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This page is about the scene. For other uses of Van Helsinki, see here.


CharactersEdit

SynopsisEdit

The scene opens with Van Helsinki being woken by a call from the Police Operator, who tells him that the Inspector wants to see him. Van gets up and gets ready, as we learn about his history and a little about the Løren Case. Helsinki eventually leaves his house. Meanwhile, Woman awakes from her 'dead' state to find Man underthe control of Geoff. Despite her protests, Man drags Woman through the house, telling her about the 'nice vampiric fellow' who offered him a pencil. When Woman resists, Man shoots her several times and leaves her wrapped in a blanket on the kitchen table.

ScriptEdit

INT. BEDROOM - NIGHT (WELL VERY EARLY MORNING)



‘‘Washed-up mystery’’ style music is playing. The colours of the shot are washed out, bordering on black and white. VAN HELSINKI is lying in bed; the bedroom is very small, messy and disorganised. A haze of smoke fills the room. The phone by his bed starts to ring. He rolls over and switches on the bedside light.



VAN HELSINKI

(Voice-Over) When the phone rings at 3am, it's never good news.



VAN HELSINKI picks up the phone.



VAN HELSINKI

Yeah, what is it?



POLICE OPERATOR

We don't know, but it's not good news.




VAN HELSINKI

(Voice-Over) Told you.




POLICE OPERATOR

Well, get over here ASAP, the inspector wants to see you.



VAN HELSINKI

Yeah.

VAN HELSINKI hangs up the phone, stands up and lights a cigarette. He is already wearing his trousers and shoes. As he gets up he pulls on a shirt. He walks over to the window, revealing a busy city street, he looks thoughtful.



VAN HELSINKI

(Voice-Over)

Well, I guess this was me then. Another case. I suppose it’s what I wanted. What I needed. No matter how screwed up things get I always come back for more. (Meaningful sigh) I knew Professor Ford would already be there, so I had no excuse to call her up. Things were always better with her, simpler. But I guess that doesn’t matter anymore, probably never would.



He turns away from the window and heads to the bathroom.



VAN HELSINKI

(Continuing)

I guess I just have to move on from some things. Keep heading onwards. No matter what the cost.



VAN HELSINKI gets to the bathroom door but it doesn’t open, he tries again with force and it opens. He enters the bathroom, heads to the sink (on which is a cuddly duck) and turns on the taps. He wipes the mirror and stares into it.



VAN HELSINKI

(Continuing)

I don’t try to reflect on things too much. Call it cowardice or shame or whatever the hell you want, it’s just another in a long line of flaws. I suppose I’d just end up realising, that that time on the Løren Case, I could have done something, that poor girl, if only I’d…



VAN HELSINKI sticks his head under the water and the voice-over becomes gurgled. He brings head out from the water.

(Continuing)

…maybe I could of done something. (Sigh) That kind of thing always comes back to you.



VAN HELSINKI leaves the bathroom and heads out into the hallway. It is a mess



VAN HELSINKI

(Continuing)

But, all that matters is the here and now. The here and now and this new case. (Coughs) If this job didn’t kill me, these cigarettes sure as hell would. (Picking up a coat) I like this coat; it's a nice coat. Makes me feel all warm and fuzzy inside, warms my loins. Ho ho ho, off we go.



He leaves the house, putting out the cigarette and walking off.



INT. DRAWING ROOM -- NIGHT



WOMAN is still lying on the floor as MAN enters the room.

WOMAN

Ah, you’re here at last. You took your time didn’t you?



MAN says nothing but continues to walk over to WOMAN.



WOMAN

Well come on help me up. You can’t just leave me lying on the floor all day can you?



MAN reaches down, picking WOMAN up by the legs and beginning to drag her off.



WOMAN

Hey! What are you doing? Let me go, I’m not going to stand for this. Twenty years Man, twenty years and this is how you repay me? After all I’ve done for you. Do you remember that time in Aspen? I mean the skis they were literally on fire.



MAN drags woman through the drawing room and into the kitchen.



INT. KITCHEN -- NIGHT



WOMAN

Look, please, I’ll even make you toast in the morning.



MAN stops.



MAN

Quite dear, this isn’t my choice.



WOMAN

Oh really? Then whose is it may I ask?



MAN

It’s the nice Vampiric looking fellow. He was awfully persuasive.



WOMAN stands up angrily.



WOMAN

Has he lived with you for as long as I have? I think not. I on the other hand have. Therefore whatever I say supersedes the commands of mysterious strange men. We’ve had this conversation before haven’t we?



MAN

Yes dear, but he has this very nice pencil, and you know what a soft spot I have for nice pencils, and he said that I could have it if I simply tied you up and buried you in the garden. I mean you are already dead aren’t you?



WOMAN

(Interrupting)

No I’m not.



MAN

How could I possibly refuse an offer like that?



WOMAN

So that’s the way it is then is it?



MAN

Look I’m sorry muffin…



WOMAN

Sorry? Well I’m afraid that no longer cuts my mustard. You’re going to go back to the nice vampiric looking fellow and tell him that you don’t want his pencils.



MAN

I am getting that pencil even if it kills you. This is no longer a negotiable matter.



WOMAN

(Shouting) Well then you can just…



It is at this point that MAN shoots WOMAN twice in the chest.



MAN

I never loved you.

He shoots her again in the head, then hauls her up onto the table and covers her in a blanket.

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