BRAM STOKER'S
DRACULA
Adapted By
CHARLES MOREY
© Charles Morey, 1990
Revised 2010
Representation:
Mary Harden
Harden-Curtis Associates
850 7th Ave., Suite 903
New York, NY 10019
212 977 8502
Revised - November, 2010
NOTE
This adaptation of Bram Stoker's extraordinary novel DRACULA is an attempt to translate that
work to the stage in a manner that is as faithful as possible to the plot structure, characters,
thematic concerns, tone, and sensibility of the original. Thus, it retains all but one of the novel's
principal characters and many of its minor figures as well. It follows Stoker's plot sequence and
attempts to maintain the semi-documentary tone of the original. And it tries to balance the
explicit allegorical framework of the struggle between good and evil with the unalloyed
melodrama of the Gothic thriller. As originally produced by the Pioneer Theatre Company and
subsequently by the Repertory Theatre of St. Louis, the play was set on an open raked stage
(designed in both instances by Peter Harrison) surrounded by crumbling Gothic columns. Tracks
moved palettes containing furniture and/or actors into and out of the playing space as required.
There was an area up center for the several scrim through appearances and also a rear projection
screen for the moon, "wolf's eye" projections and, in the most recent production, video
sequences. Bats - as well as the actor playing Dracula - flew on several occasions. We had
elevators, pyrotechnics and fog of every conceivable variety. In short - these were enormous
physical productions. And, therefore, the script contains many annoying references to special
effects and seemingly impossible shifts in location. Bram Stoker's story, however, is so strong on
its own terms that I remain quite confident that this adaptation can be produced successfully in
a far simpler manner. (In fact, among the strongest experiences of this play to date, are several
rehearsal room run-throughs with no special effects whatsoever.) The only true necessity is a
company of actors capable of filling the enormous emotional size of the material and an
imaginative staging that allows the piece to move rapidly from event to event. This material
should play with a ferocious urgency. The stakes (pun intended) are enormous in virtually every
scene. In its most recent production, the Pioneer Theatre Company 2010 revival, the first act
played in 1:12 and the second in 1:02 for a total running time of 2:29 including a fifteen minute
intermission.
Charles Morey
Bram Stoker's
DRACULA
CAST
1. Abraham Van Helsing
2. Jonathan Harker
3. Dr. John Seward
4. Arthur Holmwood
5. Lucy Westenra
6. Mina Murray Harker
7. R. M. Renfield
8. Count Dracula
9. Mrs. Westenra / Peasant Woman
10. Coachman/Captain Swales/Reporter/Gentleman/ Peasant Man
11. Peasant Man /Maxwell /Reporter
12. Reporter / Peasant Man
13. Peasant Woman / Bride / Tart
14. Peasant Woman / Bride
15. Peasant Woman / Bride
Note: The size of the company can be reduced to eleven through the following doubling.
This will necessitate the cutting of the scrim through appearances for the brides, relying
on recorded voice-overs in those sequences, and using only two brides in the final scene.
Such extensive doubling will necessitate some very quick, but not impossible costume
changes. It may also be necessary to reverse the order of Act One, Scene 2 and Act One,
Scene 3 in order to accommodate the smaller company.
1. Abraham Van Helsing
2. Jonathan Harker
3. Dr. John Seward
4. Arthur Holmwood
5. Lucy Westenra / Bride
6. Mina Murray Harker / Bride
7. R. M. Renfield / Peasant
8. Count Dracula
9. Mrs. Westenra / Peasant Woman / Bride
10. Coachman/Captain Swales/Reporter/Gentleman/ Peasant Man
11. Peasant Man /Maxwell /Reporter
Time and Place
May to November of 1892. Various locations including: Castle Dracula, Transylvania; the
seaside resort town of Whitby in Yorkshire; various locations in and around London.
(Revised - November 4, 2010 )
ACT I
SCENE 1
An open playing space in a cruciform shape set on a diagonal raking strongly upstage. The whole
is broken up by fragments of Gothic architectural ornament: layers of colonnades disappearing
into the distance, the columns crumbling and broken away, wrapped in vines. Broken pieces of
statuary and stone litter the floor. Ragged pieces of tapestry hang from columns and arches. The
raked deck is surrounded by an earthen slope pushing out of which are more broken pieces of
statuary and possibly tombstones. The whole has very much the feeling of Piranesi's "Antichita
d'albano e di Castel Gandolfo".
The curtain rises on a low ground fog. There is a small
stone structure center which will later serve as an
abstracted "coach". It is almost nightfall. Jonathan
Harker enters to center carrying a small valise. He puts
the valise down, checks his watch, consults an
appointment book/diary. A wolf howls low in the distance.
A group of peasants slowly gather, entering separately.
They begin to speak - low and somewhat threatening -
approaching him tentatively. They make the two fingered
sign to ward off the "evil eye".
PEASANT MAN 1
Ordog...Pokol...
PEASANT WOMAN 1
Vrolak...
HARKER
Please... What do you want?
PEASANT MAN 2
Stregoica...Vlkoslak...
PEASANT WOMAN 2
Vrolak...Ordog....
HARKER
I'm sorry, I don't understand.
PEASANTS
Ordog...Pokol...Stregoica...Vrolak...Vlkoslak... (Note: it is not intended here or elsewhere that the
peasants speak in unison, rather each word is assigned to a different actor and so arranged by
the director to create a threatening aural soundscape.)
HARKER
Does anyone speak English?... I don't know what you want...Please...
A peasant woman holds up a crucifix and approaches
Harker
PEASANT WOMAN 1
Vrolak!! Vrolak!
She drops to her knees and throws the crucifix at his feet
then pulls away. The other peasants continue to chant.
HARKER
I'm sorry... I don't understand... Please.
PEASANT WOMAN 2
St. Georg Nacht.
HARKER
Yes...?
PEASANT WOMAN 2
St. Georg Nacht!
PEASANT MAN
Ordog...
PEASANT WOMAN 1
Vrolok...
PEASANTS
(Very threatening) Ordog... Pokol... Stregoica... Vrolak... Vlkoslak...
PEASANT WOMAN 2
(Insistent) St. Georg Nacht... Nacht der Vampiren!
The Peasants freeze. ABRAHAM VAN HELSING enters.
2.
VAN HELSING
In the year of our Lord Eighteen Hundred and Ninety Two a series of documents came into my
hands while consulting upon the saddest of medical cases. These diaries, journal entries,
newspaper articles and letters of dear friends one to another have here been placed in an order to
reveal a story so totally at variance with the possibilities of contemporary belief as to appear the
ravings of madmen. We offer no proofs. We ask none to believe us. You have only my word
before God that what follows is pure and simple fact. Jonathan Harker's Journal, 3rd May, 1892.
Harker steps out of the freeze
HARKER
Left Munich at 8:35 P.M. on May 1st arriving in Vienna early next morning; and on to Buda-
Pest which seems a wonderful place from the glimpse I got from the train. I had the impression
we were leaving the West and entering the East as we crossed that splendid bridge over the
Danube...
VAN HELSING
Letter from Miss Mina Murray to Miss Lucy Westenra.
Mina enters.
MINA
Forgive my long delay in writing. While Jonathan is away in Transylvania I have been working
very hard at my studies in stenography and typing. When we are married I hope to be useful to
him in business. But tell me all the news! I hear rumors of a tall, handsome man?
VAN HELSING
Letter from Miss Lucy Westenra to Mina Murray.
Lucy enters.
LUCY
...Thanks and thanks again for your sweet letter. Yes there is someone! In fact my dear, it never
rains but it pours. Here I am with two proposals. Isn't it awful? I feel so terrible. Oh, and Mina,
so wonderful. I have had to let down one of the fellows dreadfully... Come visit me at Whitby,
please. Oh Mina, I'm so confused...
VAN HELSING
Letter. Arthur Holmwood to Dr. John Seward.
Arthur enters.
3.
ARTHUR
Jack, you are my oldest friend. I hope this will not cause a break between us. Do you remember
when were trapped by that freak storm in the Highlands for five days? Let that be the mark of
our friendship, not this latest. I would call on you immediately but I must stay with father who
remains perilously ill.
VAN HELSING
The diary of Doctor John Seward.
Seward enters.
SEWARD
...Ebb tide in appetite today. Cannot eat. Cannot rest. Since my re-buff of yesterday, nothing in
the world seems worth the doing... The only cure is work! I have thrown myself into the study
of one of my patients. R.M. Renfield, age 59, sanguine temperament, morbidly excitable, periods
of gloom, possibly dangerous to himself and others. His uniqueness manifests itself in a fixation
which I have never previously encountered. He desires to absorb as many lives as he can and he
has laid himself out to achieve it in a cumulative manner. He gave many flies to one spider and
many spiders to one bird - which he proceeded to eat! I call him a zoophagous (life eating)
maniac... If only I could have as strong a cause as my poor mad friend to make me work.
Renfield enters.
RENFIELD
I know the secret Doctor! The Master is coming and I know the secret. The blood is the life. The
blood is the life. THE BLOOD IS THE LIFE.
Under Renfield's lines the peasants resume their
threatening warning. All clear except Harker and the
Peasants.
PEASANTS
Ordog...Pokol...Stregoica...Vrolak...Vlkoslak...
A coachman enters. The Peasants re-direct their chant at
him with renewed vehemence while they simultaneously
back away.
PEASANT WOMAN 2
Take this, please.
She presses a crucifix upon him.
4.
HARKER
Ah. Here is the coachman. I really must go.
PEASANT WOMAN 2
Please take this. Wear it. Please.
HARKER
Alright... yes... thank you. But tell me...What is it? What are they saying?
Harker climbs on the "coach" behind the driver.
PEASANT WOMAN 2
Ordog means Satan. They wish you protection from the evil one.
HARKER
The evil one...!?
PEASANT MAN
Vrolak....mean....VAMPIRE!
The Driver cracks the whip.. The group of peasants back
up into the darkness. Lights and sound create the
impression of rapid movement and the passage of time.
HARKER
The coach plunged into the night, climbing steadily into the Borgo Pass. The Carpathians
towered above us, granting an endless perspective of rock and pointed crag. (A large bat - wings
flapping slowly appears silhouetted in the moon, possibly leading, or following the coach. After a
moment it disappears.) After what must have been several hours, the rolling clouds that had
obscured the moon suddenly passed revealing the approach to a vast ruined castle from whose
windows came no ray of light and whose broken battlements showed a jagged line against the
sky.
The coach stops. Harker climbs down. The driver exits.
Harker stands alone for a moment. A wolf howls. An old
man clad in black appears silently. His face is gaunt and
white. Grey hair hangs lankly from an almost bald skull.
DRACULA
Welcome to my house, Mr. Harker. Enter freely and of your own will.
5.
HARKERCount Dracula?
DRACULAI am Dracula. And I bid you welcome to my house. Come freely, go safely and leave something
of the happiness you bring. (Several wolves howl, close at hand. Harker turns to look,
momentarily startled.) Be not fearful. There is reason that all things are as they are. And did you
see with my eyes and know with my knowledge you would understand. Come in; the night air is
chill, and you must need to eat and rest. (Lights change, they cross to a table laid for dinner.) I
pray you be seated and sup how you please. You will, I trust excuse me that I do not join you;
but I have dined already.
HARKERThank you, Count. My employer, Mr. Hawkins, extends his regrets that he could not come
personally.
DRACULAI am confident you will serve my needs. But come, eat. Sample the wine of my country, Harker,
Jonathan. Ah, you must forgive me. I fall into my people's habit and use the patronymic first!
Jonathan Harker. I do not speak your English well.
HARKERBut Count, your English is excellent.
DRACULALearned from books, I am afraid. Through them I have come to know your London. I long to pass
through the crowded streets teeming with life...but come, tell me of England and of the house you
have purchased for me.
HARKERYes, of course. Here you are. (Handing him an envelope of documents.) The estate is called
Carfax. It is about twenty acres, surrounded by a solid stone wall. The house itself is very large
and parts of it date back to the middle ages, the most recent additions from Cromwell's time, I
believe.
DRACULA
A great man. A man of strength.
HARKER
There is only one neighboring house. A private lunatic asylum. (Dracula reacts slightly.) Oh, its
not visible from the grounds... The oldest part of the house is of immensely thick stone and
contains an ancient underground chapel.
6.
DRACULA
I am glad that it is old. I myself am of an old family. A house cannot be made habitable in a day
and how few days go to make up a century. I rejoice also there is a chapel of old times. We of my
line love not to think that our bones may be amongst the common dead...
HARKER
I am afraid it is somewhat desolate and gloomy.
DRACULA
I seek not gaiety. And my heart, through weary years of mourning over the dead is not attuned to
mirth. The walls of my castle are broken, the shadows are many and the wind breathes cold
through the casements. I love the shadow and would be alone with my thoughts when I may. (A
wolf howls in the distance.) Ah, listen, the children of the night, what music they make.(A pause.
Then, lifting a glass of wine.) To England.
HARKER
To England. Why do you wish to go to London, Count?
DRACULA
It shall make me feel young again. But, my dear friend, Jonathan Harker, I have been preparing
for many, many years for this journey to England. Now, you must tell me everything.
HARKER
The Count questioned me on every conceivable subject. It was getting to be very late indeed but I
said nothing for I felt under obligation to meet my host's wishes. I was exhausted from my
journey and could not help experiencing a strange chill at the ebb flow of the night.
DRACULA
Why here is the morning. How remiss I am. You must make your conversation less interesting.
You are tired. Your bedroom is ready and tomorrow you shall sleep as late as you will. I shall be
away till the evening.
HARKER
I look forward to exploring the castle and it's grounds. May I?
DRACULA
You may go anywhere you wish in the castle except where the doors are locked, where of course
you will not wish to go. Good night, Mr. Harker.
The Count exits.
7.
HARKERThe view from my rooms is magnificent, but I am not at heart to describe it, for when I tried to
explore the castle I found nothing but doors everywhere and all locked and bolted! We have
repeated this routine for more than two weeks - the Count interviewing me until dawn as to the
manners and mores of the English. This strange night-existence begins to tell. If there were
anyone else to talk with, but there is no one, only the Count. But et me be prosaic as far as
facts... During the day I sleep as the dead and do not awake until the sun is setting over the
mountains the following evening. When I went to make my toilet I could find no mirror in my
room with which to shave. So I have taken to hanging the small shaving glass from my kit near
the window.
As he describes the action he removes a small mirror and
straight razor from behind a column and prepares to
shave himself. Dracula appears silently from behind a
column)
DRACULAGood Evening.
Harker jumps, cutting himself slightly.
HARKERGood Morning....evening. I did not see you come in.
Harker examines the looking glass and the view of the
room it holds then turns, horrified, having been unable to
see Dracula in the glass. Dracula reacts involuntarily to
the blood, displaying a slight but perceptible impulse
towards Harker.)
DRACULA
You have drawn blood. Take care how you cut yourself. It is more dangerous than you think in
this country. (Grabbing the mirror.) And this is the wretched thing that has done the mischief. It
is a foul bauble of man's vanity. (He flings it off-stage.) Your dinner is laid in the next room, Mr.
Harker. I must be away tonight on other business. You will, I hope, find everything as you wish.
HARKER
Count Dracula...! (Starting to object, then tentatively) ... I should make my return to England
shortly.
8.
DRACULAFriend Jonathan. You come to me as agent of my solicitor. You shall rest here with me a while so
that by our talking I may learn of your England.
HARKERBut my fiancée is expecting my immediate return.
DRACULAAh. How charming. None-the-less, you shall remain. Perhaps you would care to write your
fiancée?
HARKERYes... of course.
DRACULAThe posts are few and uncertain. You will now write three letters please, one dated June 12
stating your work here is complete and you shall start for home in a few days; one dated June 19
that you have now arrived at Bistritza ; and one dated June 29 that you have entrained for
Budapest.
HARKERBut that's absurd!
DRACULAWe are in Transylvania; and Transylvania is not England... (Harked starts to respond.) Let me
advise you my dear young friend, it would be unwise to attempt to depart my company before
our business is complete.
HARKERAm I to be a prisoner?
DRACULAOffend not my hospitality, Mr. Harker. Mine is a strange land. There are many dangers for such
as you who would seek to leave my... protection.
HARKER
As you wish.
DRACULA
It shall be for the best... (He starts to go. An echoing, distant,, almost subliminal sound of
women's laughter.) One further caution: should you leave this room or the next; you will not by
any chance to go to sleep in any other part of the castle.
9.
HARKER
Sleep? Why should I...
DRACULA
Sleep takes many forms, Mr. Harker, and serves many purposes. It comes easily in such a house
as mine which is old and has many memories. And there are bad dreams for those who sleep
unwisely.
He exits.
HARKER
I know now the span of my life, God help me! At once I began to search the castle. As before
doors everywhere all locked and bolted. I ran up the stairs to the highest tower. The only
window is to the South where the castle sits on the edge of a terrible precipice - a sheer drop of a
thousand feet. As I leaned from the window, the wild crags of the Carpathians arrayed before me
in the bloodless light of a full moon, a sensation like an icy finger on the back of my neck caused
me to turn and look up - and there clinging to the side of the tower wall...!
A form swoops down behind the scrim throwing its
shadow on Harker then disappearing into a mist-
shrouded full moon. Harker runs downstage.
HARKER (CONT'D)
What manner of man is this! Or what manner of creature in the semblance of a man! My only
hope for sanity is to try to record all I can.
Harker sinks to the floor and begins to write feverishly in
his notebook. Lights and music convey the passage of
time. Harker rubs his forehead. He is becoming groggy.
We hear strange music. Out of the gloom appear three
women. We hear laughter and soft voices, but muffled and
echoing as if we are under ether. The three women
approach Jonathan slowly.
WOMAN #1
Go on. You are first.
WOMAN #2
We shall follow. Your's is the right to begin.
WOMAN #3
He is young and strong. There are kisses for us all.
10.
The three women approach Jonathan and begin to kiss
and pet him. He responds sensually but as if anesthetized.
They unbutton his shirt and loosen his collar, stroking
him.
WOMAN #2
We've been waiting for you...
WOMAN #3
... So long, we've been waiting.
WOMAN #1
Now you shall belong to us...
WOMAN #2
You want us, don't you...
WOMAN #3
You belong to me now...for all time.
As she puts her mouth to his throat Dracula appears
suddenly. He carries a cloth sack which he drops to the
floor. He snarls violently.
DRACULA
AAHHHHHHH! (He crosses angrily to Woman #3 and throws her away from Jonathan.) How
dare you touch him, any of you when I have forbidden it! This man belongs to me!
WOMAN #3
You yourself have never loved!
WOMAN #1
You never love.
WOMAN #2
...Never love...
DRACULA
Yes, I too can love; you yourselves can tell it from the past. (He gently touches her throat.) Is it
not so? I promise you that when I am done with him, you shall have him, to kiss at your will.
Wait... have patience, tomorrow he is your's.
11.
WOMAN #3
Are we to have nothing tonight?
Dracula nods towards the sack he has dropped on the
floor. It moves slightly. One of the women goes to it
hurriedly. We hear a baby's cry. The women exit with the
bag laughing softly. Dracula exits in an opposite
direction. Lights change. Harker awakens.
HARKER
God preserve me! Great God! Merciful God! Let me be calm for out of that way lies madness
indeed. In the awful light of a grey dawn, May 30, 1892 I vainly watch as a band of
Transylvanian peasants load fifty great wooden boxes on their crude wheeled handcarts and draw
them slowly through the castle gates, towards the crest of the Borgo pass. It is clear. The Count
intends to travel to London - with its millions of souls - and I am to be left... (the lights begin to
change suggesting sunset as the sound of the brides soft laughter begins to echo through the
castle, drawing ever nearer.) I must attempt to scale the castle wall! God be merciful. The
precipice is high. Should I fall, at least at its foot a man may sleep as a man!
Jonathan disappears. The laughter of the brides echoing
and fading away as...
SCENE 2
...the laughter of Lucy and Mina rises as they enter
running and cross downstage to a small stone bench
followed by Mrs. Westenra and Captain Swales who
remain apart engaged in conversation.
LUCY
Oh, Mina. Why can't they let a girl marry more than just one man?
MINA
Lucy!?
LUCY
Oh I don't mean it of course. But I've had two proposals from two wonderful men...!
MRS. WESTENRA
Lucy, dear, you remember Captain Swales ... (Lucy leaves Mina.)
12.
SWALESGood Mornin' Miss.
Lucy, Captain Swales and Mrs. Westenra talk, apart.
MINAI travelled to the seaside resort of Whitby today to join Lucy on holiday while Jonathan is
abroad. Straight away she brought me to a most beautiful spot - a little stone bench in the village
graveyard high above the harbour and the town.
LUCYYou and Captain Swales go on ahead mother, we'll sit here... (Returning to Mina.)
MINALucy? Tell me!
LUCYDo you know Jack Seward?
MINAThe doctor?
LUCYYes. He came down to see me the other day. He was so nervous - he almost managed to sit on his
hat! (She laughs at the thought, then, becoming tearful...) He told me how much he cared for me -
and then he asked if I thought I could love him in time. Of course I was in tears and when I shook
my head his hands trembled and then he asked if I cared already for anyone else. And I told him
and he took both my hands in his and said he hoped I would be very happy and that if I ever
wanted a friend I must count him as one of the best. Oh Mina, it isn't a happy thing to see a poor
fellow, whom you know loves you honestly, passing quite out of your life.
MINA
But Lucy? Who is the other?
LUCY
Arthur Holmwood.
MINA
Lord Godalming's son?
13.
LUCYYes. Oh Mina he is so wonderful! He absolutely swept me away. I do love him. I know I do. But
I feel so... I'm very confused Mina..One minute I'm laughing the next crying. Mina, have you
ever...?
MINAWhat?
LUCYI mean with Jonathan... Have you ever wanted...? Wanted ...?
MINA(Understanding.) I'm not sure I understand.
LUCYI can't sleep at night Mina. And when I do I have these dreams.
MINAWhat sort of dreams?
LUCYAbout Arthur. Sometimes Jack. Others too. Sometimes men I don't know. And I... Last night,
Mina, the air was so thick and oppressive it felt like a hand on my breast, pressing me down into
the bed...
MINALucy, I don't know what to say.
LUCY(Breaking out of it.) But Arthur and I are to be married in the autumn. And that, as they say, is
that. You will be my maid of honor?
MINAOh, Lucy. Matron of honor, I hope, by then.
MRS. WESTENRACaptain. (Pointing out to sea.) Is that ship in danger?
SWALESI can't make her out. A Russian by the look of her. But she's knockin' about in the queerest way.
And that be one devil of a storm puttin' in behind her!
Townspeople enter as if watching the storm at sea.
14.
REPORTER 2The Whitby Daily telegraph, 8 August, 1892.
REPORTER 1(With notebook and pencil.) One of the strangest and most sudden storms on record has just been
experienced here. The day was unusually fine until the afternoon when the wind fell away
entirely leaving the dead calm and sultry heat that predicts a storm.
REPORTER 2The only vessel noticeable was a foreign schooner with all sails idly flapping as she rolled on the
undulating swell of the sea.
REPORTER 1
Then, with a rapidity that seemed incredible...
REPORTER 2
The tempest broke.
REPORTER 1
Most strangely, however, this savage storm seemed to be centered upon the foreign vessel that
now wallowed at the mouth of the harbor.
TOWNSWOMAN
She's heading right for the reef!
SWALES
No,look,she's come around: against the wind? How the devil did she do that?
LUCY
My God! Oh, Mina. Look!
SWALES
She's going to ground herself beneath the East Cliff.
TOWNSWOMAN
There she comes. She's grounded.
MINA
What's that!
MRS. WESTENRA
Is that a dog?
15.
SWALES
Did ye see that leap. Good Lord! That's no dog! That's a wolf!
Lights focus strongly on Lucy. The dim, daytime moon
turns a veiny, blood red for an instant. The moon is
overtaken by a projection of the wolf's eye. A loud
distorted wolf howl. A terrifying scream from Lucy.
LUCY
Mina! Did you see ? My God! It looked right up here. It looked right at me. Did you see that?
My God!
All exit except the reporter.
REPORTER 1
By courtesy of the village constabulary, your correspondent was permitted to tour the vessel.
There was not a living soul aboard, only the body of one poor seaman who was lashed to the
wheel. His throat had been torn open as if by some animal. The schooner is a Russian from Varna
called the "Demeter". She has only a small cargo - a number of large wooden boxes filled with
earth.
SCENE 3
Dr. Seward's office. A desk and chairs.
SEWARD
9 August. Strange and sudden change in Renfield last night. He is usually quiet and respectful
during our interviews, but tonight...
RENFIELD
I don't want to talk to you. You don't count now; the Master is at hand.
SEWARD
The Master, Renfield? Do you mean the resurrection of our Lord?
RENFIELD
Oh Doctor, all your learning and there is so little you know.
He takes out a notebook and begins to jot something
down.
16.
SEWARDTell me Renfield. I wish to learn.
RENFIELDDoctor, does your God mind the fall of a sparrow?
SEWARDI believe he does.
RENFIELDAnd of a spider? Or a fly?
SEWARDWhat is in your book, Renfield?
RENFIELDMy accounts.
SEWARDAccounts?
RENFIELD"We defy augury; there's a special providence in the fall of a sparrow." If God minds the fall of a
sparrow why will he not spare me!
SEWARDGod's goodness encompasses all creatures. May I see your book?
RENFIELDHere. It doesn't matter. The Master is coming.
SEWARDThere are many columns here. What do all the numbers mean?
RENFIELDIt doesn't matter. The Master is coming. Now I can wait.
SEWARDWait for what, Renfield? Do these numbers have anything to do with your flies? Or your
spiders?
RENFIELDBother them all, I don't care a pin for them now.
17.
SEWARDNot for spiders?
RENFIELD"The bride-maidens rejoice the eyes that wait the coming of the bride; but when the bride-groom
draweth nigh, then the maidens shine not to the eyes that are filled."
SEWARDI'm afraid I don't understand. Can you explain that to me?
RENFIELDThere is very little you understand, Doctor.
SEWARDWould you like more sugar? To attract more flies?
RENFIELDI told you! Not now! I need to be patient for the Master.
SEWARDPerhaps we'd better say good evening. We don't seem to be getting anywhere tonight.
RENFIELD
The column to the left represents fly lives; to the right; spider lives. Each page a day. Each day
small lives added to the greater life. But Doctor! Each day as well I lose life. Fly lives and spider
lives only add seconds, Doctor. They are not enough. Not enough to stem the flow of my life...
But now the Master is at hand. I will serve him and he will reward me with ever greater lives.
SEWARD
We all must die, Renfield.
RENFIELD
(Laughs hysterically.) All? Surely not all? Do you read scripture Doctor?
SEWARD
Yes.
RENFIELD
"He who believeth in me shall have eternal life".
SEWARD
Yes, of course, but that refers to the life of the spirit...
18.
RENFIELD
I mean real life, full-blooded life! No. No! I must be patient. He is coming. The Master is coming.
I must be patient. I want to go back to my cell now, Doctor. Please.
SEWARD
Of course.
He presses a button. An attendant enters.
RENFIELD
Doctor? Might I ask a very great favour?
SEWARD
Yes.
RENFIELD
I'd like a kitten, a nice little, sleek, playful kitten that I can play with and teach and feed and
feed... and feed.
SEWARD
A kitten? Why not a cat?
RENFIELD
Oh yes, I would like a cat! I only asked for a kitten lest you should refuse me a cat. No one
would refuse a poor madman a kitten would they?
SEWARD
I'll think on it.
RENFIELD
Please doctor, I should be so grateful.
SEWARD
I said I'll think on it.
Renfield has an impulse of violence towards Seward but
restrains himself. He is distracted by a large, buzzing fly
nearby. He stalks it momentarily, snatches it out of the air
and eats it.
19.
SCENE 4
Lucy's bedroom. Mina is seated writing in her diary. Lucy
is asleep in bed.
MINA 11, August. Nothing still from Jonathan since that strange and brief final note from Bistritz. I am
dreadfully afraid something has happened. I have not had much rest lately. Lucy has taken up her
old habit of sleep-walking and Mrs. Westenra has asked me to sit up with her as she is afraid that
she might do herself some harm through this... nocturnal perambulation. Arthur is coming up to
visit shortly. Lucy is counting the moments until she can show him the seat on the churchyard
cliff - from whence we saw that strange event the other day - but which remains the most
beautiful spot in Whitby. I am so tired... so, so, tired...
A light fog begins to curl around the bed and chair. Mina
falls asleep. The fog thickens. Music. The distant howl of a
wolf. The bedclothes magically pull themselves off Lucy
revealing her asleep in her nightclothes.
DRACULA (V.O.)Come... Come...
Lucy rises and wanders through the fog....
DRACULA (V.O.)Come to me my love. I am eternity... I am the life... I am the blood. Come... Come... Come...
...finally arriving at the bench in the graveyard. Dracula
appears out of the fog - rising by elevator and trap if
possible. He envelopes her in his cape. She arches her
neck , rising to him as he places his mouth upon her
throat. Mina awakens with a start in the bedroom. She
goes to the bed.
MINA Lucy? Lucy!?
She runs out following the path Lucy has taken to the
churchyard. As she approaches she calls out..
MINA (CONT'D)
LUCY?
20.
Dracula rears up. His face is smeared with blood. He
gestures towards Mina. The moon pulses red. Perhaps a
projection of the wolf's eye. He disappears. Mina has not
seen him.
MINA (CONT'D)
Lucy! (Lucy moans. Mina comes to her.) Lucy, my God, what are you doing out here? You must
be freezing. Let me get my shawl around you. How did you get all the way out here? (Lucy
moans again and puts her hand to her throat.) What is it? Oh, Lucy I'm so sorry. I must have
pricked you with the clasp. Here now, come on, let me get you back to bed.
LUCY
Oh Mina, you won't tell anyone? Not Arthur. Please, you won't tell.
MINA
Of course not. You've had a terrible dream - that's all. Now come back to bed.
LUCY
The eyes again. Red eyes. Wolf's eyes.
Mina takes Lucy back to the bed, then exits.
SCENE 5
Seward's Sanitarium.
ARTHUR
(Entering.) Jack, I must speak with you.
SEWARD
Yes?
ARTHUR
You are one of my oldest friends. I need your help.
SEWARD
Of course, you know I'll do anything you ask.
ARTHUR
I'm afraid it's Lucy.
21.
SEWARDAh.
ARTHURI know you still love her. She had to choose between us, Jack... but I'm asking you to do me this
favour.
SEWARDWhat is it you want?
ARTHURI want you to see her. She's ill. The local doctors don't have an idea as to the cause, but she looks
awful and is getting worse every day. I know this might be painful for you, but for Lucy's sake -
and the sake of our old friendship - will you see her?
SEWARDI'm sure the Whitby doctors are quite competent...
ARTHURJack, the thing is I can't be there as I should. My father is terribly ill and I'm all that's left of the
family. If only you could see her, I know you could help...You're my oldest friend... Please.
SEWARD
Of course I will. Did you ever doubt it?
They freeze.
MINA
19, August. At last, news of Jonathan! I have received a letter from the Hospital of St. Joseph
and Ste. Mary in Budapest informing me that Jonathan has been under their care for almost six
weeks suffering from a sort of brain-fever. I am to leave in the morning and shall bring him home.
I feel awful about about leaving Lucy. I went for a walk on the cliffs last night and when I
returned I glanced up and saw Lucy sitting at the open window. She was fast asleep but with the
strangest aspect - as if she were waiting for someone. She looks so haggard and worn. But I must
leave tomorrow. My journey is mapped out and my luggage ready.
Mina exits. Seward and Arthur break the freeze.
SEWARD
My dear friend. You won't like what I have to tell you.
ARTHUR
What is it?
22.
SEWARD
I've seen Lucy. I cannot find any functional disturbance or malady.
ARTHUR
But surely...
SEWARD
At the same time, I am not by any means satisfied with her appearance. I would have judged her
anemic on a first diagnosis, but I have analyzed her blood and it shows, really, a quite vigorous
state of health.
ARTHUR
Then what could be causing her to look the way she does? Those dreams she speaks of... the
sleep-walking?
SEWARD
I don't know Arthur. I simply don't know.
ARTHUR
Good Lord, what can we do?
SEWARD
I have written to my old friend and professor Abraham Van Helsing. He knows as much about
obscure diseases as anyone in the world. (As Seward speaks, Van Helsing enters and begins to
examine Lucy.) He is not only a medical doctor but a philosopher and a metaphysician. As a
young man he studied for the priesthood, took his vows, but left his order to marry. A man of
absolutely open mind, he has an indomitable resolution and the kindliest and truest heart that
beats.
Seward and Arthur cross into the scene.
SCENE 6
VAN HELSING
My dear young miss, I have the so great pleasure to meet you because you are so beloved. They
told me you were a trifle pale... pouf! (Dismissing the notion.) ... You are beautiful!
LUCY
I am fine Doctor Van Helsing... absolutely fine. These two worry about me like old women.
23.
VAN HELSINGWell, I know nothing of your charming fiancé, Mr. Holmwood. But, this one: a brilliant student
once; now, perhaps an excellent Doctor, but he knows nothing of the young ladies. Sit up now, I
listen to your breath. No all he thinks is of the work. No eye for the young ladies or he would
not still be single... I have mis-spoke?
SEWARDNot at all Doctor. You are quite right.
VAN HELSINGSo, young lady, you feel weak?
LUCYI... sometimes have difficulty sleeping. My dreams are very full. It's nothing. My father was a
sleepwalker as well, mama tells me.
VAN HELSINGYou walk in your dreams sometimes? You do not stray far, I trust?
LUCYNo, of course not. Once I... (awoke on the cliff) ... But Mina... it's nothing.
VAN HELSINGMost assuredly. Nothing at all. Dreams are such strange windows to the mind. Now, Miss Lucy,
forgive me. I wish to feel the glands in your throat.
LUCYNo. I...
VAN HELSINGJust for a moment, please. Would you mind to remove the scarf.
LUCYNo... I can't.. I mustn't...
VAN HELSINGShhh... Shhh.... Shhh... It is lovely, but we must now remove it.
ARTHURIt's alright Lucy, darling.
VAN HELSINGThere. Now. That's not so bad. The glands feel quite normal. (As Lucy turns her head to replace
the scarf, Van Helsing notices the two small marks on her neck.) Mijn God!
24.
SEWARD
What is it?
ARTHUR
Doctor? Is there anything wrong?
VAN HELSING
Nothing. Nothing, my young friends... Miss Lucy, you have two small puncture wounds on
your throat here. Do you know where you got them?
LUCY
Mina told me she caught me with the pin of a clasp when she was fastening my shawl. It was
just an accident.
VAN HELSING
John, come look. I want you to see this. Take your hand away now, Miss.
SEWARD
It doesn't appear to be much.
VAN HELSING
No. It doesn't appear to be much. Now, Miss Lucy. Do you remember this accident with the
clasp. Where did this happen?
LUCY
We were on the cliffs.
VAN HELSING
The cliffs?
ARTHUR
Yes, the cliffs above the harbour. There is a lovely spot in the churchyard where Lucy enjoys
sitting. Isn't that what you mean, darling?
VAN HELSING
Ah. And when did this happen?
LUCY
I can't remember.
VAN HELSING
Of course you can.
25.
LUCY
No. I don't want to think about it...
VAN HELSING
You must! You will tell me, now.
ARTHUR
See here...
VAN HELSING
I am sorry. But I must know this if I am to be of help. Now, please. You will tell me, ja?
LUCY
I... I suppose I must have been sleep-walking again. (As Lucy relives her nightmare we hear
distant music and Dracula's voice repeating "Come... Come... Come to me my love... I am
eternity... I am the life... I am the blood... come... come.") I was in my bed. I wasn't quite
dreaming; but for some reason I wanted terribly to be in the churchyard on the cliffs. Passing
through the streets the whole town seemed to be filled with dogs all howling at once and there's a
kind of a mist that almost pulls me along and the mist is closing around my face... And I... some...
thing... long and dark with red eyes... and I'm sinking now into deep green water... and singing in
my ears... women singing... suddenly my soul seems to float free of my body and I'm looking
down on... and then this awful, agonizing shudder right through the center of me...!
The speech builds to a scream after which she collapses in
tears.
ARTHUR
Lucy! Oh my God. Lucy.
LUCY
Arthur. Hold me. Don't go away. Please hold me.
VAN HELSING
Ah, my dear Miss Lucy. I am so sorry to have made you to do this. But it is good to let such
things pass through us by the telling of them. I leave you now in the good care of Mr.
Holmwood. But, I shall return soon... John, you and I will step into the next room, ja?
Van Helsing and Seward cross away.
SEWARD
Well?
26.
VAN HELSING
I can find no functional cause of this illness. With you I agree, she is in no way anemic. But there
is cause. There is always cause... She is a lovely girl... She means something more to you than a
patient?
SEWARD
She does. Did. It is past.
VAN HELSING
Ah. I see. I am sorry. What did you think of those marks on her throat?
SEWARD
(Checking his notes.) Two small punctures over the external jugular vein. Edges white and
somewhat jagged. No sign of corruption but not wholesome. Quite impossible that she could
have lost much blood from there. Her night clothes would have been drenched.
VAN HELSING
Quite impossible!?
SEWARD
Well, yes.
VAN HELSING
Friend John, you have a good mind. You may one day be a good Doctor when you come to
realize "there are more things in heaven and earth than are dreamt of in your philosophy."
SEWARD
(Ironically.) I have a madman in my care who quotes Hamlet as well.
VAN HELSING
Perhaps you should pay more attention to him. I must return to Amsterdam tonight, John.
SEWARD
Amsterdam? But you just got here.
VAN HELSING
I know. There are books and documents there. I must write to my old friend Professor Szgany in
Budapest. I will send you certain flowers.
SEWARD
Flowers! I thought you came to help Lucy; to help me...
27.
VAN HELSING
Of course I did. This sweet young girl is dear to you I know and in so short a time she becomes
dear to me as well. I will send you these medicinal flowers; the aroma may help. You must put
them at her window and in a garland around her neck. Until these arrive you, or Arthur must stay
with her all the night. You must not sleep. I shall be back as soon as possible. And then we may
begin.
SEWARD
Begin?
VAN HELSING
We shall see. Remember. She is your charge. If you leave her, and harm befall, you shall not sleep
easy hereafter. (He exits.)
SEWARD
I am beginning to wonder if my long habit of life amongst the insane is starting to tell on my own
brain. We followed Van Helsing's instructions to the letter. Arthur and I alternating nights sitting
up with Lucy until the lack of sleep began to affect us both.
LUCY
(She wakes, screaming and clutching at her throat.) AHHHHH. The eyes again! Always those
eyes!
ARTHUR
It's alright, now. It's alright. I'm here. Nothing can happen. Try to go back to sleep.
LUCY
I can't breath. I can't catch my breath.
ARTHUR
Shhh. Shhh. You must try to sleep.
LUCY
It only brings the horror.
ARTHUR
The horror? I'm here, now. You must sleep tonight.
LUCY
Oh, Arthur. Do you know how sometimes when you start to go off to sleep you feel as if you
are falling and then awake with a start?
28.
ARTHUR
Yes?
LUCY
I have that same feeling always but I never wake up with that little start. I just keep falling and
falling until I feel as if my soul were falling away from me, draining away... Oh God, if I could
really, truly sleep.
Lights fade.
SCENE 7
SEWARD
8, September. A week has passed. The arrival of Van Helsing's flowers quite confounded us.
They are nothing but common garlic! However, we have followed the Doctor's wishes and hung
them around her room. And Lucy's happy vivacity seems to be returning. There is even a touch
of color in her cheeks. I have a telegram from Van Helsing asking me to meet him at the train in
the morning. We proceeded immediately to the Westenra residence. Upon our arrival we met
Arthur disembarking from his carriage as we stepped from ours.
ARTHUR
Dr. Van Helsing! You're back.
VAN HELSING
Good God man, what are you doing? Weren't you with Miss Lucy last night.
ARTHUR
I was called away. I'm afraid my father is on his death-bed. But Mrs. Westenra offered to sit up
with her and we arranged all those flowers exactly as you instructed us.
SEWARD
As I told you on the way she is improving rapidly. I think she's out of any danger now.
MRS. WESTENRA
(Entering.) Good Morning, Doctor Van Helsing. So good to see you back.
VAN HELSING
Yes. Delighted. But, Miss Lucy...
MRS. WESTENRA
You will be glad to know that Lucy is much improved. The dear child is still asleep.
29.
VAN HELSING
So, my treatment is working?
MRS. WESTENRA
And I've done my little part myself.
SEWARD
How do you mean, Mrs. Westenra?
MRS. WESTENRA
Well, I looked in on her last night after she'd fallen asleep. She began to thrash about so and kept
pulling at those awful flowers around her neck and it seemed so close and stifling in that room -
so I took them all away and opened the window to let in a little fresh air. And all at once, she
seemed to relax and sleep easy. You will be pleased with her, I am sure. Good day, doctor.
Van Helsing bows slightly - restraining himself as Mrs.
Westenra exits - then moves rapidly to Lucy's bed
followed by Seward and Arthur.
VAN HELSING
My God! (He looks her over quickly.) As I expected, there is no time to lose.
ARTHUR
Lucy. Oh, my God. Lucy! Doctor, she's ice cold!
VAN HELSING
(To Seward.) She will die for sheer want of blood. There must be a transfusion at once. Jack, do
you know... ?
SEWARD
Arthur matches.
VAN HELSING
Mr. Holmwood, you are the fiancé of our dear Miss Lucy. She is very, very bad. You are to help
her?
ARTHUR
If you only knew how gladly I would die for her.
30.
VAN HELSINGOnly to sit down beside her will be sufficient. (Taking out tubing and needles.) The ghastly
paraphernalia of a beneficial trade. John you will prepare him as I do Miss Lucy. We will sedate
her mildly. She must not awaken during the proceedings.
SEWARD(Preparing Arthur.) Make a fist if you would... that's right.
VAN HELSINGNow. We can only wait.
Blood begins to flow in the clear tubing. Music and Lights
indicate a passage of time. Above , behind a scrim, we see
Dracula, arms folded as if asleep. He moves - sensing the
intrusion of new blood. His head jerks. Lucy trembles
violently. Dracula disappears. Lucy relaxes.
VAN HELSING (CONT'D)There. Enough. (He removes the transfusion equipment.)
SEWARDHere Arthur, hold this on the wound for a minute or two. Do you feel alright.
ARTHURI'll be fine thanks.
VAN HELSINGYou stay with her, Arthur. John and I must consult. She will sleep for a long while now, I think.
ARTHURJack... thank you.
Seward and Van Helsing exit. Lights and music indicate
the passage of time. Lucy begins to wake.
LUCY
What's happening to me?
ARTHUR
You're going to be fine now, darling. I know it.
LUCY
What's that on your arm?
31.
ARTHUR
I gave you blood.
LUCY
Oh, Arthur.
ARTHUR
I'm sure it sounds strange but I felt as I lay there and watched my blood pass into your veins; as
the color returned to your cheeks and your hand began to warm; I felt as if we were truly married
in that moment.
LUCY
Oh darling, I wish we were... for real... right now. Will you always love me?
ARTHUR
Of course.
LUCY
And when I'm dead?
ARTHUR
Don't speak of that. It shan't be for many years: when you are old and gray and surrounded by
grand-children...
LUCY
Children...(Beginning to cry) I'll never have children. I mustn't!
ARTHUR
Lucy, darling, it will be alright! You'll be well soon, I know it. (He tries to hold her. She pulls
away.)
LUCY
Will you open the window? It's very close in here.
ARTHUR
Of course.
LUCY
(In a panic.) NO! Don't!... (A change coming over her.) Look at the moon. It's almost full, isn't
it? Why does it look so enormous?
32.
ARTHURI don't know... an optical illusion I suspect. Something to do with its position on the horizon.
LUCYIt looks like a fat, bloated, child... (She laughs lightly.)
ARTHURWell that's an odd way to put it. But it's good to see you laugh again.
LUCYLaugh again! Why, Arthur I've never felt happier than I do right now.
ARTHURReally darling?
LUCYThe night air makes me feel so alive... I'm ripe. Full of your blood, I suppose. (She laughs.)
ARTHUR
Lucy, I don't think you should be getting up just yet.
LUCY
Arthur, I want you. You said before that we were married through our blood. I know we are. The
only way in which we can truly be married.
ARTHUR
Lucy...
LUCY
Come to me Arthur. Hold me. Oh Arthur... kiss me, my love... kiss me... I want you. Now.
They kiss deeply. She pulls her head to one side, opens
her mouth wide exposing fangs. Van Helsing enters.
VAN HELSING
NO! For God's sake no.
He crosses rapidly to them and pulls Lucy away. They
struggle for a moment - Lucy demonstrating surprising
strength - then Van Helsing hurls her to the floor.
ARTHUR
My God, what's happening?! What's happening!
33.
Lucy is curled in a corner, her face twisted in a spasm of
rage.
ARTHUR (CONT'D)
Lucy!
He starts to go to her. Van helsing stops him.
VAN HELSING
No. Not for your living soul and hers.
Lucy's hideous snarl slowly turns to tears.
LUCY
Oh, My God! Oh God, what have I become?
VAN HELSING
Now. Go to her. Take her hand.
LUCY
No. Don't touch me. Please don't touch me! (To Van Helsing.) My true friend. Oh help him.
Guard him. Guard him from me and give him peace. Help me! Oh God, help me.
Lights change. Arthur carries Lucy back to her bed then
exits along with Van Helsing. Seward steps forward.
SCENE 8
SEWARD
20, September. Only resolution and habit can let me make an entry here tonight. I have never
before felt as miserable; as low-spirited, as sick of the world and all in it as I do now. I had
returned to London, my work and my patients. Holmwood was staying in Whitby and nightly
watching over Lucy. Van Helsing was buried in the British Museum continuing those fevered
researches the subject of which he will only hint. Arthur's good father finally gave up the fight
and died. Arthur had no choice but to leave Whitby. He telegraphed both Van Helsing and myself
to come immediately to take over the watch. As only bad chance and cruel misfortune could have
it, neither telegram ever arrived at its destination. There is nothing left to do - only to curse the
telegraphers - and a God whose indifference could allow such horror.
MRS. WESTENRA
(Entering Lucy's bedroom.) Now, don't you worry darling. I'm sure Dr. Seward will be here soon.
But I know exactly what to do;after all I've been seeing to you for many a year now.
34.
LUCY
Oh, mother. Sit with me. Tell me stories like you used to when I was a girl. Tell me about Father.
Tell me about the day you met him.
MRS. WESTENRA
Good Gracious! You want me to remember things I haven't thought about for years.
LUCY
Yes. Please mama. Just talk to me.
MRS. WESTENRA
Oh really, Lucy.
LUCY
(Becoming hysterical.) Please mama!
MRS. WESTENRA
Lucy, dear... Well, your father. He was such a handsome man. You remember I met him at a
garden party. He had just returned from the Crimea and had been terribly wounded at
Sevastopol. It must have been 1856, or...no? Was it '57? In any event it was Springtime and
everything imaginable was in bloom
As Mrs. Westenra talks on we hear - faintly - Dracula's
voice calling to Lucy. We also see the three Brides behind
a scrim. They call to Lucy as well.
DRACULA
(Overlapping.) Come... Come to me... I am the life... I am the blood... The blood is the life.
WIVES
(Overlapping.) Come... join us... we are eternity... we are the blood...
MRS. WESTENRA
It was a party for Sybil Prynne and oh, my, all the young men were there and so many in
uniform. Her father was a General, of course, and Sybil was quite the beauty so all the young
officers flocked around. (Lucy has begun to climb out of bed and move towards the window.)
Lucy... Lucy... (Mrs. Westenra goes to her.) Lucy darling, where are you going? Get back in bed
dear. Please. Lucy. Please.
LUCY
Mama? Mama, it's you?
35.
MRS. WESTENRA
Of course it's me. You must stay in bed, dear. Dr. Seward and Arthur would be very dis-pleased.
Now get back in bed. Perhaps I ought to let you try to sleep.
LUCY
No, please! Don't let me dream! Talk to me. Please. Tell me things about Father. You were telling
me about Father.
MRS. WESTENRA
Yes, of course. Calm down now, Lucy dear.
LUCY
He was a soldier when you met? Wasn't he? Tell me, please.
MRS. WESTENRA
Yes. He was in uniform and so handsome, so dark and handsome. Bristling whiskers. And he
leaned just ever so slightly on a walking stick. I use that stick sometimes and it makes me always
think of that beautiful Spring day. Well, he seemed so brave and distant but Sybil Prynne was
making a shameful play for him, so naturally...
There is the distant howl of a wolf. A shadow of a bat
flutters across the scrim.
MRS. WESTENRA (CONT'D)
Oh, my. What could that be.?
LUCY
(Weakly) No... No...
MRS. WESTENRA
It's alright. There's nothing to be afraid of.
LUCY
No, Mama. Don't. Don't. Don't!
Dracula appears. He is fifty years younger. In the music
we hear an over amplified heartbeat. He gestures. The
moon turns its veinous blood red. It is accompanied by an
extremely loud and distorted wolf's howl. Mrs. Westenra
reaches to her forehead. Another gesture. Another sound.
Mrs. Westenra clutches at her left arm. A third gesture
and sound. Mrs. Westenra collapses across the bed.
36.
Lucy rises and walks slowly towards the vampire. He
caresses her face and throat with one finger. He is
surprisingly gentle. He envelopes her in his cape
dropping his mouth to her throat. She gives herself to him
fully. All life sinks from her body. They drop into the fog -
via elevator and trap if available.
SCENE 9
VAN HELSING
Letter, Mina Harker to Lucy Westenra - unopened by the deceased.
MINA
My dearest Lucy, It seems like an age since I heard from you or indeed since I wrote and I'm
afraid only a quick line here. I have found my dear Jonathan in Budapest. Oh, so thin and pale
and weak. Something awful has happened to him. He does not remember the details or at least
does not wish to remember them. He has kept a journal - which he has given me for safe-keeping -
but he tells me he never wishes to read it. I intend to do the same and let our lives begin anew
from this hour - for Sister Agatha has sent for the chaplain of the Anglican mission church and
we are to be married shortly. Oh Lucy, in a few short weeks we shall all be together again. My
blessings and love to you, your dear mother, and Arthur.
Seward's office.
ARTHUR
Oh God what have I done! I never should have left for an instant. My God, Jack, what have I
done?
SEWARD
Arthur, it's not your fault. You couldn't have done otherwise.
ARTHUR
You've been a great friend, Jack. I know she loved you.
SEWARD
Don't speak of it, please.
ARTHUR
She told me and I know there was no friend had a closer place in her heart than you. I don't know
how to thank you for all you did for her...What am I going to do? The whole of life seems gone
from me.
37.
VAN HELSING
(Entering.) Mr. Holmwood, I am glad you have come to see us. I must ask your permission on
two subjects... ah, perhaps I am premature?
ARTHUR
No, of course not. Forgive me Dr. Van Helsing. I am afraid it has been quite a week. What is it
you want?
VAN HELSING
First, I have here some papers: letters and diaries that once belonged to Miss Westenra. Might I
have your permission to study these?
ARTHUR
Of course, but for what possible reason?
VAN HELSING
I have reason now for all I do. You have many years trusted me John. You, Arthur I can only ask
that you learn to trust me now in the strange and terrible days before us. Let us not be three, but
one.... one in intent...
RENFIELD
(Appearing suddenly.) There was another once who spoke of one in three, I believe, Doctor!
SEWARD
Renfield!
RENFIELD
No need for introductions, Doctor Seward. Lord Godalming. You are Lord Godalming now are
you not?
ARTHUR
Yes, I am. Sadly.
SEWARD
How would you know that, Renfield?
RENFIELD
(Smiles knowingly.) And Dr. Van Helsing. What shall any man say at the pleasure of meeting Van
Helsing? I make no apology for dropping all forms of conventional prefix. When one has
revolutionized science and philosophy; conventional salutations are unfitting since they would
seem only to limit. "Here was a man not for an age, but for all time".
38.
VAN HELSING
I thought your patient only quoted Hamlet, John.
RENFIELD
(Delightedly performing for them.) "To what base uses we may return Horatio! Why, may not
the imagination trace the noble dust of Alexander 'till he finds it stopping up a bung
hole"..."Imperious Caesar dead and turned to clay might stop a hole to keep the wind away."
MAXWELL
(Entering.) I'm sorry doctor. I don't know how he got out this time.
RENFIELD
(Very serious.) Did you know, Doctor, Clay and flesh hold many of the same characteristics?
SEWARD
How did you get here, Renfield?
RENFIELD
Out the window, across the roof and down the wall, of course.
SEWARD
A precipitous journey.
RENFIELD
As is life, my good doctor, friend, and jailer.
SEWARD
You are not a prisoner, Renfield.
RENFIELD
That, Doctor, depends upon the vantage point. But Van Helsing, the number one does not divide
by three - a school-boy knows this - yet three shall be one? The Father... the Son... Don't you
know that he has many more than three lives? He has accumulated them for centuries! For you
see three is divisible by one! Not one by three. Small lives add up to the greater life. A
fundamental mistake made by your common-place theologian is the assumption that "The blood
is the life" is merely metaphor, but you Doctor, the great Van Helsing...
SEWARD
Renfield... I think perhaps it's time to return to your room. Maxwell. You'll help Mr. Renfield to
his quarters.
39.
RENFIELDNO! Van Helsing, surely you understand. The concept of... the tri... The concept of the trin...of
the TRINITY! It's exactly backward. All life must be pulled into one greater life.
MAXWELLAlright now...
RENFIELD(Grabbing a letter opener from Seward's desk.) Stay away from me. The Eucharist is real, Van
Helsing! (Holding it to his wrist.) "This is my blood shed for thee... Drink this and you shall have
eternal life!"
VAN HELSING"How all occasions do inform against thee", my friend... As does the Prince Hamlet you quote,
you dread only the "something after death, the undiscovered country from whose bourn no
traveller returns..." (Renfield's resolution shatters, he turns to Van Helsing as to a saviour.)
RENFIELDDoctor...?
SEWARD
Come on now... (Seward reaches for the letter opener. Renfield appears to give it to him, then
suddenly slashes Seward's palm. Arthur and Maxwell wrestle him to the ground.) Ahhhh. God
Damn you!
VAN HELSING
Let me see, John.
SEWARD
It's superficial.
VAN HELSING
There is much blood. Take this handkerchief.
RENFIELD
(Raving.) "The body is with the king... but the king is not with the body..."
SEWARD
Get him in a strait jacket and give him a sedative.
MAXWELL
Let's go you.
40.
Seward has dropped Van Helsing's blood soaked
handkerchief on the floor and replaced it with his own.
With a tremendous show of strength Renfield breaks loose
of Maxwell and dives on the handkerchief then sucks
greedily upon it.
RENFIELD
"Let my thoughts be bloody or be nothing worth!"
ARTHUR
Good God!
Maxwell and Arthur drag Renfield out as he continues to
rave.
RENFIELD
The blood is the life... the blood is the life... the blood is the life ...
Van Helsing and Seward freeze as reporters enter.
REPORTER TWO
The Westminster Gazette, 25 September. Headline: "The Hampstead Horror"
REPORTER THREE
During the past two or three days several unusual cases have occurred of young children straying
from home or neglecting to return from their playing on the heath.
REPORTER TWO
All the children have been slightly torn or wounded in the throat. The wounds seem such as
might be made by a rat or small dog.
REPORTER THREE
Further, the victims seem to be somewhat weakened or emaciated by the attack. The police are
instructing parents to keep a sharp look-out on children in the area. In all cases the victims were
too young to give any properly intelligible account of themselves. But they commonly report
that they have been taken out onto the heath by a beautiful lady in white.
VAN HELSING
(Slapping a newspaper down on Seward's desk. ) Have you read it.
SEWARD
The "Hampstead Horror"? Yes.
41.
VAN HELSING
And? What do you think?
SEWARD
The wounds are like poor Lucy's.
VAN HELSING
And what do you make of it?
SEWARD
Simply that there is some cause in common. Whatever it was that has injured her has injured
them as well.
VAN HELSING
(Arthur enters.) Ah. Friend Arthur. There can be no doubt now.
ARTHUR
No doubt as to what, Professor?
VAN HELSING
You shall learn.
SEWARD
For God's sake tell me what you are driving at. You have been hinting about some terrible
knowledge for weeks.
VAN HELSING
Do you mean to tell me you have no idea as to what poor Lucy died of?
SEWARD
Of nervous prostration following on great loss of blood.
VAN HELSING
And how was the blood lost?
SEWARD
I don't know.
VAN HELSING
You are a clever man, friend John; you reason well, and your wit is bold; but you are too
prejudiced. It is the fault of our science which wants to explain all; and if it explains not, then it
says there is nothing to explain.
42.
SEWARD
I am a rational man and I have no data upon which to found any sort of rational conjecture.
VAN HELSING
You think there is nothing in life that science cannot unlock?
SEWARD
Of course not, but...
VAN HELSING
Does your science begin to answer the great mysteries of life and death?
SEWARD
No...
VAN HELSING
Can you tell me why, when other spiders die small and soon, that one great spider lived for
centuries in the tower of an old Spanish Church?
SEWARD
Professor...
VAN HELSING
Can you tell me how the Indian fakir has made himself to die and be buried and to live again?
Can you tell me why men believe in all ages and in all places that there be some who cannot die?
The un-dead. The nosferatu!
ARTHUR
Nosferatu?!
SEWARD
Professor, stop. I am going mad. Why are you doing this?
VAN HELSING
I want you both to believe.
ARTHUR
Believe what?
VAN HELSING
To believe in things you cannot. An American once so defined faith: "that which enables us to
believe things we know to be untrue."
43.
SEWARD
You want me to let go of all my previous conviction... my prejudice... so that I might accept
something so strange I should otherwise rationally reject?
VAN HELSING
Always the good pupil. You would think then that those small holes in the children's throats
were made by the same that made the wounds in Miss Lucy's.
SEWARD
Yes. I suppose I would.
VAN HELSING
Then you would be wrong.
ARTHUR
In God's name Van Helsing what do you mean?
VAN HELSING
It is far, far worse. They were made by Miss Lucy.
ARTHUR
Are you mad?
VAN HELSING
Would I were. Madness were easy compared to truth like this.
ARTHUR
We laid Lucy to rest not yet a week ago, Doctor. I saw her placed in the coffin. I saw the coffin
placed in the mausoleum. You expect me to believe such complete and utter nonsense?
VAN HELSING
I do not ask you to. Tonight I go to prove it. Dare you come with me?
SEWARD
Where?
VAN HELSING
To the Churchyard at Kingstead. To the Mausoleum of the Westenra family.
ARTHUR
And what do you expect to find?
44.
VAN HELSING
The un-dead.
SEWARD
The un-dead?!
ARTHUR
(Overlapping.) Good Lord, you can't be serious!
VAN HELSING
I do not ask for now that you believe. Only that you accompany me tonight. And if you see the
un-dead, as I know you will, you will give me permission to do what I think is good.
ARTHUR
Professor, are you in earnest or is this some monstrous joke? Un-dead!?
VAN HELSING
If I could spare you one pang, my friend I would do so. Why did I take so long to tell you this?
Because I do not wish to give you pain.
SEWARD
What is it you wish to do?
VAN HELSING
Tonight... I wish to drive a wooden stake through the heart of Miss Lucy.
SEWARD
Good Lord.
ARTHUR
This is too much. Not for the world would I consent to the mutilation of that poor girl's body.
What did she ever do that you should want to dishonor her memory?! I have a duty to protect
her grave and by God, I shall do it.
VAN HELSING
I, too, have a duty before God. A duty to you. A duty to bring rest to a poor soul. All I ask now
is that you come with me; that you look and listen and if you do not then wish me to proceed,
God help us all.
He holds out his hand to Arthur who grudgingly accepts
it. Lights change. Music.
45.
SCENE 10
A street. Night. Several passers by. A tart stands in a
doorway. Mina enters with Jonathan Harker. He has
aged and walks with a cane.
MINA
(Stepping forward.) I promised never to read Jonathan's diary of his fearful time in Transylvania.
Because of the events of last night, I must break that promise. Jonathan and I went to the theatre.
A play by Mr. Pinero. I hoped it would raise his spirits. After leaving the theatre we walked
through a seamy section to the hansom cab ranks...
TART
(To a passing gentleman.) Busy tonight, love?... (To another.) Hello darlin'... (To a third
Gentleman taking his arm.) Want some company?
GENTLEMAN
No, thank you.
TART
Don't worry sweet 'eart, I don't bite...
GENTLEMAN
(Removing her arm from his.) No, really.
TART
(Disgusted with the lack of business.) O, bloody 'ell.
She starts to exit. Following her from out of the shadows
is Dracula. Jonathan sees him. But he does not see
Jonathan. He exits following the Tart.
HARKER
Did you see? Did you see who it is?
MINA
No, dear. I didn't notice. Who?
HARKER
It's him. My God it's him!
46.
MINAWho dear?
HARKERThe Count! Oh my God. But... he... he has grown so young. How can it be? Oh God help me.
MINAJonathan, Jonathan! Please... it's the fever.
HARKERHe's here. He's here!
MINAListen to me! Stop it now. Stop it.
HARKERI am going mad. If only I knew. I am going mad. (He rushes off-stage, Mina following.)
MINAJonathan!
Lights change.
SCENE 11
The Kingstead Churchyard. Van Helsing, Seward and
Arthur enter. Arthur carries a lantern
SEWARDIt was after 3:00 when we entered the churchyard over a low wall.
ARTHURThe night was dark with occasional gleams of moonlight between the rents of heavy clouds that
scudded across the sky.
VAN HELSINGExtinguish the light now, please.
ARTHURWe'll need it to enter the tomb, won't we?
VAN HELSINGIt shall not be necessary. It is almost dawn. We shall wait here.
47.
Van Helsing opens a satchel and removes a small
container holding a thin wafer. He crosses himself. Then
begins to crumple it around the entrance to the tomb.
VAN HELSING (CONT’D)Out of the lore and experience of the ancients I have learned of the un-dead, but there is much -
so much more - to know.
SEWARD
What are you doing, Professor?
VAN HELSING
I am closing the tomb so that she may not enter.
ARTHUR
And that is supposed to do it? Is this a game?
VAN HELSING
You could call it such.
SEWARD
What is it that you are using?
VAN HELSING
The Host. Miss Lucy is very young as un-dead. She will have great respect for its power of
goodness. Now, we wait... and pray. Go.
He motions Seward and Arthur to separate parts of the
stage. Music. After a time a figure in white appears in the
shadows. It is Lucy. She approaches the tomb. As she
enters the presence of the Host, a burst of smoke issues
from the ground. She lets out an animal scream then
breaks down into very human sobs.
ARTHUR
Lucy? (Stepping out of the shadows.)
LUCY
Arthur... Arthur... Come to me. Come ... and we can rest together.
ARTHUR
Lucy...
48.
SEWARD
Arthur, for God's sake!
VAN HELSING
Arthur!
LUCY
Do not listen to them. Your blood is in my veins. It has wedded us. Come my husband... my
lover..
ARTHUR
Oh God, Lucy... I...
Arthur moves towards her. Van Helsing rushes between
them, holding a crucifix up to Lucy's. She backs away,
hissing viciously.
VAN HELSING
No! You see! Now do you see! Force her into the tomb.
Seward and Van Helsing brush the host from the entrance
to the tomb with their feet and force her in to the tomb
with their crucifixes. Lucy rushes in as we see the first
rays of light.
VAN HELSING (CONT’D)
Answer me, my friend, am I to proceed in my work?
ARTHUR
Do as you will. There can be no horror greater than this.
Lights change. Lucy is lying on a stone slab, asleep to all
appearances.
ARTHUR (CONT'D)
Can this truly be she?
VAN HELSING
Yes. You understand now. She is nosferatu. But when we shall make her to rest as true dead,
then the soul of the poor dear lady we all love shall be made pure. My friend, it will be a blessed
hand for her that shall strike the blow that sets her free...
49.
ARTHUR
Tell me what I am to do.
VAN HELSING
This stake must be driven through her heart. When we begin our prayer for the dead - strike in
God's name.
ARTHUR
One moment. Please. (Arthur pulls away to compose himself.)
SEWARD
Thank God it is almost over.
VAN HELSING
Over, friend John? I am afraid we have only just begun the greater task.
SEWARD
What do you mean?
VAN HELSING
To find the author of all this our sorrow. One, I fear of great power, of many years, and much
wisdom, a King of Vampires. And our sole sworn duty must be to destroy him!
ARTHUR
Professor. I am ready.
VAN HELSING
Ah, so it ends and begins. "Lord, have mercy upon us."
SEWARD AND ARTHUR
"Christ have mercy upon us."
VAN HELSING
"Lord, have mercy upon us." "I am the resurrection and the life, saith the Lord: he that believeth
in me, though he were dead, yet shall he live; and whosoever liveth and believeth in me, shall
never die."
Arthur places the stake over Lucy's heart. He raises the
hammer.
50.
VAN HELSING AND SEWARD"Forasmuch as it hath pleased Almighty God in his wise providence to take out of this world the
soul of our deceased sister, we therefore commit her body to the ground; earth to earth;
Arthur strikes the stake, a horrible scream from Lucy
who writhes, quivers, and twists in wild contortions.
VAN HELSING AND SEWARD
(CONT’D)
"...ashes to ashes..."
A second blow.
VAN HELSING AND SEWARD
(CONT’D)
"...dust to dust..."
A final blow.
VAN HELSING AND SEWARD
(CONT’D)
"...Looking for the Resurrection in the last day and the life of the world to come..."
VAN HELSING, SEWARD, ARTHUR
"... Through Our Lord Jesus Christ at whose second coming the corruptible bodies of those who
sleep in him shall be changed and made like unto his own glorious body; according to the mighty
working whereby he is able to subdue all things unto himself."
During the above we see DRACULA, high and behind a
scrim. As the three men recite the litany, he lifts his head
and begins a low moan that grows into an enormous howl
of pain, loss, and rage that crescendoes with their final
words.
BLACKOUT
END OF ACT I
51.
ACT II
SCENE 1
Seward's office. As each speaks, he moves into position
for the scene to follow.
VAN HELSING
Jonathan Harker's Journal, October 6, 1892.
HARKER
I thought never to write in this journal again, but the time has come. A Dutch Doctor - who
attended upon Lucy Westenra at her last and has been studying her correspondence and diaries -
has come to see Mina. She has given him the chronicle of that fearful month in Castle Dracula.
SEWARD
Letter, Professor Johan Szgany to Abraham Van Helsing.
VAN HELSING
(Reading) As you suspected, he was, indeed, that Vlad Dracula, the great Prince of Transylvania
who won his name against the Turk in the fifteenth century. He is also called Vlad Tepes
(pronounced "Tsepesh") which translate to "Vlad The Impaler". He is said to have so murdered
on sharpened poles more than 50,000 men, women, and children...
SEWARD
...In life he was spoken of as the most brilliant and cunning warrior of his time...
HARKER
...He can appear at will...
SEWARD
... He has the strength of twenty men....
HARKER
...in the many base forms that worship him, the rat, the wolf, and the bat...
ARTHUR
...He flourishes...
VAN HELSING
...by replenishing his own life with...
52.
ARTHUR
...The blood life...
VAN HELSING
(overlapping ) ...The blood life
HARKER
(overlapping .) ...the blood life
SEWARD/ARTHUR/HARKER
...of the living...
MINA
He is called Nosferatu - the un-dead - a perverse reflection of the Christ who dwells in the heart
of man.
ARTHUR
Letter, Abraham Van Helsing to Dr. John Seward...
SEWARD
...You will maintain a careful record of Mr. Renfield's activities and outbursts. There may be
some connection to this awful terror we seek, this nosferatu...
VAN HELSING
...Oh he is not dangerous - our aging Prince Hamlet - there is nothing to fear, but we may well
learn from him...
HARKER
Personal memorandum of Lord Godalming.
ARTHUR
Van Helsing has requested a meeting - a war council of sorts - at Jack Seward's sanitarium. He has
prefaced this by sending us all surely the most extraordinary document. It has been assembled
and typewritten by the dear friend of my poor Lucy, Mina Murray, now Mrs. Jonathan Harker.
It is an account - taken from our diaries, journals and letters, from newspaper clips and freight
bills, from ancient manuscripts - of unimaginable horror and disgust.
SEWARD
(Exploding.) For God's sake, Van Helsing, give me some small scientific rationale! How? Why?
53.
VAN HELSINGHow? Why? I know not how or why he is. My science cannot answer. Maybe God only knows
this answer.
SEWARDIf this is true how are we to begin? Even if we find him how can we possibly destroy him?
VAN HELSING
We are not without strength.
HARKER
(Who has been pacing agitatedly.) My God! I'm the one who has set this creature loose in the
world...
VAN HELSING
Unwittingly, yes.
HARKER
I am the only one of you to have seen him face to face. Seward's right. He can't be destroyed.
VAN HELSING
No, Jonathan, the nosferatu is not free. He is prisoner. He must obey certain laws...
HARKER
Laws?!
VAN HELSING
And these natural laws offer us weapons. He must not enter anywhere at the first unless
someone of that household bid him come. His power ceases as do all evil things at the coming of
the day. By sunrise he must return to consecrated soil of his native earth. There are things we
know afflict him so he has no power - as the garlic. And things sacred, as this my crucifix and the
Host. In their presence he take his place far off and silent with respect.
HARKER
Garlic! The Host! For God's sake you've never even seen him! I looked in the glass where he cast
no reflection; looked in his eyes.(Becoming hysterical.) And... in the eyes of those women, Van
Helsing... saw only myself reflected in endless and obscene repetitions of... shame...
MINA
Jonathan, darling please... (Trying to comfort him.)
54.
HARKERYou cannot destroy him!
VAN HELSINGWe know of the peace from the stake driven through the heart.
HARKERThat's absurd.
ARTHURHarker with this arm I drove a wooden stake into the still beating heart of the woman I loved - a
Nosferatu - and I saw. I saw her delivered. I saw her find peace.
VAN HELSINGWe three have seen this, friend Jonathan... There is much we know.
HARKER
(Still shaken.) From that tower, I watched all those boxes carted out through the gate, and I
knew...
MINA
(Interrupting.) The boxes... Jonathan, what was the name of the estate you transferred to Count
Dracula..
HARKER
I don't remember ... no... Carfax?
SEWARD
Carfax Abbey! Good God! Do you know what you are saying?
ARTHUR
Isn't Carfax the estate...?
SEWARD
Yes. No more than a mile across the heath.
HARKER
My God.
ARTHUR
Then we've got him!
55.
SEWARDDo you know for a fact he's there?
HARKERMina, the freight... where are the freight bills and customs declarations?
ARTHURFor God's sake let's go and find out!
VAN HELSINGWait, wait, my impetuous friend!! This is a terrible task we undertake. For if we fail? What is the
end? Not merely to die, but to become as him! To us forever the gates of heaven shut; an arrow
in the side of Him who died for man... My friends, not the least of this creature's terror is the fact
- the dark lure - that this evil thing is rooted deep in all good. This is its great contradiction. The
enigma of its being. To face the nosferatu is to face a test for your soul. We are confronted with
great duty. Must we shrink? I say no. But you...?
ARTHURI have nothing to live for if not this creature's destruction.
SEWARDThere is no choice. I have seen his work.
MINATo know evil and not to act; may that not be the greater evil?
HARKER(Having found the customs declaration.) "Fifty cases of common earth - for experimental use.
Port of origin Varna, shipped on the 'Demeter' landed at Whitby and carted by wagon to Carfax
Abbey."
Van Helsing takes the papers. As Harker speaks we see
a large bat - or perhaps it's shadow - outside the window,
beating its wings slowly as to hang motionless in one spot.
The bat disappears. Mina shivers as if something has
passed over her.
HARKER (CONT'D)
Mina, are you alright?
MINA
Yes... I'm fine. A chill.
56.
VAN HELSING
He is there!
ARTHUR
Professor, how do we proceed?
VAN HELSING
We know that from the Castle Dracula to Carfax Abbey came fifty boxes of earth. Our first step
must be to ascertain if all remain and that he has not removed any to another resting place.
SEWARD
And if they are all in Carfax?
VAN HELSING
We "sterilize" these earth boxes one by one so in them this man- that-was cannot rest. We use
the Host just as you saw me do at the tomb of Miss Lucy. Then we deal with this creature
during the light of God's day when his powers are weak. (A pause then to Harker.) There is no
shame, whichever path you choose.
HARKER
May God help us all.
Arthur steps forward. Van Helsing, Harker, and Seward
exit, bidding farewell to Mina
ARTHUR
Van Helsing marshalled us into the drawing room to complete arrangements for the beginning of
our quest. Mrs. Harker remains to continue her prodigious task of organizing all our papers that
document this... abomination which seemed nothing so much as nightmarish fantasy until the
moment I drove the hammer down upon that wooden stake.
He exits. Mina sits at the desk and begins to go over her
notes of the evening. Music. A hand slowly appears and
wraps itself around a column behind her. Mina looks up.
A sharp intake of breath. Renfield walks out from behind
the column.
MINA
Oh! I'm afraid you frightened me a little.
SEWARD
(Re-entering.) Renfield! What are you doing here?
57.
MINA
You came back.
SEWARD
Yes. For the pistol I keep in the desk. I'll ring for Maxwell.
RENFIELD
You're not the girl the Doctor wanted to marry are you? You can't be. She's dead.
MINA
No. I have a husband of my own. I am Mrs. Harker. Are you Mr. Renfield?
RENFIELD
(Pleased.) Yes. You know of me?
MINA
Dr. Seward has spoken of you.
RENFIELD
What are you doing here?
MINA
My husband and I are staying on a visit with Dr. Seward.
RENFIELD
Then don't stay.
MINA
Why ever not? (Renfield does not answer.)
SEWARD
How did you know that I wanted to marry someone, Renfield?
RENFIELD
What an asinine question!
MINA
I don't see that at all, Mr. Renfield.
58.
RENFIELDHe knows all your... (Covering.) You will of course understand, Mrs. Harker that when a man is
respected and honored as is our host, everything regarding him is of interest to our little
community. Dr. Seward is loved not only by his friends but even by his patients some of whom
are not exactly in what you would call mental equilibrium. (During the following he circles her as
if drawn to her viscerally but unwilling or unable to move on her.) Why, I myself am an instance
of a man who had a strange belief. I used to fancy that life was a positive and perpetual entity. I
actually tried to take many small lives though what I wanted...
SEWARDRenfield...
RENFIELD...I relied, of course, for substantiation upon the scriptural phrase, "For the blood is the life". Do
you believe that Mrs. Harker? "The blood is the life." Do you believe that?
MINAI am a Christian, Mr. Renfield.
RENFIELDAh. "I know a hawk from a handsaw". The blood is, indeed the life, Mrs. Harker, though the
truism has been vulgarized by its common acceptance as mere symbol! The Eucharist is real, not
symbol, not metaphor, not ritual! I know one who has lived many lives... (Renfield suddenly
turns as if there is another presence. Music. Perhaps a dim projection of the wolf's eye.) No... I
won't tell... No! (He twists his neck strangely as if his head is being turned by some force. He
throws himself on the floor.)
MAXWELL
(Entering.) Oh, so there you are! I'm sorry, Doctor...missus. This one seems to be able to slide
out through a crack in the wall. He's nothing but a harmless old looney though, ain't ya? (Pushing
him with his foot.)
MINA
Let me help you up, Mr. Renfield.
MAXWELL
Mind yourself, missus.
MINA
That's alright, he won't harm me.
59.
SEWARDTake him back to his room. Make sure he doesn't get out again.
RENFIELDDr. Seward... I must ask you, no, implore you to allow me to leave this place tonight.
SEWARDLeave?
RENFIELDI am not at liberty to give you the whole of my reasons, but I assure you they are sound,
unselfish and spring from the highest sense of duty.
SEWARDWhy can't you give me these reasons?
RENFIELDI am... I am not my own master in this matter... (Caught somewhere between tears and wild
laughter.) "There's a divinity that shapes our ends".
SEWARDI cannot discuss this with you Renfield, not tonight. Maxwell...
RENFIELDI beg you, Dr. Seward. Let me out of this house at once. You don't know with whom you treat.
By all you hold sacred take me out of this and save my soul!
SEWARDMaxwell!
RENFIELD(Calm now.) Don't you know that I am sane and earnest now? I am no lunatic in a mad fit but a
sane man fighting for his soul?
VAN HELSING(Entering.) Jack, we must leave now, ja?
RENFIELDDoctor!
SEWARD(Wavering.) Yes, I... Good night, Renfield. (He exits.)
60.
RENFIELDMrs. Harker...!
MINAGood night, Mr. Renfield. I hope to see you again under more pleasant auspices.
RENFIELD(Touched by her kindness.) Goodbye, dear Mrs. Harker. I pray God I may never see your sweet
face again. May he bless and keep you.
Maxwell, Renfield and Mina exit.
SCENE 2
HARKER
Our little search party set forth. - It is a dread to me that Mina is involved in this business at all.
But it is due to her energy, brains and diligence that the story to date has been compiled in such a
way that every point tells. Now her work is done and I pray God she will be safe. We crossed
the heath, then kept to the shadow of the wall as we approached the house.
VAN HELSING
In the name of the Father, The Son, and the Holy Ghost, we enter.
Van Helsing, Seward, Arthur and Harker are now
kneeling in the entrance to Carfax Abbey. They carry
shuttered lanterns.
ARTHUR
My God. It looks as if the place hasn't been habited for years.
HARKER
Not by the living in any event.
VAN HELSING
My friends, we must guard ourselves. You have each the sacred image of Our Lord upon his
cross. With this we may hold the monster at bay. Now, an envelope for each. It is the
transubstantiated body of our Lord. Handle it with great reverence. You know this place,
Jonathan or at least have seen maps. Where do we begin?
SEWARD
Jonathan...?
61.
HARKER(Pulling himself together.) Look for a flight of stairs leading down to the underground chapel.
They begin to search an area of the stage. Mina enters
elsewhere isolated by light.
MINAI can't quite recall how I fell asleep last night. I remember hearing a distant gun-shot and what
sounded like loud and tumultuous praying from Mr. Renfield's room... (There is a swirl of
phosphorescent dust. Perhaps a dim projection of the wolf's eye.)
ARTHURMy God! What's that?
MINA...which must be somewhere very close to mine..
VAN HELSING
(Holding up the Host.) In the name of God the Father I command thee son of Satan reveal
thyself!
MINA
...and I remember hearing the sudden barking of dogs...
ARTHUR
There. There. Look! (Arthur fires at the image. The gunshot echoes hollowly leaving behind a
distant mocking laugh.)
SEWARD
It's gone. There's nothing.
MINA
...and then there was a silence over everything, silence so profound that I got up and looked out
the window. All was dark, the black shadows thrown by the moonlight full of silent mystery...
VAN HELSING
Something has left us. Do you feel?
MINA
...not a thing seemed to be stirring...
ARTHUR
Yes. Yes, I do.
62.
MINA
...but all to be grim and fixed as death...
VAN HELSING
Curious.
MINA
...so that a thin streak of white mist, that crept with almost imperceptible slowness across the
heath towards the house seemed to have a sentience and vitality of its own...
SEWARD
(Shining his light off-stage.) Doctor! The stairs! Right over here.
Arthur, Harker and Van Helsing follow him off-stage.
Renfield enters on the opposite side of the stage from
Mina, he is reciting the Lord's Prayer under Mina's next
speech.
MINA
...The air was heavy and dank. The gas-light seemed to diminish until it was nothing but a tiny
red spark and as I watched, the spark seemed to divide and look upon me as if two glowing red
eyes...
Mina freezes. During the above, a mist begins to flow
down stage. Suddenly, Dracula rises up out of the mist,
spreads his cape out to its full extent, then lifts straight
into the air and hangs motionless some ten feet above
Mina and Renfield.
RENFIELD
Master... Master!
DRACULA
You will welcome me now to the house... I bring you life... eternal life...
RENFIELD
Life? You bring me a life?
DRACULA
I have sent you fat buzzing flies with steel and sapphire on their wings. And at night I brought
you the bloated moth with the death's head on his back. Let me enter.
63.
RENFIELD
Master,I cannot.
DRACULA
Hundreds, thousands upon thousands of rats I will bring you and every one a life.
RENFIELD
The blood is the life.
DRACULA
(Overlapping.) The blood is the life... I bring you lives, bigger lives, filled with red blood; years
of life in every speck. I give you eternity...
RENFIELD
The blood is the life...
DRACULA
(Overlapping.) The blood is the life... welcome me... welcome me... open.
RENFIELD
Blood, Master, you promise me the sacrament of blood?
DRACULA
(Overlapping .) The sacrament of blood. Yea, lives will I give you and many more and greater
through countless ages, if you will fall down and worship me!
RENFIELD
(Falling to his knees.) Enter through me, Lord and Master.
Dracula looks sharply at Mina who turns to face him.
Blackout.
ARTHUR
(Entering in black, the only light from the lanterns) Quickly! This way, there's another passage!
Damn! There are no more boxes here. (Lights up.)
SEWARD
Thirty-three boxes. Seventeen missing!
HARKER
We've searched everywhere. They must be somewhere else.
64.
VAN HELSING
So far our night has been eminently successful.
SEWARD
What?
VAN HELSING
No harm has come to our persons as I feared might be and we have ascertained how many boxes
are missing.
ARTHUR
But how are we going to find them.
HARKER
The same way we found these!
SEWARD
And how is that?
HARKER
All fifty boxes were shipped directly to Carfax. Correct?
VAN HELSING
Yes. You have shown us this.
HARKER
Seventeen have been taken elsewhere...
ARTHUR
We know that.
HARKER
He didn't carry them himself!
ARTHUR
Then who?
HARKER
Willard and Sons carted them here from Whitby. Willard or another freight company carted
seventeen away. And somewhere, there is an invoice, a bill of lading, or a workman who
remembers.
65.
VAN HELSING
Excellent, Jonathan. Tomorrow we start next leg of our journey. For tonight is enough done. But
I think we now say "check to the black king" in this chess game we play for human souls.
Lights change. Arthur exits. Seward and Van Helsing
move into the scene to come as does Renfield.
SCENE 3
Seward's Office.
HARKER
8, October. The house was silent when we got back last night save for a low moaning from the
patients quarters. I found Mina asleep, breathing so softly that I had to put my ear down to hear
it. We all slept past noon. Mina even later. I have made a list of every freight company in greater
London. We have split it in two. I am off to tackle the first half, Lord Godalming the second. Van
Helsing and Seward remain to keep watch on Carfax to make certain no more earth-boxes are
removed. They want to further interview the patient Renfield as well...
Lights up on Van Helsing, Seward and Renfield
SEWARD
Tell me Renfield, have you no more interest in flies?
RENFIELD
(Trying to control himself .) The fly, the fly, the fly dear sir, has one striking feature. It's wings
are typical of the aerial powers of the psychic faculties. The ancients did well when they
typified the soul as a butterfly.
VAN HELSING
Ah. The soul is what interests you?
RENFIELD
No. I want no souls. I have moved beyond needing souls! Life is all I want!... But, I am pretty
indifferent about it at present. You must get a new patient Doctor if you wish to study
Zoophagy.
SEWARD
You have moved beyond needing souls? Then, you command life? You are a god, now, I
suppose.
66.
RENFIELDFar be it from me to arrogate to myself the attributes of the deity. If I may state my intellectual
position, I am somewhat of the station Enoch occupied spiritually.
VAN HELSINGAnd why Enoch?
RENFIELDBecause he walked with God.
VAN HELSING"The Devil hath power to assume a pleasing shape".
RENFIELDI know many things!... I care about little, however.
SEWARDSo, you don't want more lives and you don't want souls. Why not?
RENFIELDI don't want any souls! I couldn't use them if I had them! And doctor what is life, what is it after
all? I have friends, good friends.
SEWARDFriends, Renfield? What do you mean by that?
Mina enters.
VAN HELSINGAh. Our beautiful Wilhemina!
MINAGood afternoon, gentlemen. I wanted to retrieve my notes. I hope I'm not disturbing you.
VAN HELSINGNot at all, Madam Mina..
RENFIELDI want to go back to my room, Doctor Seward, now!
SEWARDIn a moment, Renfield.
67.
RENFIELD(To Mina, sotto voce.) I don't care for pale people. I like them with lots of [blood] ... I told you
about the value of lives once, you didn't understand!
MINAI'll go back to my room. My presence seems to unsettle him.
SEWARDThat might be best. (Mina exits.)
RENFIELD(Beginning to cry.) I don't want any souls. I don't want any souls on my conscience! I can't stand
the pain. The weight of a big soul on me... Haven't I got enough guilt and pain to distract me now
without thinking about more souls!!! (He collapses in tears.)
SEWARD
He dreads the burden of a soul! A human soul! I hope we haven't made some terrible mistake.
VAN HELSING
No, John. I understand this man. (To Renfield) "Use every man after his desert, and who should
scape whipping?"
RENFIELD
Doctor, take me back to my room. I must think. I have to think. And try to pray. To pray. To
pray. Doctor, you have been very kind to me, a poor madman. Forgive me. Please, forgive me.
SEWARD
Of course, Renfield.
RENFIELD
(Exiting.) "My words fly up, my thoughts remain below; words without thoughts never to
heaven go."
SCENE 4
The Harker's room in Dr. Seward's sanitarium. Mina on
the bed.
HARKER
Mina, Mina... We've got him!
MINA
Got him? What do you mean?
68.
HARKER
Arthur just received this letter from Spaford and Kinney, Freighters. "As per your inquiry: six
large boxes carted from Carfax Abbey, to 347 Piccadilly, six also to 197 Chicksend St., Mile End,
new Town; five to Jamaica lane, Bermondsey- September 7 last, order made by foreign
nobleman, signed, your Lordship's humble servants, etc, etc." - Extraordinary the power of a
title, eh?
MINA
Oh, Jonathan, thank God!
HARKER
At last perhaps this awful nightmare is over.
MINA
Darling, it's wonderful to see you look so strong again.
HARKER
For months I was tortured with doubt and horrible half-dreams as if all my will had been drained
out of me. Sometimes even still, I... But now, just to know I am not mad...
MINA
Jonathan, let the others go against him.
HARKER
No. I'll never be free until I see him destroyed. I've got to join Van Helsing and the others
downstairs. Will you come?
MINA
No... Don't go!
HARKER
Really, I must.
MINA
Stay, for just a moment. Hold me. Just for a moment.
They embrace. He moves as if to kiss her. She pulls
away.
HARKER
What is it?
69.
MINA
I don't know... I can't.
HARKER
Why?
MINA
(In tears.) I don't know. I don't know. Oh, please just hold me!
HARKER
Of course, darling. It's alright.
As Harker holds her we hear faint and disturbing music
as well as the sound of a heart beat. The moon begins to
pulse red, suggesting a heart pumping blood. The stage
covers with ground fog. A wolf howls. Harker and Mina
respond. They are both now in a trance.
DRACULA (V.O)
Rise Jonathan Harker... you are mine... My thoughts are your thoughts...
Harker crosses slowly away from the bed. Dracula rises
up through the fog - [via an elevator if possible] - he
turns to Harker and with a small motion of his hand
causes him to collapse to his knees staring dumbly and
horror-struck at the scene that follows... Dracula turns
towards Mina who sits mute and expectant. Renfield
enters.
RENFIELD
No, Master... please... don't take any more life from her.
DRACULA
Leave us.
RENFIELD
I want no souls on my conscience. Not her... Please, Master.
DRACULA
You have served my needs.
70.
With a gesture Dracula causes Renfield's head to begin to
twist and with a second gesture snaps his neck. Renfield
collapses to the floor, dead.
MINAJonathan...
DRACULASilence. A sound and I shall dash his brains out before your eyes. (He approaches her. She
shudders.) It is not the first time your flesh has welcomed me. (He forces her down across the
bed, drawing her blood in to him with great shudders of his back. He rises up.) And so, you like
the others would play your brains against mine. You help these men to hunt me. They shall
know before long what it is to cross my path. While they played wits against me I took you.
You, their best beloved one, are now to me flesh of my flesh; blood of my blood; kin of my kin;
my bountiful wine-press for awhile. Later on, you shall be my companion and my helper for all
time. And I shall give them to you each - one by one - to fill your need. You have aided them.
Now you shall come to my call. When my brain says "come" to you; you shall cross land or sea
to do my bidding; and to that end this!
Dracula opens his shirt and draws a sharp fingernail
across a vein in his breast. Blood spews forth. He takes
Mina's head in his hand and draws her to his breast. She
makes small sounds of protest and tries to struggle
briefly; then gives herself increasingly fully to him as the
lights go to black.
SCENE 5
As lights come up, we see Mina collapsed across the bed.
Harker and the twisted body of Renfield on the floor. Off-
stage loud knocking.
SEWARD
Mina!... Jonathan!
ARTHUR
It's locked. It won't budge.
VAN HELSING
Break it down.
71.
SEWARDWhat?
VAN HELSINGBreak it down, I say!
Van Helsing, Seward and Arthur burst in. They stand for
a moment unable to move.
VAN HELSING (CONT'D)Oh My God! My God forgive me, what have I done?
SEWARDQuickly, Doctor. You see to Mina. (Racing to Jonathan,Van Helsing and Arthur go to Mina.)
He's been drugged; or in some sort of trance. Jonathan! Jonathan! Is she alive?
VAN HELSINGHe has been to her.
SEWARDJonathan! Come on, man. Wake up.
HARKERWhat's happening... Seward, tell me... (Seeing Mina.) MINA! Oh my God. My God! Help her!
MINA(Weakly) Jonathan...
HARKEROh, thank God... Van Helsing, save her. It cannot have gone too far yet. Guard her while I look
for him!
MINANo! No, Jonathan. Don't go! Don't leave me. Stay with these friends who will watch over you.
VAN HELSINGDo not fear, dearest Wilhemina. We are here. You will both be safe now. We must be calm and
take counsel together.
MINA(She discovers the blood smeared across he face. Sobbing.) Ahhh! Ahhh! What...? What have
I...? (Speaking the words with great difficulty.) Unclean ... unclean... unclean...
72.
HARKERNo, No. Not you. Never you. May God judge me and punish me if ever I believe you to be so.
ARTHUR(Having discovered Renfield.) Jack.
SEWARDWhat is it?
ARTHUROver here.
SEWARD(Going to him.) His neck is broken.
VAN HELSING(To himself.) "Now cracks a noble heart..."
ARTHURWhat was he doing here?
SEWARDHe didn't want a soul on his conscience.
VAN HELSING(A realization.) Mijn God... He opened the house to the nosferatu...
SEWARDThat's impossible...
VAN HELISNG(Lashing out.) I don't mean he opened a door! He opened his mind!... No, you are right Jack! A
door into his mind opens and the nosferatu has invaded. But maybe that means one can journey
both ways through this door?! Gentlemen! We have much work to do. But first we have a
painful task at home. Madam Mina...?
MINAYes, Professor.
VAN HELSINGMy poor dear Wilhemina, later I may ask permission to hypnotize you, but for now... please tell
us exactly what happened.
73.
HARKERVan Helsing...
VAN HELSINGIf God wills we are to deliver our loving friend from endless night then one of our few small
weapons is our knowledge. I am sorry.
MINAHold my hand, darling... (Taking a deep breath) Jonathan and I were talking here. You gentlemen
were downstairs. At once there was a heaviness in the air which made my flesh crawl. I felt as if
a wet mist was enveloping me and a thousand cold fingers touched my body.. (She continues her
story softly as Arthur steps out of the scene.)
ARTHURAs she was telling her terrible story, so like that of my dear Lucy, the eastern sky began to
quicken. She clasped her husband's hand tightly throughout...[Harker was still and quiet ... but
over his face, as the awful narrative continued, came a grey look... which deepened in the morning
light... the eyes stood darkly out against the ghastly pall....]
VAN HELSING
(Overlapping, where Arthur's speech is in brackets.) Oh God! God! What have I done? My
stupid Dutchman's vanity has now caused poor Renfield's death... Oh God, let not Satan have
this dear young woman as well...
HARKER
As I must do something or go mad, I write this diary...
VAN HELSING
Mea Culpa, Mea Culpa [Mea Maxima Culpa....Peccavi nimis cogitatione, verbo, et opere; mea
culpa, mea culpa, mea maxima culpa...]
HARKER
(Overlapping where Van Helsing's speech is in brackets.) ...I write at every chance for I must not
stop to think. Mina told me, with tears running down her cheeks, that it is in trouble and trial
that our faith is tested...[that we must keep on trusting]...
VAN HELSING
(Overlapping.) I ask an answer Lord!
HARKER
... and that God will aid us in the end...[The end. God will aid us in the end... God will aid
us...God will aid us ... God will aid us...]
74.
SEWARD
(Overlapping.) Renfield's death weighs heavily upon me. He gave us every imaginable
opportunity to save him - and Mrs. Harker as well - from this hideous fate. Yet my mind simply
would not make the leap from this mundane - blindered - rationality...
HARKER
God help us...
SEWARD
I fear deeply this monster...
ARTHUR
...God help us...
SEWARD
cannot be defeated by [such as we.]
ARTHUR
(Overlapping.) Of this I am sure:
SEWARD
God help us.
ARTHUR
...the sun rises to-day on no more miserable house in all the great round of its daily course. God
help us.
VAN HELSING
Not an answer. Only silence. Has the time come, Oh Lord - as foretold - when the Evil One must
walk the earth?
MINA
(Pulling them all back into the scene.) You must make me a full partner now in all you do! There
is nothing can give me more pain than I suffer. Whatever happens can only bring me hope.
VAN HELSING
Dear Madam Mina, it is good you are not afraid.
MINA
Not for myself. For my mind is made up.
75.
VAN HELSINGTo what?
MINAIf I find in myself - and I shall watch closely - any sign of harm to those that I love, I shall take
my life.
HARKERNo.
VAN HELSINGYou would not kill yourself?
MINAI would.
HARKERMy God, Mina!
VAN HELSINGYou must not die. Until the other - who has fouled your sweet life - is true dead, you must not
die!
MINAYou mean I must endure this horror to whatever end it leads me?
VAN HELSINGMy child there are men here who would give their own lives to save you. Mock not their love.
MINAWhat have I done? What have I done to deserve this?
VAN HELSINGYou must fight Death himself though he come to you in pain or joy. On your living soul I charge
you!
Mina nods in tearful acquiescence.
VAN HELSING (CONT’D)Your courage Madam Mina - will give us strength to do what is next.
ARTHURAnd what is that?
76.
VAN HELSINGThe sun that rose on our sorrow this morning guards us in its course. And so we have this day to
hunt out all his lairs, sterilize them and drive him to bay.
HARKERI can't leave Mina.
VAN HELSINGWe need you Jonathan. We have four houses to search, many earth boxes to destroy and only a
few hours in which to do so. Madam Mina shall be quite safe here during the daylight and we
shall return well before sunset. I myself, will prepare your chamber by the placing of holy things
which we know he respect.
MINA
It's alright Jonathan.
VAN HELSING
Now. Let me guard yourself. On your forehead I touch this Sacred Body of our Lord... In the
name of the Father, the Son, and the Holy...
As he places the wafer against her forehead Mina
screams and pulls back covering her face with her hands.
Van Helsing drops the wafer which bursts into flame.
Mina lowers her hands. There is an intense red mark on
her forehead.
HARKER
Mina, darling, what is it?
SEWARD
It's burned her!
MINA
Oh God! Oh God! Must I bear this...?
VAN HELSING
It may be you have to bear that mark until God Himself see fit but surely as we live He shall lift
that scar. I have great doubt before that God has abandoned us to this evil thing but now in this
oh so painful sign I see His power. Our power against the vampire.
77.
HARKER(Stepping out.) To one thing I have made up my mind; if we find that Mina must become
nosferatu; she shall not go into that unknown and terrible land alone.
SCENE 6
Carfax Abbey. An earth box.
SEWARDWe entered Carfax without trouble and found all things the same as on the first occasion.
ARTHURIt is hard to believe that amongst so prosaic surroundings of neglect and dust and decay there was
any ground for such horrible fear as we already knew.
The others pry the lid off the box as Van Helsing speaks.
VAN HELSINGNow friends, we sterilize this earth, so sacred of holy memories, that he has brought from a far
distant land for such fell use. He has chosen this earth because it has been holy. Thus we defeat
him with his own weapon, for we make it more Holy still. "In the Name of the Father, the Son,
and the Holy Ghost... I consecrate this sacred ground with the body of our Lord Jesus Christ and
do hereby proclaim him that has despoiled this earth by his unholy presence to be now and ever
after Anathema! Lord have mercy."
SEWARD/ HARKER/ ARTHUR
Christ have Mercy.
VAN HELSING
Lord have Mercy.
Lights change. Music. Van Helsing continues to repeat the
words of the exorcism under the following scene and to
break the host into the box as Seward, Harker, and
Arthur speak. When the litany reaches the point of the
response "Christ have Mercy" Arthur, Seward and
Harker make the liturgical response as indicated. The
sequence should be tightly orchestrated both physically
and aurally.
SEWARD
One by one we treated in the same way each of the great boxes and left them as we had found
them to all appearance.
78.
ARTHUR
Thirty three boxes in the old Chapel at Carfax...
SEWARD
Five, in a corner of the cellar in a seemingly abandoned house, Jamaica Lane, Bermondsey.
HARKER
The stench of corruption in each seemed to grow more foul and began to attach itself our
clothing...
VAN HELSING
...Lord have mercy...
SEWARD/ARTHUR/HARKER
Christ have mercy...
VAN HELSING
Lord have mercy... In the name of the Father, the Son...
SEWARD
The odor almost a living thing... a parasite...
ARTHUR
The air became thick with dust...
SEWARD
Motes swirling in the fading sunlight...
HARKER
Filtered through rotting curtains...
ARTHUR
In the attic of an ancient granary, Mile End, New Town...
SEWARD
Six more boxes... the earth almost corpulent...
ARTHUR
Each box.... the lid is prised off...
HARKER
...the nails shriek...
79.
ARTHUR
....the body tenses...
VAN HELSING
Lord have mercy...
SEWARD/ARTHUR/HARKER
Christ have mercy...
VAN HELSING
Lord have mercy... In the name of the Father, the Son....
HARKER
What ancient terror lies within.
SEWARD
The air is heavy and still...
ARTHUR
Every box releases a foul presence...
SEWARD
The day has become an obscene race to the four corners of London...
HARKER
In which the sun is both ally and curse.
ARTHUR
Finally...
SEWARD
Picadilly...
ARTHUR
A narrow, cobble-stoned courtyard...
HARKER
A short flight of steps...
SEWARD
Lord Godalming forces the door...
80.
VAN HELSINGLord have mercy...
SEWARD/ARTHUR/HARKERChrist have mercy...
VAN HELSINGLord have mercy... In the Name of the Father, the Son...
HARKERThe house grim and silent...
ARTHURMore boxes...
SEWARDFouled earth...
HARKERFour boxes!...Four!...There must be six!
ARTHURThe sweet, nauseating scent of fresh blood here...
SEWARDThe sun hangs low and ominous upon the horizon...
ARTHURA back room...
HARKERBolted...
SEWARDThe door splinters...
VAN HELSING"Lord have mercy..."
SEWARD, HARKER, ARTHUR"Christ have Mercy"
81.
A woman stands up suddenly in a corner and screams -
caught in the light of the opening door. She is in rags and
deathly pale. Her scream turns to hysterical sobs.
HARKERMy God! It's the woman he was following. I told you... He's had her here for weeks!
SEWARD(Approaching her.) It's alright child, it's alright.
TARTNo. No... Stay away... No more...
SEWARDThe marks on the throat; just the same as the others...
ARTHURHe keeps her here?
VAN HELSINGAn obscene, bloated cat playing with a crippled mouse...
HARKERThere's only one box in here. There are only five. In the whole house only five!
SEWARDThirty three at Carfax...
ARTHURSix at Mile end; five Jamaica Lane.
HARKERAnd now only five here.
ARTHURYou've searched the entire house?
HARKEREverywhere. It's simply not here.
SEWARDWe've miscounted.
82.
VAN HELSINGNo.
HARKERMy God! Mina... I must get back to Mina.
VAN HELSING
No. Wait.
HARKER
But, it's almost sunset...
VAN HELSING
No Jonathan. Mina is not in danger. Not now. Think! We have safe-guarded her with all things
holy. He cannot there go.
HARKER
He's defeated all our precautions before.
VAN HELSING
Not now. Not tonight. He will find her guarded. He will sneer at our efforts as unworthy of his
might. He has great patience. He will think he can return to her at another time when we have
relaxed our guard. And there is someone else can serve his needs tonight.
SEWARD
This one?
VAN HELSING
Yes, this poor creature.
HARKER
I have no choice but to trust you Van Helsing, but by God if anything should happen to Mina....
VAN HELSING
Her only hope is now we destroy this monster.
ARTHUR
The light through the shuttered windows died like a guttering candle. Van Helsing allowed no
lamp. We took positions. Seward cared for the poor accursed woman that huddled like a fearful
animal in the corner. Harker sat tense and motionless. Forty eight hours ago he was a youthful,
energetic man of purpose. Tonight he is a drawn haggard old man with hollow burning eyes and
grief written across his face.
83.
SEWARD
For many hours Van Helsing spoke in soft words about matters that seemed utterly
inconsequential to the awful task at hand: his Amsterdam garden filled with so many varieties of
tulips; the years as a seminarian; his travels through Europe as a young man; and later, gentle
stories of his wife whose early death had left him so alone. It was only after he had drawn quiet I
realized his beneficent purpose in occupying our minds and filling the terrible silence that now
pervaded the house.
Music. The woman begins to moan softly.
VAN HELSING
Shhhh. Now he comes. To your places.
They hide. The lights dim. A low mist begins to form. The
shadows move, take form. Dracula stands before us. The
woman staggers towards him, wanting him. Sensing other
presences he throws her to the floor. Van Helsing steps
out, holding a cross.
DRACULA
Van Helsing!
He hisses and backs away. Harker, Seward and Arthur
step out blocking his path.
VAN HELSING
So we finally meet, Count Dracula..I have awaited this moment.
DRACULA
The great Van Helsing!
VAN HELSING
You know of me.
DRACULA
Who does not know of Van Helsing? In my native land I study your treatises upon metaphysics
for many years. I know much of you.
VAN HELSING
And I of you - Vlad Tepes!
84.
DRACULAAh. You are very wise, Van Helsing, for a man who has not yet lived even one lifetime. Do you
think you can destroy me with these weak symbols of your dead god held in hands that tremble
with mortal fear?
VAN HELSINGA symbol of goodness and truth held by righteous men who, yes, tremble with fear of so great
evil but swerve not from their purpose.
DRACULAYou think to cross with me. Me. Who has lived centuries!
HARKERYour centuries have reached their end.
SEWARDYour earth boxes are destroyed and we shall hold you here until the day has robbed you of your
powers.
DRACULAAh... How clever... the weak, watery light of the sun... How confident it makes you feel. But the
night belongs to me, Doctor. To me! (With a gesture a mist grows around Harker, Seward and
Arthur which puts them into a trance. Only Van Helsing is unaffected.)
VAN HELSING
Jonathan!... Arthur!... For God's sake resist!
DRACULA
Now, Van Helsing..You of the strong will. You of all are a mind to match with me. You perhaps
are one who understands.
VAN HELSING
I understand you all too well.
DRACULA
Then you know, philosopher, there is no good. There is no evil. There is only life and the
absence of life. And death may be as life...
VAN HELSING
I know evil when I see it.
DRACULA
Is the wolf of the forest who preys upon the fawn evil?
85.
VAN HELSING
Ordog! I believe you know the word of your native tongue meaning Satan!
DRACULA
You are weak. As weak as that god you think you serve. I thought you were one who knew. But
you will serve me, all the same. Come to me. Come...You shall obey... (Van Helsing weakens.
He staggers a step forward.) Yesss. You took your first step towards me many years ago when
you left your order, priest... (Van Helsing drops the cross to his side.) Since that moment you
have sought none but me... complete your journey...You are mine... (Van Helsing has almost
reached him. Dracula reaches out towards him.)
VAN HELSING
AHHHHH! (With an enormous effort Van Helsing raises the cross into the vampire's face. The
vampire snarls and pulls back. With difficulty, Van Helsing speaks.) Credo in unum Deum!... Et
in unum Dominum Jesum CHRISTUM!. (On "Christum" Dracula grabs the cross which bursts
into flames.)
DRACULA
AHHHHH! (With inarticulate rage Dracula pulls back covering his face. Arthur, Seward, and
Harker break out of the trance.) You fools! You think to baffle me! You know nothing. You
have taken from me one I loved. One who loved me. My bride. You! Your's was the hand!
(Pointing to Arthur.) I gave her life for eternity! And you robbed her of it. Robbed her from me.
HARKER
Vile...obscene....!
DRACULA
Mr. Harker... Harker, Jonathan...
HARKER
I should have destroyed you the moment I saw you.
DRACULA
...How simple your mind is Mr. Harker. There are many roads in the forest; many mysteries of
which you shall never taste. Have you not taught these children anything Van Helsing? The
simple truth known to the ancients? That man may become god.
VAN HELSING
Christ have mercy on your soul.
86.
DRACULAI owe a debt of gratitude to you, Harker, Jonathan. Had you not returned from my native land, I
might never have received that so bountiful gift you have bestowed upon me, the sweet taste of
the flesh of your wife.
HARKERNo.
VAN HELSING(Warning.) Jonathan...
DRACULADid you know she has tasted of me also? She shall serve me well. I shall place her above the rest.
HARKERNoooo! (He rushes at Dracula.)
VAN HELSINGNo, Jonathan!
The woman flings herself on Van Helsing, tears the cross
from his hand. Dracula throws Harker into Seward,
knocking both to the floor. Arthur charges Dracula and
drives a knife into his chest. Dracula hurls him away,
withdraws the knife and discards it disdainfully. Van
Helsing throws the woman off him violently. She strikes
her head against the floor in her fall.
DRACULAYou Fools! Pitiful fools! You think you have left me without a place to rest; but I have more.
Search as you will. You shall never find me. I shall sleep in my earth-box for centuries for my
revenge has just begun. The women that you love are mine already and through them you and
others shall yet be mine; my creatures to do my bidding; to be my jackals when I wish to feed.
Hear my prophecy!
He leaps off the wall.
ARTHUR
He has escaped us!
HARKER
Oh God! All is lost. Mina is lost.
87.
VAN HELSING
No, Jonathan. Notwithstanding his brave words he fears us; of this I am sure. Let us return to
Madam Mina. All we can do here now is done. But we need not despair. There is but one more
earth box and we shall find it. All may yet be well.
SEWARD
Professor. This poor creature is dead. Must we...?
VAN HELSING
Yes. You must free her from his unholy claim.
Seward places the stake over her heart and raises the
hammer. Lights black out quickly and come up sharply on
Mina asleep in a chair, elsewhere. Simultaneously, we
hear the over amplified echoing sound of the hammer
being slammed down as Mina awakens with a terrifying
scream. Harker and Arthur cross to her. Van Helsing
exits.
SCENE 7
HARKER
Mina!
ARTHUR
Mrs. Harker?
HARKER
Are you alright?
MINA
Find the Professor, please, I want to see him at once.
ARTHUR
Why?
MINA
Please, just bring him immediately. (Arthur exits. Seward carries off the lifeless body of the tart.)
Jonathan, I want you to think of something through this dreadful time. I know you must destroy
him. But do not let this be a work of hate.
88.
HARKERMay God give him into my hand just for long enough, I will send his soul for ever to the deepest
pit of hell!
MINANo! In the name of God, don't say such things. Perhaps, someday, I too may need such pity; and
someone like you may deny it to me! If God grant you the opportunity you must destroy him
with all the more pity for his centuries of suffering.
HARKERHow can you possibly speak of his suffering?
MINA
I know, Jonathan, I know it only too well! I sometimes feel now as if an old, old corner of my
brain is growing like a cancer. I know things, now, my darling. I know many ancient things. You
must be very careful of me.
VAN HELSING
(Entering with Arthur and Seward.) Mrs. Harker. You have called for me, ja?
MINA
I want you to hypnotize me! Do it now. Before the dawn. This is a time I feel I can speak freely.
Be quick for the time is short.
SEWARD
Looking fixedly at her, Van Helsing did not speak. He began to swing his pocket watch slowly
back and forth before her eyes. For several minutes there was silence. Mina sat rigid. The rest of
us dared not breath.
VAN HELSING
Where are you?
MINA
(Speaking in a voice not quite her own. A deeper, raspy. Almost reptilian sound. - a wireless
microphone and echo/repetition effect if available.) I do not know. Sleep has no place it can call
its own.
VAN HELSING
What do you see?
MINA
Nothing. It is all darkness.
89.
VAN HELSING
What do you hear?
MINA
Water. Waves.
VAN HELSING
You are on a ship!
MINA
Yes. A ship.
VAN HELSING
What else do you hear.
MINA
Yeees. A Shiiiip.
VAN HELSING
What else do you hear!
MINA
Feet. Footsteps. Men overhead. A large chain dragged across...
ARTHUR
The anchor?
VAN HELSING
Yes. What are you doing?
MINA
I am still. Oh, so, still. Still as to death... (Awakening with a start.)
VAN HELSING
God be thanked! Madam Mina, I cannot guess at what strength it take to pull yourself through
his mind like that. But he has made great mistake now.
SEWARD
But, was that a ship? Where?
VAN HELSING
He has taken his last earth box on board a ship and leaves the land!
90.
ARTHUR
I'll have inquiries made on every wharf in London.
MINA
Jonathan, Doctor Van Helsing, I must ask of you two things.
HARKER
What?
MINA
First that you will take me with you in pursuit of him.
SEWARD
No, Mrs. Harker.
HARKER
Mina!
MINA
(Overriding him.) You must! I am changing! You must hypnotize me when it is useful to you.
You must watch me carefully and when you are convinced that I am lost, you will kill me so that
I am dead in the flesh. Then you will drive a stake through my heart. You will make me this
promise!! (There is a slight pause as the men indicate their acquiescence.) You, my dear friends,
could free my soul even today as you did Lucy's, but I give up here the certainty of eternal peace
and go out into the dark to face perhaps the foulest thing the world may hold - because I know -
that this thing of darkness, shall indeed sleep for centuries only to return to people the world
with a race of creatures whose path lies not through life, but through death.
VAN HELSING
My dear Mrs. Harker. It is only your strength and goodness we wish to serve.
MINA
I have one more request. I want you to read the Burial Service over me. Now.
HARKER
No, Mina, death is far away...
MINA
I am deeper in death at this moment than if the weight of a grave lay upon me. Read it now. We
may all be here in freedom for the last time. Read it. (She hands him the Missal.)
91.
HARKER"I am the resurrection and the life saith the Lord: He that believeth in me though he were dead,
yet shall he live; and whosever liveth and believeth in me, shall never die." "The Lord is my
Shepherd...
The following psalm continues under Scene 8, Mina and
Jonathan continuing when the others are speaking.
HARKER, SEWARD, VAN HELSING,
ARTHUR, MINA
... I shall not want. He maketh me to lie down in green pastures; He leadeth me beside the still
waters. He restoreth my soul... (Two workmen enter, Arthur crosses to them) and brings me forth
in the paths of righteousness for his names sake. Yea though I walk through the valley of the
shadow of death, I will fear no evil; for thou art with me; thy rod and thy staff they comfort me.
Thou shalt prepare a table before me against them that trouble me; thou hast anointed my head
with oil and my cup runneth over. Surely goodness and mercy shall follow me all the days of my
life..."
SCENE 8
WORKMAN
(After "green pastures.") A Russian, the "Czarina Catherine" is the only ship bound for the
Black Sea. Cargo for... (checking papers) Constantinople, Sevastopol... here it is, Varna.
WORKMAN 2
She left the Thames a week ago wrapped in the thickest fog I've ever seen.
ARTHUR
A week ago?
WORKMAN
A week ago, that's right, sir.
WORKMAN 2
Crew was spooked by somethin' if you ask me.
The workmen leave. Arthur crosses to Seward.
ARTHUR
The cargo manifest lists Varna, but...
92.
SEWARDIt will take her two weeks, at least. We can travel overland in five days.
ARTHURBut how do you know he's going to Varna, Jack?
VAN HELSINGHe is returning to his native soil.
ARTHURHow can you know that? He could be going anywhere? He shipped fifty earth boxes to England.
He could have shipped hundreds more to any port from Marseilles to Sevastopol.
VAN HELSING
We will know. Mrs. Harker will know.
ARTHUR
And if she should fail us?
VAN HELSING
She will not.
ARTHUR
But if she does?
VAN HELSING
She will not fail us!!
Van Helsing turns away in awful contemplation of the
thought.
SEWARD
We left Charing Cross in the morning. Reached Paris that same night.
ARTHUR
Secured berths on the Orient Express.
VAN HELSING
Munich.
He crosses to rejoin Harker and Mina who now sit side
by side as if on a train seat. Arthur and Seward will
follow.
93.
ARTHUR
Vienna.
SEWARD
Budapest.
MINA
(Completing the psalm solus)"...And I shall dwell in the house of the Lord forever."
HARKER
Crossing the Danube I am shaken with horrid memories of a journey I never thought to retrace.
We hear the sound of a train and the lights flicker
suggesting movement. Behind the scrim we see Dracula,
motionless, arms crossed.
DRACULA (V.O)
Blood of my blood... flesh of my flesh...
VAN HELSING
The lethargy grows upon Mrs. Harker.
DRACULA
Come to me... come...
ARTHUR
She sleeps fitfully during the day. Sits silently at the window through the night.
HARKER
Her reflection a ghastly pale in the flickering window of the railway carriage.
DRACULA
Blood of my blood...
SEWARD
At sunrise and sunset she becomes wakeful and alert. It is then Van Helsing tries to hypnotize
her.
VAN HELSING
Mrs. Harker, what do you see?
94.
DRACULAFlesh of my flesh... come to me... come...
MINA(In the hypnotic voice.) Nothingness. All is dark. Peaceful and still...
SEWARDThere has been a slight change in cranial size.
MINA... Peaceful as death...
Dracula laughs lightly under his breath - Mina echoes
him. Lights fade on Dracula.
SEWARD
Wounds of the throat refuse to heal. Perceptible lengthening of the incisors.
MINA
...Peaceful as death... as death... death ...
She fades into unconsciousness.
VAN HELSING
Mrs. Harker? What do you see? Mrs. Harker!
HARKER
Van Helsing? What's happening?
ARTHUR
We're losing her ...
VAN HELSING
No! Where are you? Where are you?!
HARKER
Van Helsing! For God's sake! Mina....
Harker attempts to hold Mina to him.
VAN HELSING
He has closed his mind to her. He leaves her to sink into ever-lasting darkness.
95.
HARKER
Oh My God... Oh My God... Oh My God...
A silence. No sound but that of the train.
MINA
...uhh... uhh... Uhhh! (With a massive effort of will.) ...Others... others... I know them...
SEWARD
Others?
VAN HELSING
Others? Mrs. Harker? Tell me. Please try to tell me.
MINA
...uhh... uhhh! Sisters... I know them... sisters... centuries I have known them...
SEWARD
Sisters?
VAN HELSING
That terrible baptism of blood he gives her makes her mind free to go many places! She now
share his blood with them. Madam Mina.... let your thoughts sink back to the ancient ones.
MINA
Uhhh...uhhhhh....uhhhh....(A hollow echoing laugh proceeds from Mina's throat.)
HARKER
It's them. (Behind the scrim we dimly see the three "brides")
BRIDES AND MINA
Sister... Sister... blood... sister... blood of the Master... sister... the Master is at hand...
HARKER
(After "Sister...sister".) My God, it's them.
VAN HELSING
Quiet! Through the others, Mina. Pull your thoughts through the others to the Master.
BRIDES AND MINA
Blood of the Master...The master is at hand... sister... sister... sister... the Master is at hand... the
Master is at hand...
96.
VAN HELSING
Where are you? Where is the master?
MINA
Galatsi...
ARTHUR
Galatz? It's two hundred miles up the coast from Varna! We'll never catch up to him.
MINA
Water... nearby... land... The Master is at hand...
SEWARD
Water? Back at sea?
VAN HELSING
Not at sea!. "The master is at hand." But water?
MINA
(With an enormous effort.) Bistritza.!!!
She collapses in harker's arms.
HARKER
The Bistritza river? It's navigable right up to the mouth of the Borgo Pass! He's travelling by the
river.
VAN HELSING
Arthur, how many hours to Bucharest?
ARTHUR
About two, I think.
VAN HELSING
We will leave the train there. Travel by carriage or horseback; on foot if it must be.
They collect equipment and winter coats and "make
camp" through the following.
SEWARD
Lord Godalming purchased weapons and equipment as well as a team and carriage to take us to
the Borgo. No driver could be found for the task. We drove ourselves.
97.
ARTHUR
There was such a heaviness in the air we remained silent for most of the journey.
HARKER
The country became wilder by the hour. The great spurs of the Carpathians gathering round us
and towering in front.
SEWARD
Far off we hear the howling of wolves. An early snow brings them down from the hills.
VAN HELSING
I fear deeply for Mrs. Harker. She will not take food. She speaks only in trance now. God grant
her another passing of the sun and we shall free her from this horror.
SEWARD
We reached the Borgo Pass at sunset. Made our camp. And waited.
They gather in an area of rocks around a small
smouldering fire. A wolf howls. Answered by several
more. Arthur and Seward keep nervous watch. Mina sits
rigidly next to the fire listening expectantly to the night
sounds and chanting quietly to herself.
ARTHUR
Jack! Look. (The horses neigh in fear.)
SEWARD
What's the matter with the horses?
ARTHUR
No. Look there in the clearing.
SEWARD
Wolves?
ARTHUR
A pack. They're moving closer. My God, listen to them.(We faintly hear a low snarling growl.)
HARKER
Professor...
98.
VAN HELSINGWhat is it?
HARKERA pack of wolves.
VAN HELSINGHe is nearby. (Mina has started to rise, walking away from the fire.)
HARKER(Stopping her.) Mina, no, for God's sake!
ARTHURShall I take a shot at them? (Raising his pistol.)
VAN HELSINGIt will do no good. I fear the wolves are not the true danger. Jack, take part of the host, crumple it
in a circle on the ground. Encircle the five of us.
SEWARDArthur, get back towards the fire...
VAN HELSING(As he begins to make the circle) Agnus Dei qui tollis peccata mundi: miserere nobis. Agnus Dei
qui tollis peccata mundi: miserere nobis. Agnus Dei qui tollis peccata mundi: dona nobis pacem.
ARTHUR(Overlapping.) They're not moving in anymore. They've stopped. (A distant sound of women's
laughter. Harker moves towards it as if drawn.)
HARKERNo. Oh my God. Oh God. No. (He drops to his knees.)
VAN HELSINGArthur, bring Jonathan into the circle.
ARTHURWhy? What's that sound?
VAN HELSINGDO AS I SAY! GET INTO THE CIRCLE NOW!
99.
THE BRIDES(Appearing out of the gloom and repeating in a seductive chant.) Sister... Sister ... come to us...
blood sister... Blood of the Master... the blood is the life... sister, sister... (Mina begins to stumble
towards them. Van Helsing stops her.)
VAN HELSINGNo. Do not go. Here you will be safe!...
MINA
(Struggling forward.) Let me go!
VAN HELSING
Complete the circle, Jack. For God's sake complete the circle! MINA! Oh dear Mina! Stop now.
I fear for you!
MINA
Fear for me! You fool. There is none safer in all the world from them than I!
She bolts towards the brides. Seward has just completed
the circle. She stops abruptly as if receiving an electric
shock as smoke erupts from the ground. She screams and
stumbles back. The Brides echo her scream, pull back
and disappear into the darkness..
SEWARD
The hideous night faded into a gray and heavy dawn. Van Helsing was unable to wake Mrs.
Harker. The change in her is unmistakable. She will not withstand another night. Harker is a shell
of his former self. He will not survive her loss.
ARTHUR
We passed the day in a cleft of rock under the looming presence of Castle Dracula. Our position
gave us a clear view of its only access. The wind whips violently down through the pass. The
Carpathian Winter is coming.
SEWARD
Van Helsing broods silently. It is cold as death.
ARTHUR
Almost at sunset...
SEWARD
Arthur...Coming around the bend.
100.
ARTHUR
Peasants?
SEWARD
Only three I think.
ARTHUR
Pulling a cart...
SEWARD
Professor!...Harker...!
ARTHUR
With a box on it! One of his boxes. The last!
HARKER
It's him... Now... only chance...
VAN HELSING
Wait until they are close, then you will shoot to kill. (They hide and wait nervously. As the
wagon comes into view.)
PEASANT LEADER
Halt. Ein feuer. (The other two peasants block the wheels of the cart as the leader inspects the
ashes.) Die auslander haben sich ein feuer hier gemacht.
HARKER
NOW!
Harker picks up a shovel and charges screaming madly.
The leader pulls a pistol; shoots and wounds Harker.
ARTHUR
Harker, no!
A melee ensues in which shots are exchanged, but the bulk
of the fighting is hand to hand. The fight is quick and
savage. Mina remains semi-conscious. Two of the
peasants are killed, the third runs off.
101.
VAN HELSINGNow. Quickly, there is little time. The sun is setting. (Seward pries at the lid of the box with a
crowbar. Arthur helps.)
SEWARDJonathan, the mallet and stake! (Harker races to get them. Mina grabs him attempting to stop
him.)
VAN HELSINGNow! Harker. For God's sake hurry. The sun! (Arthur takes the stake and mallet from Harker
and returns to the box..)
SEWARDIt's almost gone. The sun is almost gone!
Seward finally pulls off the lid of the box revealing
Dracula, arms crossed, eyes closed. A brief moment.
Suddenly the eyes open and his right arm shoots out
taking Arthur by the throat and throws him off . Mina
rises.
SEWARD (CONT'D)Oh My God! Arthur!
VAN HELSING(Racing towards the cart.) Now Jack, now, now, now. (Seward holds the stake over Dracula's
heart. Van Helsing raises the mallet.)
MINANOOO! (She races at Van Helsing and pulls him off. Dracula and Seward struggle over the
stake.)
VAN HELSINGJonathan! Help me. Help me.
Harker pulls Mina off Van Helsing. Seward and Van
Helsing get the stake back in position. Van Helsing slams
the mallet down. A horrific shriek from Dracula He
clutches at the stake. Blood spurts from his chest as Van
Helsing strikes the second blow and Mina screams in
agony responding to the blow physically herself. Van
Helsing strikes the third blow. The great earth box fills
with smoke obscuring Dracula.
102.
Van Helsing and Seward step back. The smoke clears.
There is nothing in the box but earth. A moment.
SEWARD
Arthur. My God, Arthur. (Seward and Van Helsing cross to Arthur.)
ARTHUR
(Leaning against a rock) No. There is nothing for me now. Look... Look... God is merciful...
The last rays of the sun reflect off the clouds casting a
beam of light upon the scene. Van Helsing moves to Mina,
kneels and touches her forehead.
MINA
Is it gone?
VAN HELSING
Yes.
SEWARD
In the name of the Father, and of the Son, and of the Holy Ghost...
Seward gently closes Arthur's eyes. Harker and Mina
embrace as deep tears overtake the both of them. Van
Helsing walks downstage center.
VAN HELSING
A year to the day after the destruction of this ancient nosferatu, on the anniversary of the death
of our good and brave friend Arthur Holmwood, Mina Murray Harker gave birth to a son, Arthur
Lucas Harker in whose bright eye we daily see the truth of God's mercy. These papers have now
lain for many years in a safe-box at the Bank of England. I ask no one to accept these yellowing
pages as fact. I offer no proof. I ask none to believe. You have only my word before God - and
the knowledge in the ancient part of your own brain - that what I have told is complete and utter
truth.
MUSIC
PROJECTION OF THE WOLF'S EYE
LIGHTS FADE TO BLACK
103.