Dracula by William Mcnulty

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Dracula (1st ed. - 07.30.08) - dracula_mcnulty9jrCopyright 2008 William McNulty

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To Diane with undying love


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Cast of Characters

ROBERT RENFIELD, a lunatic of unique appetites and an unfortu-nate sense of humor.

A MONSTER, a vicious supernatural demon; the shape assumed byDracula when he isnt concerned about appearances. Partzombie, part werewolf, he loves a good chase and is alwaysthirsty.

MINA GRANT, a beautiful undead woman in her late twenties. Wewill see her in various stages of vampirism.

MARGARET SULLIVAN, Dr. Sewards loyal assistant. Irish. Triesto conceal her working class roots with an air of propriety.

ABRAM VAN HELSING, an older man, still in good physical con-dition, with a razor mind and an intense interest in the super-natural.

DR. THOMAS SEWARD, an intelligent, fine young Englishman inhis early thirties. The former fianc of the late Mina Grant. A

deeply caring, vulnerable human being.

COUNT DRACULA, a brute who revels in the pain and sufferinghe brings to others. Capable of enormous charm and courtlymanners when such affectations are called for.

THE BRIDES, three Vampiresses with seductive ways and direpurposes.

THE CHILD, female, between 7 & 10. Wears a communion dress.

NORBERT BRIGGS, an attendant at the asylum. A rough customer;not entirely a brute, but capable of violent behavior whenpushed to it.

LUCY WESTPHAL, a lovely young Englishwoman. Extremely in-telligent, and when not being drained of blood on a regularbasis, quite vivacious.

JONATHAN HARKER, a young solicitor. Handsome, impetuous,madly in love with Lucy.


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Setting

The action takes place in and around the Purley Sanitorium on thewest coast of England in the late nineteenth. There is also a brief

memory sequence in Transylvania.

Production Notes

I believe Draculais the story of a vicious and unscrupulous monsterwho thrives not only on the blood of his victims, but on their suf-fering. I find nothing campy or romantic about this character; I do

not think a powerful male figure who brutally attacks youngwomen is funny, attractive, or in any way sympathetic. I thereforeset out to write an adaptation of this story that reflected that view ofits central character. This sets the stage for a primal confrontationbetween Good and Evil, an interpretation I feel is well served bywholeheartedly embracing the horror genre. There are many mov-ies and books of the genre, but few playwrights have attempted tobring it to the stage. So, whereas I think the story has strong moral

content, I would encourage you who produce this play to indulgeyour inner twelve-year-old and make it as wild and bloody as yourimagination and your technical facilities will allow.

As preposterous as the events and circumstances of the play maybe, it works best, I believe, when the actors take it as seriously aspossible. If the audience feels you are sending it up in any way, theshow will lose its tension and its impact. Dreadful things happen in

this story: a young man drives a stake through the heart of his be-loved; a woman begins to lose her true self and descend into besti-ality; yet another womans mind is completely destroyed and shebecomes a helpless slave, and so on. These are sad and painfulevents and when good actors play them truthfully audiences will bedrawn in and respond sympathetically. Certainly Renfield func-tions as comic relief, but we must always be aware of the real painand terror that governs his every action.

Finally, I would suggest casting people with considerable physicalskills. I think the play is carried along by its many moments ofphysical confrontation. With material such as this we engage ouraudience emotionally by frequently engaging them viscerally.


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The Set

I strongly recommend that the design allow for each locale tomorph smoothly and quickly into the next. Momentum is a key

factor in the effect of this material. Blackouts can have a potent im-pact as when Dracula blows out the lights, but if they are usedwhere not indicated they will disrupt the flow of action.

The Effects

The stage directions contained herein are, of course, a record of our

production at Actors Theatre of Louisville. You will note that theshow is pretty heavy on special effects. You may have ideas abouthow to avoid the need for some effects; you may even have ideasabout others youd like to employ (I hope you do!). If you find someof what is described hard to fathom, and would like to know whatwe did in those instances, feel free to contact me, and Ill fill you in.Please send such inquiries to Playscripts.

The Storm

The onstage visual events that accompany Sewards dictation in thePrologue can be quite an interesting project for the designers. Ourproduction was done in the round with a wall surrounding theplaying area. This allowed us to cover the floor in fog dense enoughthat images (the ship, the hound, etc.) could be projected into it as it

swirled around Renfields ankles. That worked well for us, but in aproscenium house I would imagine these images could effectivelybe projected on walls. I do feel that some added visual content isnecessary, given that the recording goes on for a bit. I also think theactor will enjoy playing the impact of these wild, disturbing imagesthat are being conjured up around him.


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The Songs

The Bells of Hell is a traditional marching song, dating back, asfar as I know, to WWI, making it somewhat anachronistic for this

Victorian melodrama, but I felt it was so appropriate for Renfieldsentrance in ACT II I simply couldnt resist. You can find the tuneonline.

As for Renfields Lovely Lady Mina, youll have to invent yourown melody, but I would suggest something with an English MusicHall quality.

Also with Lucys Come away, you young and eager. The melody

is up to you, but I would think in terms of something haunting andancient.

The Spell

Van Helsings Act II incantation is an ancient Enochian conjurationfor combating malevolent demons found in Alister Crowleys book,

The Goetia, The Lesser Key of Solomon the King.I have no idea aboutpronunciation; if this is of great concern to you, I suppose you couldseek out a warlock, although I cannot recommend that course of ac-tion. I thought it might be helpful to the actors, however, to providea translation. It goes as follows:

I curse thee!In the name of Jehovah!

Let the light and all the Holy Ones of Heaven curse thee untothe burning flame that liveth forever, and unto the tor-ment unspeakable!

And thy name and seal, which I have put in this dwelling ofpoison shall be in torment among creatures of sulphur

and bitter sting, burning in fire of earth, in the name of Jeho-vah exalted in Power in these three names

Tetragrammaton, Anaphexeton, and Primeumaton!

Apparently Jehovah goes by a few other names in Enochian. At anyrate, I hope thats useful.


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Acknowledgments

Dracula premiered at Actors Theatre of Louisville, Kentucky onSeptember 22, 2007 with the following cast and crew:

MONSTER......................................................... Genesis DoyleMINA (alternating shows).........................Elizabeth Gilbert,

Dara TillerMARGARET SULLIVAN...................................Sarah SextonABRAM VAN HELSING...........................William McNultyROBERT RENFIELD...........................................Marc BovinoNORBERT BRIGGS.......................................Nathan Gregory

THOMAS SEWARD ..........................Jonathan Kells PhillipsLUCY WESTPHAL ......................................Sandra StruthersCOUNT DRACULA ...................................Misha Kuznetsov

JONATHAN HARKER ....................................David Ian LeeTHE BRIDES .......................................................Sarah Sexton,

Elizabeth Gilbert, Dara TillerTHE CHILD .......................................................Sophie C. Hill

Director.........................................................William McNultyDramaturg................................................ Julie Felise DubinerSet Design................................................................Paul OwenCostume Design ......................................... Lorraine VenbergHair & Wigs ........................................................ Kelly MeurerLighting Design.................................................... Tony PennaSound Design.............................................Benjamin MarcumProperties Design............................................. Doc Manning,

William GriffithVideo Design.......................................................... Jason CzajaCasting......................................................Zan Sawyer-Dailey,

Emily RuddockDialect Coach.......................................................... Rinda FryeFight Director.................................................... K. Jenny JonesStage Manager .......................................... Michael D. DomueProduction Assistant........................................ Melissa Miller

Stage Management Intern...................................Erica SartiniDirecting Assistant.......................................... Erin BukowskiRehearsal Assistant ...............................................Matthew Sa


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Acknowledgments (continued)

All production groups performing this play are required to includethe following credits on the title page of every program:

Originally dramatized by John L. Balderston & Hamilton Deanefrom Bram Stokers world-famous novel, Dracula

As adapted by William McNulty

I wish to express my sincerest gratitude to:

Marc Masterson (Artistic Director, Actors Theatre ofLouisville) who encouraged me to undertake this project.

Julie Felise Dubiner, our extraordinary dramaturg, whosesuggestions along the way unfailingly resulted in a vastlyimproved script.

Diane McNulty, my beautiful wife, whose loving supportand perceptive feedback were invaluable throughout the

entire creative process.


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DRACULAadapted by William McNulty

ORIGINALLY DRAMATIZED BYJOHN L.BALDERSTON &HAMILTON DEANE

FROM BRAM STOKERS WORLD-FAMOUS NOVEL,DRACULA

ACT I

Prologue

(At Rise: The initial setting is a cellblock in the asylum. In one area,isolated in light, is a small gramophone. The machine sits atop a ped-estal and is of the sort once used for dictation. In another area is alarge wooden door with a barred window. The interior dimensions ofthe cell are defined in light. As the lights dim we hear a ruckus out-side the door.)

RENFIELD. (From outside:)No! No! Let me go, you brute. Dont putme back in there! Dont put me back in there!

(The door opens and RENFIELD is thrown in. He lies on the floorwhimpering for a bit. Now the gramophone magically comes to life.The cylinder begins to turn, the needle drops into place, and after abit of scratchiness, we hear SEWARDsvoice. RENFIELDhears ittoo, and stands attentively, as though listening through a wall.)

SEWARD. The Journal of Dr. T.M. Seward. Entry recorded this 21stday of March, 1898. Since my last entry six weeks ago, I have seenthe love of my life, Mina Grant, languish and die of a malady Icould neither remedy nor, indeed diagnose. As if this were not afull enough portion of grief for any man to bear, I have subse-quently been forced to witness those same symptoms developing inmy dear friend, Lucy Westphal, and have been equally powerless toprevent her decline.

(Music.)

Though my beloved Minas symptoms first manifested on themorning of February 7, the events of the preceding evening were so


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William McNulty14

bizarre and foreboding that, although I cannot rationally connectthem to our troubles, I instinctively feel they bear mentioning.

(As he speaks the storm is created on stage in sound and light. REN-FIELDwatches in terror as the events SEWARD describes are re-created all around him. The sound and imagery intensifies over thecourse of the narration, peaking at the end of the inmate montage.)

It was at dusk on that horrendous evening that, I noticed a fero-cious storm gathering on the horizon. The huge black cloud in-creased in size as it hurtled toward the shore. I know it was my

imagination, but I had the distinct feeling that this was not merelysome meteorological phenomenon, but rather some conscious, ma-levolent being with an appetite for destruction.

I was not alone in my interest since many of the villagers had gath-ered on the beach and at vantage points along the cliffs and werelooking on in wonder and amazement, for out of the center of thestorm, from the belly of the beast, as it were, a small sailing ship

appeared! She was a cargo ship of the sort rarely seen any longer,and she was being tossed about cruelly like a childs plaything.

As she neared the shore, pursued by that relentless, howling mael-strom, we expected to see the frantic crewmen on deck trying tokeep her afloat and guide her away from the rocks ahead. But onlyone figure was in evidence. There was a man at the wheel, swayingabout wildly with no apparent control over his movements. Was hedrunk? Unconscious? If so, how could he still be gripping thewheel?

With a crash that rivaled the thunder now all about us the ship wasdriven upon the rocks.

And the answer became apparent. The man was dead, quite dead.His hands were not gripping the wheel at all but had been lashed toit for reasons I cannot begin to discern.

Thinking there might still be a few living souls on board, several ofthe more courageous townfolk approached the vessel to affect a res-cue. But, immediately, a great gust of wind tore the hatch from thecargo hold and, from below, the ships only living occupantemerged. There he stood, impervious to the powerful winds swirl-ing about him and the prodigious waves rushing across the deck, a


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Dracula 15

huge black hound! His proportions exceeded those of any breed Ihad ever seen or heard of; easily larger than a Great Dane and asmassive across the shoulders and haunches as a stallion. As if to ac-knowledge his presence, the clouds briefly parted and the full moonshown upon him prompting him to throw back his head and re-lease a howl so loud and passionate that it could easily be heardabove the winds and thunder that surrounded him. Then, with amighty lunge, he cast himself over the rail and landed on the beachtwenty feet below.

He then cast his attention to the promontory above this hospitalwhere stands Carfax Abbey, and as he turned to gallop off in thatdirection he once again gave forth with that ungodly howl. Thistime the sound of it seemed to penetrate the very walls of thebuilding, echoing up and down the corridors and stirring the in-mates to their own wild, demonic chorus

(RENFIELDhas grown increasingly agitated throughout all of this,but, with the evocation of the hellhound, he can no longer contain

himself.)

RENFIELD. (As SEWARDsnarration fades:)Oh God. Oh dear God.HES COMING! HES COMING!

(With this he miraculously thrusts his body between the iron bars ofthe window in his cell door and disappears into the darkness,screaming all the way. Now inmates throughout the asylum pick upthe chant and the inmate montage is heard. During this sequence the

cellblock dissolves and a graveyard appears in its place.)

The Inmate Montage:

(Immediately following Renfields Hes coming! six more VOICESrepeat Hes coming! one after the other in hushed but urgenttones, building in pace and intensity.)

(Now these VOICESrepeat the phrase ad lib at random, underscor-ing the following dialogue:Hes very, very near, cant youOh, yes, hes near. Oh, I know that. That I know, forCant you feel it?


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Of course I can!)

(Now these two VOICES continue repeating their exchange as the

next VOICEpicks up:Of courseI can feel it. Are you mad?)

(Simultaneously, the next two VOICES:I can feel it in myIm feeling veryI can feel it in myIm feeling really quite

I can feel it in my spine. I can feel it in my stomach. In the hairs onthe back o my neck. I CAN FEEL IT! I CAN FEEL IT IN MYBLOOD!Well, rather queer really. Very apprehensive. Something awful is

going to happen. I CAN FEEL IT IN MY BLOOD!)

(At about the time the above duet begins, we begin to hear aWOMANbreathing heavily, as though running for her life; this is

faint at first but soon gets louder as though she is approaching. Si-multaneously, the sound of a rapidly beating heart, also growinglouder. At some point RENFIELD is heard screaming in the dis-tance, THE BLOOD IS THE LIFE! THE BLOOD IS THE LIFE!

As the duet culminates with the phrase, I CAN FEEL IT IN MYBLOOD!, a wolf begins to howl.)

(This cacophony of VOICES, breathing, howling, and heartbeatscrescendos to a frantic peak and culminates in one blood-curdling

scream and a gigantic clap of thunder.)

(By this point the asylum has morphed into the graveyard and webegin:)

Vignette 1

(A furious storm is in progress. MINA runs in screaming. She is

soaking wet from the storm. She lunges for the gate to secure the boltand backs away. There is a lightening strike and a crash of thunder.The gate flies open and the MONSTERplunges into the space. He isa combination of man, beast, and rotting corpse, repulsive, terrifying,evil. As he approaches she dodges one way and then the next. There isa furious chase around the graveyard. She falls onto a stone bench; he


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Dracula 17

leaps at her; she dives to the ground; he leaps at her again as sheclambers to a sepulcher. He pursues her, gains control of her, andcomes to a standing position above her. He then lifts her by the hairand tosses back to the ground. He howls with delight; its a cat-and-mouse game that he relishes. He leaps at her again, again she dodgesand again. In one last effort to escape she makes a mad dash for the

gate. He raises his hand in a magical gesture, we hear:)

DRACULAS VOICE.Be still!

(She freezes, clearly paralyzed, but desperately trying to move. He

makes a slow shuffling approach to her, his hand still raised, mum-bling some strange incantation. When he reaches her, he movesswiftly behind her. He grabs her by the hair and forces her head backto expose her neck. This excites him to a series of ravenous growls ashe shakes his head violently like an ape about to attack. Finally herears back his head and plunges his fangs into her throat. Shescreams in pain and terror as blood gushes from her throat. He be-

gins to draw the blood from her in what sound like a series of violent

inhalations. With each draught he nearly lifts her off her feet as shescreams and more blood streams down the front her white night-gown. There are about three of these moments. Finally, as she nearsoblivion she emits one last extended scream, there is a clap of thunderand a flash of lightning, and we are plunged into a brief moment ofdarkness.)

(In the Darkness, music is heard. It is an eerie dissonant waltz whichsounds as though its played on exposed nerves. Another clap of

thunder and flash of lightning and lights snap up. The count is nowbehind her, his mouth to her throat in exactly the same position as wesaw the monster a second ago. They are one and the same! He pullshis mouth away from her throat and, with a disturbing hissingsound, arches back his head to reveal his sizable fangs. He turns herto him and her astonished eyes fix on him. He escorts her to centerstage and begins to waltz with her. As they dance the graveyard dis-appears and the study materializes around them as though he hasmagically transported her from one space to the next. At first theymove gently and dreamily but soon they increase to dizzying speedand intensity. As they whirl about he begins to laugh wildly, andshe, totally in his thrall, does the same. At last he releases her, spin-ning her gracefully toward the French doors. He stands grandly be-

fore, takes her hand and kisses it.)


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DRACULA. Until tomorrow evening, my Mina.

(He exits. MINA staggers, placing a hand to her head and faints

back into the room, and we are left with that image of her, bathed inmoonlight as we fade to black.)

Scene 1

(VANHELSINGenters accompanied by SULLIVAN.)

SULLIVAN. Right this way, Sir. Dr. Seward should be back di-

rectly. I know hes anxious to see you. Make yourself at home.

VAN HELSING. Thank you.

SULLIVAN. Its a great honor to meet you, sir. Doctor Sewardspeaks so highly of you. Im the doctors assistant, Margaret Sulli-van.

VAN HELSING. My pleasure, Miss Sullivan.

SULLIVAN. (Gesturing to a large portfolio VAN HELSING is carry-ing:)Can I take that for you?

VAN HELSING. No thank you. Ill keep it with me.

SULLIVAN.Just your coat then?

VAN HELSING. Yes. Very kind.

SULLIVAN. Ill tell the doctor youre here as soon as he arrives.

VAN HELSING. Much obliged.

(She hesitates.)

VAN HELSING. Is there something?

SULLIVAN. I just Theres been a great sadness in this houselately as Im sure you know.

VAN HELSING. I appreciate your concern. I hope well be shed-ding light on the matter very soon.

SULLIVAN. That would be grand. Well, Id best be back to my du-ties. God be with you, Professor.


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Dracula 19

VAN HELSING. God be with us all.

SULLIVAN. Amen.

(She exits.)

VAN HELSING. Amen.

(VANHELSINGis momentarily alone. RENFIELDcreeps in frombehind drapes. He is clearly in haste. He is momentarily startled byVAN HELSINGspresence, but then regains his composure.)

RENFIELD. Ah! How do you do?

VAN HELSING. How do you do.

RENFIELD. May I be of some assistance?

VAN HELSING. Im waiting on Dr. Seward.

RENFIELD. Indeed? Well, I am his associate. How may I help you?

VAN HELSING. Forgive me, but I must consult only with Dr. Sew-

ard.

RENFIELD. Oh, come, come, my good man. No need for embar-rassment. Whatever your symptoms may be, I assure you I ammore than qualified to assess them. Youre looking at a man inti-mately acquainted with mental disease.

VAN HELSING. Please, sir

RENFIELD. If I may venture a guess. Stab in the dark, as we say?Fellow of your years? Getting a bit fuddled, are we? A few cobwebsgathering in the old belfry?

VAN HELSING. Sir, I am seeking no services. I am here at Dr.Sewards invitation.

RENFIELD. Oh, really? Strange that I was not informed of any suchinvitation. Name, please?

VAN HELSING. It is Van Helsing. Abram Van Helsing.

RENFIELD. It is not!

VAN HELSING. It is.


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Dracula 21

VAN HELSING. Alright, then, yes, I know of Miss Westphal aswell.

RENFIELD. Then Ive found you out. Noted expert in medical ex-otica that you are, poor desperate Seward must have begged yourassistance. Well, let me tell you something, dear boy, were I you, Idturn right round and make a bee-line for the land of dykes andwindmills.

VAN HELSING. Why would I want to do that?

RENFIELD. Alas, now it is I who must maintain secrecy. But I as-sure you, dear Professor, anyone who remains in this asylum hasgot to be out of his mind. Go now! In fact, Ill tag along with you.Its time I was moving on. Are the tulips in bloom this time of year?

VAN HELSING. I have no intention of leaving.

RENFIELD. Sir, as one doctor to another, there is naught that youcan do here, Youd be a downright fool to stay.

VAN HELSING. Sir, I am no fool, and you are no doctor.

RENFIELD. Whatever do you mean?

VAN HELSING. Well, to begin with, youre dressed in rags andyoure covered in filth.

(Slight pause.)

RENFIELD. Oh, that! Been doing a bit of gardening, havent I ?

VAN HELSING. Have you.

RENFIELD. Course I have. Im what you call a Child of Nature.Quite stimulating to be out there in the greenery, all those creaturesflitting and creeping about. Positively gives one an appetite.

VAN HELSING. Let us drop this charade, shall we, my friend?Clearly something troubles you. Perhaps I can be of help.

RENFIELD. And perhaps the sun will rise in the West tomorrow.You want the truth? The truth is every moment you remain herebrings you closer to destruction. Get out, you fool, and take me withyou. Get out before


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William McNulty22

(SEWARDenters.)

SEWARD. Abram, thank God youre (Seeing RENFIELD:) Ren-

field!

RENFIELD. Evening, Thomas. Have a pleasant stroll?

SEWARD. What the blazes are you doing here?

VAN HELSING. Who is this fellow?

SEWARD. One of the inmates.

VAN HELSING. Hardly surprising.

SEWARD. Mr. Renfield, how did you get out this time?

RENFIELD. Professional secret.

SEWARD. Im terribly sorry, Abram. This is no way to welcomeyou to my home.

VAN HELSING. Actually, Mr. Renfield has been quite engaging.

Hes a man of remarkable erudition and intellect.

RENFIELD. (Triumphantly:) Hah!

SEWARD. Hes also a man of delusion and hysteria. And one whohas lately adopted the charming practice of zoophagy.

VAN HELSING. (More than casually interested:)Is that so, Mr. Ren-field. You like to feed on living things?

RENFIELD. I confess to certain epicurean weaknesses.

VAN HELSING. And do you favor any particular species.

SEWARD. Hes wild about flies.

RENFIELD. Currently that is my passion. Did you know, Professor,that they vary in flavor? The green ones, the blue ones, the goldenones, they all taste distinctly different. But the black ones! Oh, thosebig fat black beauties! You nip off the head and that tangy nectargushes forth, and then you suck that little fella dry

(BRIGGSenters on the run.)

BRIGGS. Renfield!


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Dracula 23

(RENFIELDscreams and hides beneath desk. BRIGGStries to extri-cate him during the following.)

SEWARD. Mr. Briggs, this is unacceptable!

BRIGGS. Sir, I looked in on im arf an hour ago. E was in is cellasleep and the door was locked and bolted.

SEWARD. We cant have him running off like this every few days.

BRIGGS. Look, guv, I feeds em; I cleans up after em, and I walksem about the grounds. But this one ere needs a bleedin zoo-

keeper.(RENFIELD lunges and sinks his teeth into BRIGGS thigh.BRIGGShowls in pain, grabs RENFIELDby the throat and beginsto throttle him.)

BRIGGS. You want to play? Lets play

SEWARD. Enough, Briggs. For Gods sake, let him breathe.

(BRIGGSreleases RENFIELDwho collapses to the floor.)

BRIGGS. Es a piece of filth, sir. Im and is flies. Its revolting towatch im suckin and gnawin on them dirty little things. Es nobetter an they are.

RENFIELD. You would judge me? You who feed on the flesh of thedead swine, the deceased sheep, the decaying cow, a whole menag-erie of cadavers? You let others do your dirty work, do the killingfor you, and devour the dead. I cut out the middle-man and live offthe living.

VAN HELSING. But, why flies, of all things.

RENFIELD. Everybodys got to start somewhere. But even thelowly fly, dear sir, embodies the great surging energy of the cos-mos. You hear them buzzing about your head and find them a nui-

sance. I hear the rhapsody, the great surging power of the elementalworld.

VAN HELSING. And you crave that energy?

RENFIELD. I thirst for it. Its in the blood, you see.

VAN HELSING. The blood?


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RENFIELD. The blood is the life!

SEWARD. Is he quoting the Bible?

RENFIELD. Yea, verily. Ye that dwelleth in the Valley of theShadow of Death, be forewarned. A Shepherd approacheth to leadthee to slaughter.

SEWARD. Enough of this. Mr. Renfield, youll have to go.

RENFIELD. Capital idea! Be happy to go. Far away as possible.Other side of the planet, preferably. Chain me up and throw me in a

dungeon in Patagonia

SEWARD. Briggs, remove him.

BRIGGS. My pleasure. (Grabs RENFIELD.)

VAN HELSING. Mr. Renfield, why are you so intent on leaving?

RENFIELD. Oh, you know, change of scenery. Not that the ac-commodations here arent first rate. And the help? (To BRIGGS:)

Couldnt be lovelier!

VAN HELSING. Tell us what troubles you!

RENFIELD. No! Youd only fail. Just as poor pathetic Seward, herehas failed me, failed me and his dear departed Mina.

SEWARD. How do you know about that?

RENFIELD.A little bat told me. Told me shes left you for another.

SEWARD. What are you?

RENFIELD. (Sings:)Oh, the Lovely Lady Mina,Was so charming and so gay,But shes had a change of heartSince the night she passed away.

Now she dances with the DevilBy the deep dark water;Tween the Devil and the Deep Blue Sea.

SEWARD. Stop it! For Gods sake, stop it!


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VAN HELSING. Renfield! You see that portfolio on the desk?Open it. You might be persuaded to speak frankly.

(RENFIELDapproaches portfolio suspiciously. Opens it and glancesin. Slams it shut.)

RENFIELD. Ho, ho! Ha, ha! Aint you the clever Devil! And herespoor me stuck between two clever Devils. Damned if I do anddamned if I dont. Alright then, Herr Professor. You think youre sobloody smart. Here it is then

(A lone wolf howls in the distance. RENFIELDclutches his head as

if it were about to burst open.)

RENFIELD. (Screaming in pain:)Nooo! Please nooo! (Snaps into in-tense subservience:) Yes! I hear. I hear and obey. (Recovering a bit:)Sorry about this, Professor. Under other circumstances we mighthave been great friends.

(RENFIELDgrabs a letter opener and leaps over the desk onto VAN

HELSING. SEWARD and BRIGGS join in the scuffle untilBRIGGShas RENFIELDfirmly in his grasp.)

RENFIELD. (As hes being dragged off:) Its not just me, you know.Its all of us. We are all damned! We are all damned!

SEWARD. Abram, are you alright?

VAN HELSING. Yes, quite.

SEWARD. My dear friend. Its so good to see you. I cant apologizeenough for this poor lunatics behavior.

VAN HELSING. No need for apologies. And its wonderful to seeyou.

SEWARD. I honestly dont know whats gotten into Renfield thesepast couple of months. Hes never been prone to these morbid ap-petites or any sort of violence. What did he see that enraged him?

VAN HELSING. Well discuss that in good time. First I must knowmore about your current situation. I wept when I read your letter.

SEWARD. Yes, Im afraid wayward lunatics are the least of myproblems.


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VAN HELSING. Tell me about your Mina.

SEWARD. Theillness came upon her literally over night. She and

Lucy, they were the best of friends, were visiting with me. Onemorning she awakened frighteningly pale and with barely thestrength to get out of bed. I examined her thoroughly, searchedthrough every medical text I could find, and could arrive at onlyone diagnosis.

VAN HELSING. Loss of blood.

SEWARD. Precisely.

VAN HELSING. Just as you wrote me. Then began the transfu-sions?

SEWARD. Yes. The first was miraculously successful. She was upand about in no time. But, a few days later she was stricken again.This began a downward spiral. There were five more transfusionseach one less effective than the last until finally weIlost her.

VAN HELSING. I am deeply sorry.

SEWARD. I tell you frankly, Abram, I sincerely wonder if I can goon. Im sometimes literally paralyzed with grief. I visit her tombdaily. It seems to help. I actually feel that some essence of her lin-gers there and it provides a degree of solace. But (He begins to breakdown:)oh, God, dear God. Im sorry. Im

VAN HELSING. Listen to me, Thomas. You are a doctor. As am I.It is our duty to continue. When my dear wife died I felt much asyou do now, but I came to realize that my work was my salvation.There were great discoveries to be made, lives to be saved.

SEWARD. Such adventures youve had since then, Abram. Trav-eling the world

VAN HELSING. Hah, the term adventure is most often used in

hindsight. An adventure while experienced is usually referred toas trouble.

SEWARD. Still, Ive always envied

VAN HELSING. My friend, I believe that before our work here isdone you and I will have many many troubles.


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(Wolf howls again and is joined by other howls.)

SEWARD. Theres that damned animal again. Hes got every dog

in the county singing along.

VAN HELSING. Sounds like a wolf.

SEWARD. No, not a wolf, precisely. Rather an enormous hound.Hes been in the neighborhood since Mina fell ill. I must tell youmore about that.

(SEWARD looks up at the abbey through a large window. VAN

HELSINGfollows his gaze, but his attention is drawn in another di-rection.)

VAN HELSING. Look there, down on the beach. That horse andrider. Hes pushing that animal awfully hard.

SEWARD. That would be the Count. Hes the new resident at Car-fax. Weve seen him riding frequently at night. Always unsaddled,unbridled and at full gallop.

VAN HELSING. What a magnificent mount. Looks to be a Euro-pean breed.

SEWARD. Yes, he had it imported from his part of the world.

VAN HELSING. Which part of the world is that?

SEWARD. The Carpathians. Apparently the family name, Dracula,has some historical significance over there.

VAN HELSING. Dracula? My God. Anyone whos traveled EasternEurope knows that name. Sounds like an interesting fellow.

SEWARD. Well, chances are youll get to meet him. He has a habitof inviting himself over every other night or so. Personally, Im notthat fond of the chap. But Lucy seems to enjoy his company, sothere you have it.

VAN HELSING. Yes, lets discuss Miss Lucy. Her symptoms arethe same as Minas?

SEWARD. Yes. She seems to be fighting it slightly better, buttheres no telling how long shell last.

VAN HELSING. She grew ill after Minas death?


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SEWARD. Three days after the funeral. She stayed on with me,each of us consoling the other. I think she actually feared Id put a

bullet through my brain. Then two weeks agoLUCY. (At doorway:) Two weeks ago my dear friend became mydoctor and I his dilemma.

SEWARD. Lucy.

LUCY. I heard a commotion.

SEWARD. Yes, No need to worry. All taken care of. This is the man

Ive told you about. Abram Van Helsing.

LUCY. I guessed as much. So pleased to meet you, Doctor. Im LucyWestphal.

VAN HELSING. My pleasure. Dr. Seward wrote me of your intel-ligence and grace, but neglected to mention your beauty.

LUCY. You are kind to say so.

VAN HELSING. You must be beset with suitors.

(Pause.)

LUCY. Beset with sorrows, rather. You havent told him, Thomas?

SEWARD. I wrote only of your symptoms, Lucy. Nothing of Jon.

VAN HELSING.Jon?

SEWARD.Jonathan Harker. Lucys fianc. As if we havent enoughshadows looming over us, Jons gone missing, you see.

VAN HELSING. Missing? But how?

SEWARD. He wasis a solicitor for the firm that handled the saleof Carfax Abbey. He traveled to Transylvania to finalize things withthe Count, and spent two weeks there, as the Counts guest, butsomehow on the way back to Bucharest he disappeared entirely.

LUCY. That was two months ago.

VAN HELSING. And the Count could be of no help?

SEWARD. He was already in transit when we tried to reach himand knew nothing of it til he arrived here six weeks ago. Since then


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hes enquired through agents of his own about Jons whereabouts,but to no avail.

LUCY. Quite a jolly pair youve got yourself mixed up with, eh,Professor? Not exactly your fun-filled holiday abroad.

VAN HELSING. I am not one for holidays. I go where I am needed.

LUCY. Like a knight errant. Well, youve found your maiden indistress. Although I sometimes think Id welcome death if I am tolive my life without Jon.

VAN HELSING. Have I come all this way to wage a war only tofind my allies on the brink of surrender? Do you think those twowhom you miss so terribly would have you succumb to despair?

SEWARD. Whats to be done, Abram?

VAN HELSING. Let us begin to unravel this mystery. Miss Lucy, afew questions. Now, Dr. Seward informs me that the onset of thesesymptoms and the subsequent relapses are always noticed upon

waking. Is this so?

LUCY. It is so.

VAN HELSING. And this was true in Minas case as well?

LUCY. True.

VAN HELSING. What else is true?

LUCY. Pardon?

VAN HELSING. What other experiences do you have in commonwith her?

LUCY. I dont know what you mean.

VAN HELSING. Dr. Seward, concerned that this might be somecontagious phenomenon, wrote that you and she shared a bed. Yes?

LUCY. Yes, weve always done on visits. Since we were girls.

VAN HELSING. Then you must have some memory of what tran-spired on those evenings before the symptoms arose?

LUCY. Well, I suppose


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VAN HELSING. Something unique. Something that set those eve-nings apart?

LUCY. Well, she Shed begun sleepwalking.

SEWARD. Sleepwalking! Lucy, why didnt you tell me?

LUCY. She begged me not to. She said you had enough to worryabout. Oh, Im sorry, I know I should have said something, but eve-rything happened so fast, and once she was gone, there didnt seemany point in mentioning it.

VAN HELSING. So youd awake in the middle of the night, andshed be gone?

LUCY. Yes.

VAN HELSING. And then?

LUCY. Well, naturally I went looking for her. I usually found herout on the grounds somewhere. Each time Id wake her gently and

take her to bed. But once Once I caught sight of her heading upthe path to the cemetery. When I got there she was sitting on the oldstone bench outside her family crypt (Her eyes widen as she strugglesto maintain her composure:), and, well, I was at some distance andthere was a good deal of fog, but there appeared to be a figurehunched over her.

SEWARD. Some piece of statuary, you mean.

LUCY. No. No, it was animated.Dressed in black, tall and thin. Butthe face. It was the face of some wild beast. And the eyes!

VAN HELSING. What about the eyes, Miss?

LUCY. They were red. Red like coals glowing in the dark. I calledout to her and that thing, whatever it was, just vanished in the fog. Iran to her and brought her back to the house again, and the nextmorning she was worse than ever. Two days later she was gone.

VAN HELSING. And you have not seen that face, those eyesagain?

LUCY. Ive not been sleepwalking, if thats what you mean.

VAN HELSING. That is not what I asked.


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LUCY. Very well, yes, Ive seen that face again in a manner ofspeaking. Ive had, well who wouldnt, Ive had a few nightmaressince Mina passed.

VAN HELSING. Thats when you see again this thing as you putit?

LUCY. Yes, thats when. Oh, dear. You must think me quite insane.

VAN HELSING. Not a bit. Although, I have just met a lunatic whohas a similar difficulty telling the truth.

LUCY. But Ive told you no lies.VAN HELSING. None. But you have also not told me all the truth.

LUCY. What more can I tell

VAN HELSING. Would you mind removing your scarf?

LUCY. But why?

VAN HELSING. Im a physician. I wish to examine your throat.(She stares at him.)

VAN HELSING. Please. Its for the best. I promise.

(She removes the scarf, revealing two puncture wounds on herthroat.)

VAN HELSING. It is as I thought. Thomas, come and see. (SEW-

ARDapproaches.)Look familiar?

SEWARD. Yes, Mina had the same two wounds. Lucy, why haveyou kept this from me as well.

LUCY. I dont know. I dont know! Bugs! I thought they were insectbites. Living out here in the country. Lord knows, they could beanything.

SEWARD. Abram, what does it all mean?VAN HELSING. Trouble, my boy. It means trouble.

(There is a tapping on the glass of the French doors.)

SEWARD. If thats Renfield again, Ill throttle him myself this time.


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(He pulls back the drapes and throws open the doors to reveal a darkfigure, caped and hooded. It is DRACULA.)

DRACULA. I am welcome?

SEWARD. Uh, yes, of course as always. Do come in, Count.

(DRACULAenters, removes hood.)

DRACULA. Good evening. Miss Lucy, you are looking ravishing asever.

LUCY. Thank you, Count.

DRACULA. Ah, but I see you have already a guest. I intrude?

SEWARD. No, its quite alright. Count Dracula. Professor AbramVan Helsing.

VAN HELSING. My pleasure, Count.

DRACULA. Van Helsing! The writer! Science and the Supernatural.

Secrets of the Warlocks.VAN HELSING. Youve read them?

DRACULA. Among many others. Including those dealing with myown homeland. Most entertaining.


DRACULA. I have a few tales of my own that I could share with

you.

VAN HELSING. Perhaps well get together for a glass of sherry.

DRACULA. I never drinkwine. Nonetheless, we will have ourtime together, I assure you.

VAN HELSING. Thats an impressive steed youre riding. We sawyou from the window.

DRACULA. That is Lilith. She runs like a demon from Hell, doesshe not?

VAN HELSING. Indeed. Clearly an extraordinary bloodline.

DRACULA. Yes. She has a lineage that goes back as far as my own.


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VAN HELSING. Was not one of your ancestors the legendaryVlad?

DRACULA. Vlad the Impaler. Quite the hero in his day.

VAN HELSING. Quite the monster to the Turks.

DRACULA. True. Sometimes good and evil are just a matter of per-ception.

VAN HELSING. Sometimes a matter of which end of the stakeyoure on.

DRACULA. Well said, my friend. Well said. But we must discussthese dark subjects when not in the company of so lovely a youngwoman as this. It is good to see you up and about, Miss Lucy. Hasthere been improvement?

LUCY. Im sure there will be now that the Professor has joined thefray.

DRACULA. Ah, I see. This is no mere social visit. You come as aman of medicine, a man of science. A formidable adversary to anymalady. What an exhilarating turn of events.

LUCY. Yes, but the best remedy would be Jonathans safe return.Any news, Count?

DRACULA. Alas, still no word. I have a legion of gypsies search-ing, but the forests are dense and the cliffs are perilous, so it is slow

going. If this continues much longer I shall return to Castle Draculaand lead the hunt myself.

LUCY. You are so kind, Count.

DRACULA. I think you know, sweet lady, that from the momentwe met I have been your devotee. I see in you a kindred spirit.

LUCY. Your visits have meant so much to me.

DRACULA. He does not bore you? This wearisome old remnant ofa dark bygone age.

LUCY. Listen to you! Talking like an antique again. No, I quite loveyour old folk tales. Theyre really rather enchanting. And those pe-culiar songs you sing.


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VAN HELSING. So many eerily beautiful folk songs sung in yourland.

DRACULA. In this land as well. Ghost Lover,do you know it? Theysing it in those inns down by the wharves. A young woman standson the beach, mourning her lover who was lost at sea. So strong isher love that his ghost rises up from the waves and they embrace inthe moonlight. When he tells her he must go, she will not be left be-hind. She takes him by the hand, and, together they descend intothe cold dark water.

(A pause.)SEWARD. (Breaking the spell:)Yes, even we English enjoy the occa-sional melancholic tale of the supernatural.

DRACULA. Again, perception makes all the difference. To theghost the supernatural is the natural.

(MISSSULLIVANenters.)

SULLIVAN. Excuse me, Dr. Seward.

SEWARD. Yes, Miss Sullivan?

SULLIVAN. Its time for Miss Westphals medication.

LUCY. Oh, but Thomas, how can I leave such enchanting company?Two exotic continentals in one evening.

DRACULA. Please do not neglect your health on my account. Ill bevisiting again before long.

VAN HELSING. And youll be seeing plenty of me.

LUCY. Well, then, Ill be a good girl and run along. Au revoir,Count.

DRACULA. Au revoir, mademoiselle Pleasant dreams.

(Everyone is momentarily chilled by this sentiment then LUCYandSULLIVANexit.)

DRACULA. Youll be staying on for a bit, then, Professor?

VAN HELSING. Until weve put the roses back in that youngwomans cheeks.


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DRACULA. Very good. Any idea what might be the trouble?

VAN HELSING. None that I can speak of as yet.

DRACULA. I would be most interested to hear your diagnosis. Iam so new to this country and her warmth and hospitality hasmeant a great deal to me.

VAN HELSING. And what brings you all this way from the som-ber peaks of Transylvania?

DRACULA. Well, I do miss my Castle Dracula. In its shadows I

found the solitude I so often require.SEWARD. Well, the abbey is hardly without its own shadows.

DRACULA. Yes, Carfax quite suits me. But I am not entirely a re-cluse. I sometimes have an absolute hunger for people, you see, andin my land they are so few and so lacking in variety. Here, I can benear the crowded streets of your mighty London; here I can satemyself amidst the teeming thousands.

SEWARD. I must say I had no idea you were so fond of people.

DRACULA. Humans? I thrive on them. I love all shapes and sizes,every color and temperament, but the young ones most of all.

SEWARD. Why the young.

DRACULA. They are so fresh.

SEWARD. Yes, I see what you

DRACULA. (Getting quite close to SEWARD:)The innocence in theireyes. The blush in their cheeks. The purity of emotion.

SEWARD. Um, hm. Well, youre quite thequite theconnois-seur. Actually, you know, Van Helsing and I do need to get crack-ing

(Again there are howls in the distance.)DRACULA. (With a hand on SEWARDs shoulder.) Listen to them!The Children of the Night! (Approaching the window:) What sweetmusic they make! (To their astonishment he howls. He turns to see themstaring incredulously and laughs heartily.) Ah, gentlemen, you who


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have dwelled so long in the cities cannot know the heart of thehunter. I will leave you to get cracking, as you say. The darkness

beckons and my mount grows restless. Lilith, too, is a hunter. Whenthe chase is on, and her nostrils fill with the scent of blood none canescape her. (He is at the French doors and whistles loudly into the dark-ness. He pulls up his hood and turns to them.) Farewell for now, myfriends. (He exits. VANHELSINGstares after him for a bit.)

SEWARD. Yes, goodnight, Count. (Closing French doors:) And goodriddance, if you ask me. The arrogance of the man, barging in un-announced, prancing about, howling and so forth, when weve im-portant work to do.

VAN HELSING. Uh. Yes. Important and more challenging thanyou can imagine.

SEWARD. You mean Lucy? Have you already reached a diagnosis?Do you know what disease this is?

VAN HELSING. My diagnosis is that there is no disease!

SEWARD. Im sorry, Abram, I think youve lost me. Do youmean to say that this illness is hysterical or imaginary in some way.

VAN HELSING. Nothing of the kind. The symptoms are real. Butthe cause is not internal.

SEWARD. But I know of no external phenomenon that can makeblood simply disappear from a persons body.

VAN HELSING. You dont, but I do.

SEWARD. But what could possibly

VAN HELSING. Thomas, you studied medicine with me, but youknow I have interests outside the realm of conventional science.

SEWARD. Alright, now wait just a minute! Are you saying youthink were dealing with the occult?

VAN HELSING. Dr. Seward

SEWARD. Abram, a young woman whom I loved more than life it-self died in this house three weeks ago, and Im very close to losinga dear friend in the same way, and you talk to me of fairy tales?


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VAN HELSING. I am well aware of the seriousness of your cir-cumstances.

SEWARD. Then why do you mock me with this superstitious non-sense?

VAN HELSING. Thomas, you saw the marks on the throat. Youheard her describe the thing with the face of a beast. The redeyes

SEWARD. That had to have been some kind of hallucination.

VAN HELSING. You think so?SEWARD. Yes, of course. And that prompted her nightmares lateron.

VAN HELSING. All in her mind then?

SEWARD. Couldnt be anything else.

(VANHELSINGgoes to his portfolio and removes a parchment. It

is a rendering of a creature much like the Monster. Shows it toSEWARD.)

VAN HELSING. Have a look.

(A pause as SEWARDstares in disbelief.)

SEWARD. This cant be.

VAN HELSING. That is a sixteenth century rendering that I foundin a monastery in Montenegro.

SEWARD. But what the blazes is it?

VAN HELSING. In the Counts part of the world it is called nos-feratu, the undead. Here we say vampire.

SEWARD. A vampire?

VAN HELSING. That is correct.SEWARD. So, you think those puncture wounds?

VAN HELSING. From fangs, yes, from sharp fangs.


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SEWARD. But if these women were attacked by such a demon,why wouldnt they have said anything.

VAN HELSING. These creatures can be very powerful. My guess isthey can induce at least partial amnesia in their victims. Useful par-ticularly with those they intend to revisit.

SEWARD. Youre saying they can control peoples minds.

VAN HELSING. In some cases control; in some cases enslave. Yourstar patient seems well on his way to slavery.

SEWARD. Renfield?

VAN HELSING. Well need to keep an eye on him. Hes a spy, buta reluctant one and may prove useful.

SEWARD. My dear friend, assuming that I believe all this, whatchance do we have against such a creature?

VAN HELSING. Ja, the strengths are formidable, but there are,

thank God some vulnerabilities. The vampire can only function bynight; the sunlight is unbearable to them. Before dawn they mustreturn to the soil in which they were buried where they lie immobi-lized throughout the day. If that grave or tomb can be purified withholy water the vampire cannot enter. The Cross is also a powerfulweapon. But the surest way to destroy him is the stake through theheart.

SEWARD. Abram, I feel as if Ive passed through the looking glass.

VAN HELSING. I know, my friend, I know. But humor me yetawhile and youll have proof aplenty.

SEWARD. Well, all my remedies have failed. I seem to have nochoice but to follow your lead. How shall we begin?

VAN HELSING. I want to examine Miss Lucys quarters to see ifthis monster left any trace behind.

SEWARD. Miss Sullivan just gave her a sedative. Shell be needinga lie-down.


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VAN HELSING. Let her rest here on the chaise for the time being.It might be best if she did not use her room until weve checked itover.

SEWARD. Very well, Ill go fetch her.

VAN HELSING. Good. And, Thomas, please tell her nothing ofwhat Ive said.

SEWARD. Be right back.

(SEWARD exits. Now that he is alone VANHELSINGdrops his

guard a bit and we see how deeply troubled he is. He paces about theroom stopping to stare up at Carfax. He replaces his visual aids inthe portfolio. He spies the sherry bottle on the side table, goes to it,

pours himself a small glass and downs it. He decides to pour another,but before he can bring it to his lips the drapes snap open loudly andBRIGGSruns in. Both men gasp with momentary fright.)

VAN HELSING. Mein Gott!

BRIGGS. Sorry, sir. Its that bloody Renfield. Es makin a fearfulruckus. Screamin is brains out e is. Says somethins comin afterim. E got the ole ward in an uproar. We need Dr. Seward overthere before things get out of hand.

VAN HELSING. No, no. Dont disturb him now. Ill send him di-rectly.

BRIGGS. Alright. But it better be quick or Ill be forced to takemeasures.

VAN HELSING. Yes. Dont worry.

BRIGGS. Right then. (Exits.)

(Enter SEWARD, LUCYclinging to his arm.)

VAN HELSING. Hello, again, my dear. Sorry to inconvenience

you.LUCY. Its alright, Dr.Ill be quite comfortable here.

VAN HELSING. Thomas, your attendant was here a moment ago.He says Renfields causing quite a disturbance, and youre neededover there.


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SEWARD. Good grief. Well Ill go over once Ive shown you Lucysroom. Meanwhile Ill find Sullivan and put her on the case.

VAN HELSING. You go ahead. Ill turn out the lights.

SEWARD. Very well. Sleep well, Lucy.

LUCY. Thanks, Thom. (SEWARDexits.) Hes a good one, that Sew-ard.

VAN HELSING. I couldnt agree more.

LUCY. We were all so close. He and Mina, Jon and I. You know, wewere planning to take our vows together, a double-ring ceremony.Isnt that sad?

VAN HELSING. Please try not to upset yourself. Its important thatyou rest.

LUCY. Do you think theres any chance Ill see my Jon again?

VAN HELSING. By all means. There is always hope in such cases.

Now, please lie down. Close the eyes.

(He moves about the room, turning off lights.)

LUCY. Im so glad youre here, Professor.

VAN HELSING. As am I, my child, as am I. Now, sleep. Sleep. Shh.Shh. (Exits.)

(Once the door closes, we hear two more shhs from outside theFrench doors, followed by a fiendish chuckle. LUCY is already in adeep sleep, but she begins to writhe and moan with greater and

greater urgency throughout the following. The doors open slowly andthe room fills with fog. The MONSTERenters. He walks slowly, al-most staggering, his body rigid with anticipation. Halfway into theroom he lunges to the floor and slithers to the side of the chaise. Herises to his feet and gestures powerfully toward LUCYsprone body.

She begins to levitate. As she rises we hear:)DRACULAs VOICE.Lucy! Lucy! Come to me my Queen!

(LUCYopens her eyes and screams. The MONSTERdashes out theFrench doors. SEWARDand VAN HELSINGcome charging in.)

SEWARD. Lucy! What is it?


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VAN HELSING. (Pointing into the garden:)Look there, Thomas. Doyou see it?

SEWARD. My, God, yes!

VAN HELSING. Nosferatu! Nosferatu!

(A MAN,bearded, shaggy unkempt hair, dressed as a common sea-man enters through the study door, brandishing a gun.)

MAN.Stand back! Stand back, dammit!

(SEWARDand VAN HELSINGquickly step away from the Frenchdoors. The MANlunges forward and fires three times.)

MAN.(Turning back to face them:)Missed. Sorry. (He passes out.)

SEWARD. Great Heavens! Lucy, do you see?

LUCY. Jon! Jon, youve come back! (She goes to him and cradles hishead in her arms, sobbing:)Oh, thank God. Thank God.

VAN HELSING. Extraordinary!(Lights Out!)

Scene 2

(The study door slowly swings open. A large ominous shadow is castinto the room.

(BRIGGSenters, switching on a flashlight.)

BRIGGS. (Whispering:) Renfield? (Casting beam about the room:)Youin ere? Got somethin tasty for ya. (Producing a rat from a box; hold-ing it up:)Ere oo wants a bi o this? Might just eat it myself. ShallI? (Bringing it near his mouth:)Shall I munch it up myself? Damn!

(Relents; puts the rat away; scans room again and fixes on table with

cloth extending to floor. He gets to his knees and carefully lifts thecloth and ducks under. As he does so SULLIVAN enters and seeshim.)

SULLIVAN. Norbert!


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William McNulty42

(BRIGGSis startled and bumps his head on the underside of the ta-ble with a loud thud.)

BRIGGS. Ow! Bloody ell. (Coming out from under:)You gave me afright.

SULLIVAN. Ill give you more than that if I catch you nosinaround in here again.

BRIGGS. Im just doin my job. Its that bleedin bug-biter. Es onthe loose again.

SULLIVAN. Dear Lord. I thought you had him in restraints.BRIGGS. Course I did. But that makes no difference to im. Es thebloody Oudini of the loony-bin.

SULLIVAN. Well, you best find him before he stirs up more trou-ble around here.

BRIGGS. Wha? Trouble round our quiet little cottage by the sea?

Oh, we cant ave that, now, can we? Not when things is going solovely. What with one dead and one dyin of God knows what,shots bein fired in the night and young Mr. Arker turnin uplookin like Robinson Crusoe. What could be more restful?

SULLIVAN. Thank God Mr. Harkers returned. It might lift thatdear girls spirits.

BRIGGS. Well, last I saw of im when I came over to investigate

them shots, e dint look none too good imself.

SULLIVAN. Hes been through a great deal.

BRIGGS. Like wha?

SULLIVAN. Well, I dont know all of it. For that matter, neitherdoes he. Hes lost part of his memory.

BRIGGS. That so? Which part?

SULLIVAN. Most of the time he spent with the Count.

BRIGGS. Cant blame im. Id like to forget that geezer meself. Itsjust since e moved into that creepy ol ruin up there on the ill thatthings have gone queer around ere.


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SULLIVAN. Dont be superstitious.

BRIGGS. Superstitious am I? Look out that window. Look at them

dark clouds gatherin. Pitch black clouds against a sky the color oftombstone.

SULLIVAN. Theres a storm brewin, is all.

BRIGGS. An look at that fog bank rollin in off the water. Prettysoon well all be wrapped up in it like a damned windin sheet.

SULLIVAN. We live by the sea. We have weather.

BRIGGS. Same weather we had last night and the night before.And almost every night since the Demeter came aground. Memberthat? The ghost ship? No one on board, but the Captain. An imat least three days dead and lashed to the wheel. Im and somegreat black ound that leaps off the deck and eads for the ills. Anwhats in the old o that ship but some packing cases an oo wasthose cases delivered to? Why, your friend and mine, jolly ol Count

Dracula.SULLIVAN. I read the papers, Norbert.

BRIGGS. Do ya now? She keeps up with current events, does she?Then maybe youve seen this ere in the Evenin Chronicle. (Pro-ducing a paper from his jacket pocket, and tossing on the table:)The littleitem titled, Ampstead Orror?

SULLIVAN. I noticed it.

BRIGGS. Some lady in a nightgown luring kids off into the woodsfor a bit of frolic, an them turnin up later on with little red markson their little white throats. Ever seen anything like that before?

SULLIVAN. I get your point.

BRIGGS. My point is, in my opinion, this neighboroods goingrapidly downhill. I think its time for sophisticates like you an me

to seek employment elsewhere.

SULLIVAN. I cant go now. Im needed. Dr. Seward needs me.

BRIGGS. Maggie, listen to me

SULLIVAN. Dont call me that.


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BRIGGS. Margaret, then.

SULLIVAN. Im Miss Sullivan in this house.

BRIGGS. Right then, Miss Bleedin Sullivan, Ineeds ya. Lets youan me take off together and put all this strangeness behind us anget jobs someplace a bit more cheerful-like, like a nice mortuarysomewhere.

SULLIVAN. I cant do that to Dr. Seward. He took me on when Iwas right off the boat from Dublin, trained me as his assistant. Hesthe kindest man I know.

BRIGGS. I can be kind. Aint I been kind to ya? Wasnt I kind lastnight?

(He takes her in his arms.)

SULLIVAN. We have to stop this.

BRIGGS. Come away with me before whatevers appenin round

ere appens to us.(He tries to kiss her. She struggles a bit, but then complies. Finally,she pushes him away.)

SULLIVAN. No. This is where I belong. This is my job. Why dontyou go do yours.

BRIGGS. (Picking up box:) Alright, Miss Sullivan. But, for Godssake, think about what Ive said.

SULLIVAN. Whats in there?

BRIGGS. Little gift for my favorite zany. Token of my appreciationfor all the lovely exercise hes givin me.

SULLIVAN. Well?

BRIGGS. Well what?

SULLIVAN. Well, what the devil is in your little box.

BRIGGS. Sorry, dear. Not for your eyes, really. Im afraid youvetoo delicate a nature.

SULLIVAN. Dont be an eejit. Ive worked in this place muchlonger than you. Ive seen plenty.


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BRIGGS. Well, if you insist (He lifts the rat out of the box and dan-gles it in front of her face. SULLIVANmomentarily loses her composureand screams at the top of her lungs.)

SULLIVAN. Oh, youre just as sick as Renfield. Get out of here,now.

BRIGGS. You asked to see it. Curiosity got the rat. (Exits.)

(Alone she contemplates her situation. She picks up the paper fromthe table and looks at it for a moment. She decides to investigate fur-ther, and goes to the portfolio. After some reluctance she folds back

the cover and is first shocked, then mesmerized by what she sees. Shelifts the parchment out of the portfolio. She crosses slowly into theroom as she examines the picture. DRACULA, meantime, has

floated into the room. With her back to him, she senses his presenceand slowly turns to face him. When they are face to face she gasps.)

DRACULA. I frighten you.

SULLIVAN. Its alright, sir. I didnt hear

DRACULA. Shh! Shh.

(He walks slowly to her and extends his hand. She slowly hands himthe parchment. He stares at it for a moment, then glances sharply ather as we hear a distant peal of thunder. He smiles and walks towardthe desk.)

DRACULA. You are a very wicked girl.

SULLIVAN. Pardon?

DRACULA. You have been wicked with that loutish imbecile whojust left you.

SULLIVAN. Im sorry, sir, but thats none of your business.

DRACULA. You dare to use such tone of voice with me?

SULLIVAN. I dont answer to you, sir.

DRACULA. Ah, that Celtic defiance. You are typical of your race.Proud. But stupid.

SULLIVAN. Well, much as Im enjoying the company, sir, I thinkIll run along.


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DRACULA. If only you could.

SULLIVAN. What?

DRACULA. Run along. But you dont move. Whats wrong withyour legs?

SULLIVAN. Whats wrong with my legs?

DRACULA. You must want to stay. Your wickedness keeps youhere.

SULLIVAN. Im not

DRACULA. I can teach you about wickedness.

SULLIVAN. Im not

(DRACULAgestures toward portfolio. It slowly, magically, closes.)

SULLIVAN. Dear God.

DRACULA. Shall we begin our lesson?

(He approaches her.)

SULLIVAN. Oh, Sweet Jesus. Dont come near me, dont come nearme, dont come near me. (Trying to scream, but barely managing awhisper:)Help!

DRACULA. Youll have to be louder than that for them to hear. Tryagain.

SULLIVAN. (Still no volume:)Help!

DRACULA. Whats wrong with your voice?

SULLIVAN. Whats wrong with my voice?

DRACULA. You must want to stay.

SULLIVAN. I must want to stay.

DRACULA. To stay and to learn.

SULLIVAN. And to learn.

DRACULA. You are a serving girl. You must learn to obey.

SULLIVAN. (Momentarily breaking the spell:)No.


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DRACULA. No?

SULLIVAN. (Desperately forcing the words out:)Imnot aserving

girl. Im a Im adoctorsassistant.

DRACULA. With the Doctor, you assist. With the Master you (Hegestures powerfully in her direction:) SERVE!

(She convulses as if she has taken a blow to the solar plexus.)

DRACULA. Do you hear me?

SULLIVAN. Yes.

DRACULA. Yes?

SULLIVAN. MmMaster.

DRACULA. Do you know that I have enemies?

SULLIVAN. (Alarmed:) Enemies?

DRACULA. They think to hunt me down. But they are the hunted.

They are the prey.

(They begin to speak in chorus as if she is channeling him.)

DRACULA & SULLIVAN.Into the Darkness shall they be cast.Into the Abyss for Eternity.Death unto them.

SULLIVAN. Death unto them! Death unto them!

DRACULA & SULLIVAN. Together we vanquish them.

SULLIVAN. Death unto them! Death unto them!

DRACULA & SULLIVAN. You are now my creature. I see withyour eyes; hear with your ears. My will be your will. My will bedone.

SULLIVAN. Thy will be done! Thy will be done.

DRACULA & SULLIVAN. Very good. What say you?

SULLIVAN. I obey.

(With a mesmeric pass he releases her from the spell.)


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DRACULA. They approach. Forget, until you receive my com-mand. (Exits.)

(She drifts toward the French doors, still a bit stupefied, and staresinto the distance.)

(VANHELSINGand HARKERenter.)

VAN HELSING. Had you ever worked as a seaman before?

HARKER. Id never been to sea at all. I was sick as a dog for aweek.

VAN HELSING. Oh. hello, Miss Sullivan. (She doesnt respond.)Miss Sullivan?

SULLIVAN. What ? Oh, Professor Van Helsing.

VAN HELSING. What were you staring at so intently?

SULLIVAN. There was a girl out there on the path to the beach. Shereminded me so much of myself. I wanted to call out to her; tell her

to come back, but she just disappeared into the fog. I felt for a mo-ment as if Id lost my best friend. Isnt that silly?

VAN HELSING. No, indeed. Besides you Irish women are sobeautiful when youre sad.

SULLIVAN. (Suddenly quite cold and suspicious.)Arent you the slyold devil. Id best be careful round you.

VAN HELSING. I assure you Im no threat.

SULLIVAN. Thats what all you bastall you men say. Would youexcuse me?

VAN HELSING. Yes, of course. Would you ask Dr. Seward to joinus?

SULLIVAN. (With attitude:)Yes, sir.

(She begins to laugh as she turns away.)

VAN HELSING. Something funny?

SULLIVAN. Oh, just something I read in the paper. Ill send Dr.Seward. (Exits.)


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HARKER. She seems in an odd mood.

VAN HELSING. Yes. Understandable, I suppose, in such circum-stances. Have you had any further recollections?

HARKER. Nothing of my stay at Castle Dracula. Though at first Icouldnt remember anything at all. I woke up on a river bank with-out money or identification, begged my way to the coast and gotwork on a London-bound steamer. Ten days out of port I suddenlyknew who I was and who I loved.

VAN HELSING. And you came immediately here?

HARKER. Yes. As fast as I could, but something about the place feltwrong. I waited and watched for a bit from the woods. When Iheard the screams, I crashed in.

VAN HELSING. And you saw?

HARKER. I saw what you saw. A monster. Thomas says its avampire. I dont know if I believe that, but it did seem to vanishinto thin air as I fired at it.

VAN HELSING. Fascinating.

(SEWARDenters.)

SEWARD. Evening, gentlemen. How are we getting on?

HARKER. Hello, Tom.

VAN HELSING. Thomas, did you bring the tincture?

SEWARD. Right here.

VAN HELSING. Jon, it is crucial that we know more of this Drac-ula. We have made up this ancient Chinese formula. It can bringback even the most unwanted memories. But, I must warn you, you

will re-experience them fully. Are you willing?HARKER. The prospect terrifies me, but if it will help save Lucy

VAN HELSING. It may. That is all I can tell you.


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scent. Two of them have his arms spread wide and begin to lick hiswrists. The third is licking his throat. They build to a frenzy, but be-

fore they can go in for the kill DRACULAappears. He looks much,much older, stooped and with long white hair, but still very power-

ful. He carries a large burlap sack. There is a small body in the sack,squirming and moaning. It is clearly a child.)

DRACULA. Leave him! (The BRIDES look up and snarl defiantly.)Leave him I say, or Ill starve you for a year. (They back away grudg-ingly.) The man is mine. But the boy is yours.

(He tosses the sack to the ground and removes a very large huntingknife from his belt. He plunges the knife into the sack. The squirmingstops and the sack is soaked in crimson. He removes the knife, licks itclean of blood and puts it back in its sheath. He tosses the bag to thewomen who fall upon it like vultures, fighting over it and suckingthe blood out of it. He turns to HARKER.)

DRACULA. So, Mr. Harker, you no longer care for my hospitality.

HARKER. Im getting out of here, Count!I climb on to one of the old broken walls. Far below I can see a rivershimmering in the pre-dawn light.

DRACULA. Its a long drop to that river, Mr. Harker. And even ifyou survive the fall, the water is cold as ice and the current is fierce.

HARKER. Im not staying here.

DRACULA. Dont be a fool. Let me help you.HARKER. He lunges toward me, but, just as he does, the first shaftof sunlight strikes the courtyard. (Indeed a shaft of light strikesDRACULA.He shrieks.)It seems to blind him and drives him back.He gathers himself and moves toward me once again. (DRACULAbehaves as described.)I know I have only one chance. (Now hes mov-ing back to the chaise. As he falls DRACULAand the BRIDESdisap-

pear, howling, into the shadows.) I turn and dive head first into thevalley. Now Im falling and falling and, oh, God! (Now prone again,writhing in agony:)Help me! Help me!

(The study is restored by this point.)


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VAN HELSING. Its alright Jon. Were here. Wake up. Yourehome.

HARKER. (Clinging to VAN HELSINGsarm, trying to regain compo-sure:) Is that it? Is that what you need to know.

VAN HELSING. Yes, yes, Jon, well done.

SEWARD. There it is then. Its the Count. Its got to be.

VAN HELSING. It would seem so.

SEWARD. Youre not convinced?

VAN HELSING. The vampire must return to the soil in which itwas buried every morning before dawn. How could a vampire fromTransylvania survive in England?

HARKER. The gypsies.

VAN HELSING. What of them?

HARKER. For several days before I escaped they were helping himprepare for his departure. From my window I watched them load-ing their wagons with his possessions. But one day I saw them at achore that I didnt understand til now. There were six long andnarrow packing cases scattered about and they were tossing bucket-fuls of dirt into them.

VAN HELSING. Where did that dirt come from?

HARKER. Somewhere in the lower reaches of the castle itself.

VAN HELSING. Where, no doubt the family crypt is located! Youhave solved it, my friend. This Count is indeed the creature whoplagues us. He is the monster you fired at last night.

SEWARD. The hound!

VAN HELSING. Yet another manifestation of the same being. Hes

a shape-changer. My friends our task is clear. If we can deprive himof his resting places, he is doomed. We must begin to search theAbbey for those six boxes tomorrow.

HARKER. Why not now?


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VAN HELSING. By day he is powerless. But if he finds us in hislair at night hell rend us limb from limb. For now we must protectMiss Lucy from any further attacks. Go to her, Jon. And tell hernothing of

LUCY. (In the doorway.)Too late for that professor. Ive been stand-ing outside since I heard Jon cry out. I heard. I know.

VAN HELSING. Who do you know?

LUCY. (Pointing to Carfax:)Its him. He killed my best friend. AndIm next on the list, arent I, Professor?

VAN HELSING. Not if I can help it. Thomas, you say your life haslacked adventure? What do you say to a day of vampire hunting?

SEWARD. Im with you all the way.

HARKER. And I.

LUCY. And I.

VAN HELSING. How can such a team fail. As hunters do, we be-gin at daybreak. But we must arm ourselves. Thomas, take me toyour tool shed. Miss Lucy, please remain here with Jon standingguard. Wear this crucifix around your neck; it is repellent to him. Iwill seal the door with holy water. (He does so.) Now he cannottouch it. Come, Thomas. (They exit.)

HARKER. Lucy, I cant lose you. I wouldnt want life without you.

I dont know how Thomas is managing.

LUCY. If the Professor says theres hope, I believe him. I just wantto be doing something. I feel so helpless. For now I guess the onlything to do is wait.

HARKER. Well, there is something we can do.

(She smiles and comes to him. They kiss. SULLIVANenters.)

SULLIVAN. Well, look at this! Look at the sly little love birds. Thisis what goes on behind my back, is it.

(They separate awkwardly.)

LUCY. Oh, hello, Margaret.


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SULLIVAN. What kind of a nasty business is this. And you a sickwoman to boot.

HARKER. Miss Sullivan, we were just kissing. Were engaged to bemarried, for heavens sake.

SULLIVAN. Just kissing, is it? Just kissing, he says, innocent asthe day is long. Well, we know where just kissing leads dont we?(Her tone manages to be both censorious and somehow lewd.)

LUCY. Margaret. I dont know whats got into you

SULLIVAN. Dont you Margaret me. Sit down!LUCY. Youve no right to

(SULLIVAN turns swiftly to the door and gestures. It slams shut.She wheels around on them.)

SULLIVAN. (In a very different voice, possibly DRACULAs:) SITDOWN!

(Each of them is thrown down by an unseen force, LUCY to thechaise,JONto a chair, and held in place. As they struggle to get upSULLIVANtakes over the room.)

SULLIVAN. Now well see whos who and whats what aroundhere. (ToJON:)Oh, will you stop squirming, you little pest, and goto sleep. SLEEP! (JONslumps over.)Whats that around your neck,you dirty girl. What right have you to wear that. Take that off im-

mediately.

LUCY. No.

SULLIVAN. I SAID (She gestures to her own neck as if she is rippingoff a necklace. LUCYshand involuntarilyfollows her movements as she is

forced to toss aside the crucifix.)

SULLIVAN. Oh, but you must be overheated after all your activity.

Why dont we let in the breeze.(SULLIVANthrows open the French doors. The opening strains ofan ungodly wedding processional are heard. LUCY is thrown backon the chaise as if a great wind has entered the room. SULLIVANleads a processional into the room. MINA marches in and danceswildly about the room, finally focusing on LUCY, looking like she


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may be about to bite LUCY when her attention turns back to thedoors. DRACULA enters in all his grandeur and comes to a halt

just as the music is about to end. He glances sharply at LUCYandeveryone onstage screams.)

DRACULA. SILENCE! (Screaming stops.) So you, like the others,would play your wits against mine. You would help these fools tohunt me and frustrate me in my designs. Now you must be pun-ished for what you have done. You must learn as they have learnedin part what it is to cross my path. You, their best beloved are to bemade flesh of my flesh, blood of my blood. Now you shall come to

my call. When my mind summons you, you shall cross land and seato do my bidding, and to that end

(He tears open his shirt and scratches a deep cut across his chest.)

DRACULA. This!

(He gestures to her. She rises up, but turns away. MINAblocks herway and snarls.)

DRACULA.Do this or he dies.

(He gestures to HARKER,who falls to his knees and moans.)

LUCY.Jon!

(She runs to JON,giving DRACULA the opportunity to grab herby the neck and control her. Slowly he forces her to her knees as hekneels with her. As she struggles against him, he forces her to hischest and makes her drink. He howls three times, then pulls back herhead, exposing her throat. He throws his head back, opens his mouthwidely and slowly lowers his fangs to her throat as lights fade and ahuge clap of thunder resonates through the house.)

End of Act I


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ACT II

Prologue

Vignette 2

(As Act II begins we hear the strains of London Bridge is FallingDown played very slowly and quite distorted. When lights are athalf, the vignette begins. From some part of the auditorium we hear aCHILDscreaming. Her scream is followed by delighted laughter asshe appears from the darkness. Soon after MINA appears, alsolaughing, but with something more like fiendish glee. They are en-

gaged in a kind of game of tag with each of them at turns pretendingto be a vicious beast or the terrified prey. At one moment MINAis in

pursuit, growling and snarling as the CHILD flees, laughing andscreaming; then the CHILDturns to snarl and claw at MINAwhorecoils in mock terror. At some point they begin to circle one another,both now snarling and clawing. The CHILDmakes a sudden breakto get away, MINAgrabs her and lifts her high in the air elicitingmore screams and laughter. Slowly MINAlowers the CHILDto herbreast, and cradles her in her arms. She rears back her head andopens her mouth to reveal her fangs. As she lowers her mouth to theCHILDs throat, the CHILD screams one last time and we black-out.)

Scene 1

(At rise, HARKERis slumped over the chaise. VAN HELSINGen-ters.)

HARKER. How is she?

VAN HELSING. Alright, I think. What about you.

HARKER. Im a failure. I failed her. I failed all of you.

VAN HELSING. You were weak from the drug and caught off

guard.

HARKER. I want him dead. I want to be the one to do it.

VAN HELSING. We must wait til dawn. (SEWARD enters.) Hasshe said anything more?


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SEWARD. Nothing. Only that he was here again. But she was stillhighly agitated. I gave her a sedative. Shes sound asleep. Abram, I

dont know how many more of these attacks she can withstand.HARKER. Do you hear? Lets get him. Lets hunt him down now!

VAN HELSING. Patience, my friends, patience. The sun is on theway.

HARKER. Meanwhile, God knows what he could be up to

(From the doorway a white flag appears dangling from the end of a

stick. We hear RENFIELDsinging.)RENFIELD.The bells of Hell go dingalingalingFor you but not for me.

(He enters the room. He looks a bit banged up, and he is quite nerv-ous.)

RENFIELD. Greetings. I come in peace, brethren. Pax. Under thewhite flag. Dont shoot the messenger.

SEWARD. I suppose theres no point in asking how you got outthis time.

RENFIELD. If I told you Id have to kill you. Joke! Only a joke. Nointention whatever of doing anyone any harm. Sorry about all thatnasty business earlier, mien gute Professor. Dont know what got

into me. Must have been

Dracula by William Mcnulty

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