind up hurt. Or dead. Right on both counts, seems like.

Evelyn leaves the cell. Ian sits staring at the trunk with his head in his hands. After a long pause he stands up and walks to the corner, kneeling in front of the trunk to open it. He grips the edges and looks at the items inside. On the lid of the trunk, he finds a note.

MAEVE: Ian Kross, if you are in here AGAIN before I'm finished with this, I'm not going to speak to you for a week.

Ian takes the note from the lid and reads it, then sits still until it falls out of his hands.

IAN: Well, no threat of that now, is there? Finished? What were you up to?

He looks through the items in the trunk and takes a large book that reads CHICAGO across the cover, opening it to read it. Inside the front cover is a letter from Maeve.

MAEVE: Ian, I hope you know that arguments about the Primogenship notwithstanding, you still always have my support. I know you'll do great things, and I'm glad I'll be there to see them. I hope you're as proud of yourself as you should be — I am! (I'm still going to make you go to some of these salons I have to throw now, though. If I have to suffer, so do you.) With love, Mary.

Ian begins to weep and throws the book back into the trunk.

IAN: Why...

He gets up and backs away with his hands in his hair.

IAN: Why are you doing this to me?

He sobs, then wipes his face and sighs. He goes back to the trunk and takes the book out of it, closing it afterward. He sits down on the bed and then opens the book to read it. The first two pages show a flyer for the Germania Place Ferris wheel; a pair of ticket stubs to Casablanca at the Crest theater; a photograph of a room decorated entirely in pink; a photograph of Maeve lying on the floor reading with Colin Thomas in his dog form; a photograph of Ian making a face at something; a coaster from Gibb's Billiard Room; a photograph of Maeve looking over her shoulder while holding a pool cute; a photograph of Ian holding Maeve's arm and teaching her to shoot pool; and a photograph of Ian laughing.

MAEVE: I kept this photo for Colin, but it can double as blackmail, too. I'm very sorry for hustling you. I had a bad upbringing. ...but it made you laugh, so not VERY sorry.

Ian touches the photos carefully and begins to both smile and weep again. He turns the page. The next two pages are entitled COUCHES BELONGING TO IAN KROSS... THAT I HAVE SLEPT ON and show photographs of four different expensive couches.

MAEVE: Also I think two ottomans and the floor a couple times. I was faking it about half these times... but I'll never tell which.

Ian laughs. He wipes his eyes and turns the page. The next two pages are cramed with pictures, including a photograph of Colin hugging Maeve; a photograph of Maeve waving at someone next to Ian; a photograph of Ian and Maeve holding arms and smiling; a photograph of Ian glaring at the camera; a photograph of Ian and Maeve wearing coats as they walk downtown; a photograph of Ian holding Maeve at a bar; a photograph of Ian and Colin grinning at the camera; a photograph of Maeve next to Ian as he yells at a reporter; and a photograph of Ian and Maeve smiling while Maeve makes a face at the camera.

MAEVE: The Press: sometimes we laugh to keep from crying. Do you know how hard it was to find this many pictures of you smiling? They all look like this!

Ian touches the photographs and then turns the page. The next two pages have pencil outlines and sticky notes in place of finished items, and an envelope full of photographs of Colin, Ian, and Maeve has been taped to one page. One photograph of Maeve and Ian laughing and hugging has been set aside.

MAEVE: Look through tabloid stack A for pictures later — then burn them. (Ugh.) I feel like I saw Colin with a Polaroid camera at some point... of course I'd have to find him first. This one's my favorite, but not sure where to put it yet?

Ian flips to other pages and finds them blank. He picks up each sticky note to examine them and then puts them back, closing the book. He sits silently with his hand on the book for several minutes, then opens it again and rereads the finished pages over and over until he falls asleep at sunrise.

He dreams of walking down the street hand-in-hand with a woman with red hair, who then vanishes when he turns around. He begins to run.

VOICE: That poor girl.

Ian runs through a crowd in front of his apartment and down a street until he arrives at St. Luke's Hospital. He runs up several flights of stairs, cursing. When he reaches the top, he bursts through the doors.

VOICE: I am sorry, Mr. Crosswell, but your wife—

He continues to run down corridors; after he falls to the ground, he crawls. He finds the door to a medical ward and opens it. A woman is lying on the bed, pale and unmoving. He reaches out to brush her hair from her face and sees that her face is severely bruised. Light blots out his vision and a high-pitched whine blots out his hearing.

VOICE: They took her to St. Luke's. That poor girl; all night by herself, they said.

VOICE: I'm sorry, Mr. Crosswell, but your wife—

IAN: I said, shut up!

Ian lashes out and hits the speaker, who turns out to be a woman who slams into the wall, holding her pregnant belly.

The dream ends and Ian wakes up. He sees a bag of blood on the floor near the door and gets up to go drink it, but goes to the trunk instead, where he puts the book away after removing the photo of himself and Maeve hugging and placing it on his desk. He organizes the items in the trunk and notices several other books. He takes one out and begins to walk away, then returns to take a stuffed teddy bear out of the trunk also, which he sits down with. When he opens the book, a photograph of Maeve and Dominic Vaughn embracing falls out of it to the floor. He picks it up and puts it on the bed beside him before opening the book.

The first page of the book is entitled DETLENE and lists the names Hanzi, Patrick, Rye, Elijah, Candace, Gillie, Tobias, Franz, Brahms, Pieter, and Mary, each with the label "gul", "mulo", or "muli" beside them. They are each labeled as to their ethnicity, status as living or dead, and are all labeled simply "Y" or "N" without explanation. The accompanying pages are primarily written in untranslated Romanes and include what look like several complex chemical formulae.

DOMINIC: Hallucinated for some amount of time that I went and ripped Gillie up and ended up eating her. Funny trick, that, considering she's been dead for about four centuries. I'm going to call that bucket of shit a clean miss. These gadje pizda masii, I tell you.

A photograph of Dominic laughing and playing with a smiling Maeve's braid is also taped inside the book. Ian takes the photograph and puts it with the other one on the bed. He turns to the next pages, which are also mostly in untranslated Romanes with accompanying chemical formulae.

DOMINIC: Pula mea, we're going to lose Pieter. Took three damn favors to get his ass off the line this time. Now I'm almost flat with the Ventrue, and that's not my favorite place to be. He's going to get all four of our Rroma asses bloodhunted if this keeps up. Only got to observe the tail end of it this time. Looked like the whole nine yards — twitching right out of his skin, definitely halfway out of the here and now. I'd hate to have to replace that curva. It'd be messy, and Mary wouldn't understand. He was doing so well, too. A good ringmaster is such a fucking thing to waste. Te merav, keep the boy for a while longer. He can't help his sideways. Maybe tomorrow night's the night, hey? This fucking kid.

The next set of pages includes a photograph of Maeve hugging the bull mastiff Brahms.

DOMINIC: The dog's doing great. This is how you know Dev has a sense of humor. Six hundred years and the dog's the success story. Oh, well. At least Mary likes the dog. Scribbled in the margins: Got to be fucking kidding me. Just does fucking dog things, the ingrate.

Ian sighs and turns the page. the next pages include several lines that have been viciously scratched out, and strange diagrams next to the formulae.

DOMINIC: Farmechiv gadjo, it's going to have to be now. That's some shit for a midsummer's night. Haven't even tried HJ16 yet and this parno beng is on my turf and in my damn way. One night for a last round of tests, then one for the thing. I was going to wait for her. It's too early. But that was a threat in pretty language, and the old bastard doesn't make threats he doesn't plan to follow through. We could wait it a few more nights, but I think we all know better than to take that chance. Imagine my Mary stuck up in that mausoleum that bulangiu runs. They'd suffocate her to death in a year. Welcome to the family, ves'tacha.

DOMINIC: Made that a low dosage just in case and fuck me if it was low enough. Went blind for a short period of time. Should have known better; it smelled bad from the jump. Results inconclusive on account of not remembering most of them. Head's still fucking killing me. Futu-i, futu-i, fuck this nonsense. Go find Mary, dance with her, take her to bed.

Ian turns to the next pages. A large number of photographs of Maeve spill out into his lap, showing her in various sunlit places. One photograph shows Dominic and Maeve kissing; another shows Maeve and Pieter Van Reise hugging.

DOMINIC: ...actually doing better. Maybe he's more focused because hes busy being pissy at Mary. Like it's her fault he's a fuck-up. Well, if a little healthy paranoia gets there... Mary's still good, still good as gold. She's got a tongue on her that'll be a weapon of mass destruction someday. She doesn't know what to do with it yet, of course, other than sharpening it on me when I don't make it home at a frolicsome hour. Love k-o vast, bori k-o grast. She's got all the time to learn yet.

Ian throws the journal against the far wall and it falls into the debris. He grabs the bedframe for support and it bends in his hand.

Translations

Trivia

• The items in Maeve's trunk are all mementos saved to remind her of loved ones, including Ian himself, Davium, Dominic Vaughn, Gabrielle Kalija, Johnny Dirnt, Octavius Sage, Stephen Rosengeld, and Zen Pentecost.
  
  
• Maeve's note to Ian refers to him having previously gone through her trunk while she was gone, resulting in a huge fight in Veritas.
  
  
• Maeve's letter mentions Ian forcing her to throw salons, referring to when he made her Primogen of Clan Toreador during his tenure as Prince in Chicago.
  
  
• The pages of photographs and mementos in the scrapbook refer to specific events from Ian's and Maeve's relationship, including the movie theater and carnival from Time's a-Wastin', the paparazzi shots from KE Party: Post for the Camera Now, Click Click Click, and the pool hall from Welcome to the Jungle.
  
  
• The pages regarding couches belonging to Ian that Maeve has slept on show couches from Kross Industries, an unnamed temporary apartment, the Monaco Hotel, and Ian's Downtown Chicago Apartment.
  
  
• Ian's dream features Becky and Maeve appearing interchangeably or replacing one another several times, highlighting the similarities in the ends of the relationships; in both cases, Ian physically lashed out against them and they died shortly thereafter.
  
  
• Dominic makes notes in multiple dialects of Romanes, all of which he speaks fluently; he predates each language and also speaks the related root language, Domari, natively.
  
  
• Dominic also makes notes in Romanian, which is not a dialect of Romanes; his childe Pieter Van Reise speaks Romanian and he learned it to communicate with him.
  
  
• Dominic's list of ghouls and childer includes known children Elijah Shalev, Pieter Van Reise, and Maeve Glaistig, as well as known ghouls Patrick Coffey, Candace Gilley, Franz Mannheim, Hans Mannheim (Hanzi), and Brahms; however, three other ghouls are named who have never appeared in-game.
  
  
• Dominic mentions dreaming of killing someone named Gillie. It is not clear whether he means Candace Gilley, a different unknown ghoul of his, or simply a non-carnival experiment, as the word "gillie" also means "non-carnival folk" among carnival workers.
  
  
• Dominic says that Dev has a sense of humor; 'Dev' is the name for God in many dialects of Romanes, and also closely related to deva, the ancient Indian word for the same.
  
  
• Ian is distressed by the photograph of Maeve with Brahms because it reminds him of Colin Thomas, who often cuddled Maeve similarly in his wolfhound dog form.
  
  
• Although Ian cannot decipher it, the chemical formulae in the journal describe different combinations of vampire blood, which Dominic is experimenting with in the hopes of curing his bloodline's hereditary mental illness.
  
  
• Dominic refers to Pieter as being "pissy" at Maeve; this refers to Pieter's staunch opposition to Maeve's Embrace and subsequent jealousy of her as his broodmate.

Maeve's Scrapbook

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  Page 1 of Maeve's scrapbook

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  Pages 2 & 3 of Maeve's scrapbook

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  Pages 4 & 5 of Maeve's scrapbook

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  Pages 6 & 7 of Maeve's scrapbook

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  Pages 8 & 9 of Maeve's scrapbook

Dominic's Journal

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  Page 1 of Dominic's journal

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  Pages 2-3 of Dominic's journal

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  Pages 4-5 of Dominic's journal

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  Pages 6-7 of Dominic's journal

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  Pages 8-9 of Dominic's journal

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  Pages 10-11 of Dominic's journal

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  Pages 12-13 of Dominic's journal

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  Pages 14-15 of Dominic's journal