Adaptation for Audio Production
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DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 1
Based on the novel by Bram Stoker Written, Directed & Produced by Simon James Collier Assistant Director: Helen Elliott Original Music & Sound Design: Zachary Elliott-Hatton Co-Producer: Adam Dechanel Graphic Design: Clockwork Digital Studios Recorded at The Umbrella Rooms Studio, London Engineer: Ben Robbins
AUDIO MINI-SERIES – 12 X 20 MINUTE EPISODES
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 2
‘Dracula’ -- CHARACTER BREAKDOWN:
Actor 1: Count Dracula – CRISTINEL HOGAS Count Dracula: A Transylvanian noble who bought a house in London and asked Jonathan Harker to come to his castle to do business with him.
Actor 2: Jonathan Harker -- CARL DOLAMORE Harker: A solicitor sent to do business with Count Dracula; Mina's fiancé and prisoner in Dracula's castle.
Actor 3: Wilhelmina ‘Mina’ Harker [née Murray] – HARRIET CLARE MAIN Mina: A schoolteacher and Jonathan Harker's fiancée.
Actor 4: Lucy Westenra / Bride of Dracula 1 – GEORGIE MONTGOMERY Lucy: A 19-year-old aristocrat; Mina's best friend; Arthur's fiancée and Dracula's first victim. Dracula Bride 1: One of the 2 Vampires chastising Harker in Dracula’s castle.
Actor 5: Dr Abraham Van Helsing – MITCH HOWELL Van Helsing: A Dutch professor; John Seward's teacher and Vampire hunter.
Actor 6: Arthur Holmwood – J. B. NEWMAN Holmwood: Lucy's suitor and later fiancé.
Actor 7: Mrs Evans / Bride of Dracula 2 / Sister Agatha / Helga – KIMBERLEY ENSORE Mrs Marjorie Evans: Housekeeper and ‘confidante’ of Lucy Westenra. Sister Agatha: Runs the hospice where Jonathan goes to after escaping. Dracula Bride 2: One of the 2 Vampires chastising Harker in Dracula’s castle.
Actor 8: John Seward – ZACHARY ELLIOTT-HATTON Seward: A doctor, with an interest in the human brain, one of Lucy’s suitors and a former student of Dr Abraham Van Helsing.
Actor 9: Renfield – GRANT LEAT Renfield: A lawyer whom Dracula turned mad.
Actor 10: Mr Ronald Moorfoot / Carriage Driver / Gypsy – RICHARD WARRICK Moorfoot: The Solicitor who sends Harker to meet with Count Dracula.
Actor 11: Voice – the voice that Jonathan Harker hears in the castle.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 3
Prologue
A soundscape of a ferocious battle begins to get louder and louder. There is the sound of crashing thunder accompanied by strikes of lightning.
DRACULA (Cradling his love) Iubirea vietii mele……totul pentru tine. Dusmanii pe care i-am ucis, pamantul pe care calc – imbibat cu sangele celor care mi-au amenintat tara, poporul – nimic nu mai conteaza acum. Esti departe, te-au luat de langa mine. Lasi care nu au avut curajul sa ma infrunte cu demnitate. As fi luptat cu ei pana la capat ca sa te protejez de marsavia lor, iubirea vietii mele.
Blestemati sa fie! Cu totii! O sa le beau sangele pana la ultima picatura! O sa-I starpesc de pe fata pamantului! O sa le distrug iubirile, familiile si chiar Dumnezeii lor! Pana ma simt razbunat. Nu las nici o piatra neintoarsa, nici o temelie in picioare. Dumnezeu o sa le planga de mila. Declar razboi cu Dumnezeii lor iar eu ma lepad de propriu-mi Dumnezeu.! Vor plati chiar acum. Intreit. Jur pe ce-a mai ramas din sufletul meu. Acum eu sunt Dumnezeu!
There is one almighty crash of thunder…
Here is the same speech, but translated into English… both need to be recorded in full…
DRACULA Love of my life…. everything for you. The enemies I have killed, the soil upon which I stand – soaked by the blood of those who threatened my country, my people – nothing really matters now. You are gone; they took you away from me. Cowards, who didn’t have the courage to face me with dignity! I would have fought with them until the very end so that I could protect you from their injustice, love of my life.
I curse them! All of them! I will drink their blood to the last drop, until all cease to walk this earth. I will destroy their loves, their families, even their Gods. Until my vengeance is requited. I will leave no stone unturned, no homestead standing. God will weep at their helplessness. I declare war on their Gods and I disown my God. They’ll pay three-fold right now. This I swear on what is left of my soul. Now I am God!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 4
ACT ONE: Scene 1
Four Centuries Later…
Interior, solicitor’s office – soundscape of a quiet office, clock ticking
MOORFOOT (Sees Harker and beckons him in) Aaah, Harker… how are you?
HARKER Well, thank you Mr Moorfoot…
MOORFOOT (Cutting in) Good… very good. Now, I’ve heard exceptional things about you and I don’t see why a smart young fellow like yourself shouldn’t become a junior partner very quickly… I know my colleagues feel the same way.
HARKER Why, thank you Mr Moorfoot, I will endeavour to do my very best…
MOORFOOT (Cutting in again) Yes, I’ve little doubt of that… Now during your time with us have you come across our Mr Renfield?
HARKER I don’t believe I have had the pleasure… his name is familiar to me, but he seems to have been away…
MOORFOOT Quite… yes, well Mr Renfield has been away, in Europe, handling a matter that requires… required his full attention. (Beat) Now… this matter remains unresolved and I believe you are absolutely the right person to continue where he left off!
HARKER Certainly, it would be an honour… if you feel I am suited and ready for the challenge…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 5
MOORFOOT Well-suited you are and only you can decide whether you’re up for the challenge as you say… if you were able to bring the matter to a successful conclusion then I’m sure my partners would agree with me when I say it will ‘secure’ your position with us.
HARKER Then I will make it my priority…
MOORFOOT Good… you will of course have to travel to Europe for a brief spell, to Transylvania to be precise. I am aware of your engagement to Ms Murray; I hope that arrangement will not hinder your task!
HARKER Wilhelmina understands my commitment to my career… to this firm and the need for me to travel from time to time…
MOORFOOT Good… now here are the papers concerning this matter, but to put you in the picture, our client is one Count Dracula, his Castle is in the midst of the Carpathian Mountains.
HARKER I see…
MOORFOOT There are no maps or documentation regarding the exact locality of Castle Dracula but looking through Mr Renfield’s notes it appears to be close Bistritz. (Beat) The Count has a desire to purchase property here in England and has tasked this firm with making that happen… Mr Renfield was making great progress but then… well, yes…
HARKER May I ask what happened to him… is there something I should know before meeting with the Count?
MOORFOOT Oh, goodness, no… this has nothing to do with the Count, of that I can assure you… it’s just that, well… how can one put this… well, delicately… Mr Renfield simply ‘lost his mind’!
HARKER That is tragic to hear…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 6
MOORFOOT Indeed, regrettable but I’m afraid there’s very little that we could do for the man… we’ve done all we can…
HARKER And may I be permitted to ask when I shall be leaving for Castle Dracula?
MOORFOOT On the morning tide. As mentioned, the Count is an important client and we would all like to see this matter brought to a swift and satisfying conclusion. (Beat) I trust you are able to leave tomorrow?
HARKER Indeed… I shall leave presently and pack my personal items…
MOORFOOT Very good… now Harker, I trust you with this business, do not on any account let me down…
HARKER Your trust is well-placed Mr Moorfoot…
Segue to next scene, domestic interior…
Act One: Scene 2 Harker and Mina, interior, Mina’s house
MINA Oh, Jonathan, do you really have to leave? It seems so far away! There is no map of this place, how will you know where to go?
HARKER My dear Mina, you know what my work means to me… to us! I cannot support you on the wage of a junior solicitor. (Beat) The Count has made all preparations and assures me that I will not have to concern myself with anything other than the business at hand. (Looks into her eyes) My wonderful Mina let me look at you and have your beauty captured in my mind for all the days and nights that we are apart.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 7
MINA And how long you will be away?
HARKER Mr Moorfoot seems to think it will take no longer than two weeks, at the very most – a Mr Renfield has taken care of all the preliminaries, it is simply a matter of signatures and then I will race home to you my darling.
MINA And why is this Mr Renfield not completing the business himself? I sense you are keeping things from me.
HARKER (Trying to be as comforting and confident as he can be) Mr Renfield has taken ill and is not well-enough to complete the task at hand. The firm have entrusted me to complete the transaction – for me it’s a chance to prove myself… for us!
MINA (Sighing) Oh, I know Jonathan, but still – I have this feeling of foreboding, oh please don’t ask me why… I find myself not able to explain these concerns more fully.
HARKER There truly is nothing to worry about… I shall count the moments until we can be together.
MINA Promise that you’ll write – you know how I love your letters so…
HARKER Every day… (Clock chimes) It is time for me to leave… my train… I depart on the morning tide. I should be with the Count in less than three days.
MINA I love you, Jonathan…
JONATHAN (Kissing Mina passionately) And I love you… (Pulls out the locket with Mina’s photo in it) I will keep this picture of you close to my heart at all times…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 8
Sound-scape of horse drawn cart, then steam train, then boat, then train and then horse drawn cart… as the final sound-scape section comes to an end there to be a rumbling of thunder in the distance.
Act One: Scene 3 Exterior, evening, stormy, the Golden Krone Hotel, Bistritz
HELGA The Herr Englishman?
HARKER Yes, Jonathan Harker.
HELGA Welcome to the Golden Krone Hotel. I have a letter for you…
HARKER Thank you…?
HELGA Helga…
HARKER Thank you, Helga.
DRACULA [effect on his voice as if it is in Harker’s head] My Friend. Welcome to the Carpathians. I am anxiously expecting you. Sleep well to-night. At three tomorrow the diligence will start for Bukovina; a place on it is kept for you. At the Borgo Pass my carriage will await you and will bring you to me. I trust that your journey from London has been a happy one, and that you will enjoy your stay in my beautiful land. Your friend, Vlad Dracula.
HELGA (Excitable) Herr Harker, must you go to that place?
HARKER Castle Dracula?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 9
HELGA (Crossing herself) It is a place filled with evil – oh, Herr, please reconsider!
HARKER But I must go… on important business…
HELGA Do you know what day it is?
HARKER The fourth of May…
HELGA (Shaking her head) It is the eve of St. George’s Day. Do you not know that tonight; when the clock strikes midnight, all the evil things in the world will have full sway? Do you know where you are going, and what you are going to?
HARKER (Sighing slightly) Just stories I’m sure. But as I said, there’s business to be done, and I cannot allow anything to interfere with it.
There’s the sound of the coach arriving…
HELGA For your mother’s sake… be sure to keep this with you at all times…
HARKER (Protesting) Please… I…
HELGA This is not just an old woman’s ‘fear’ Herr Englishman… there are many ghostly traditions of this place. Be on your guard at all times... (Beat) You will be in my prayers.
Segue to…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 10
Act One: Scene 4 We then have the sound-scape of a horse and carriage racing through the night, stormy weather, winds, lashing rain. The sound-scape needs to have eerie and jolting sounds. This sound montage to last 10 seconds at least, and building to a frantic crescendo, which suddenly goes silent as the driver pulls the carriage to a hasty stop.
CARRIAGE DRIVER We have arrived at Borgo Pass. (Beat) There is no carriage here. The Herr is not expected after all. He will now come on to Bukovina, and return to-morrow or the next day; better the next day…
HARKER (Joining the driver in the pin spot) Maybe we could wait for just a little while… (He stops mid-sentence when he hears to howling of wolves and sounds of hundreds of bats flying through the air) If of course you can remain with me… I am not familiar with this place and I should hate to…
CARRIAGE DRIVER Sorry, Sir. You’ll not catch me waiting here a moment longer than I have to…
At that moment the sound of a second carriage careers into clearing.
HARKER (Relieved) Aaahhh, no need after all driver. If you’ll hand me my bag, I’ll bid you goodbye and a safe journey.
A voice from the dark calls out, which makes the driver nervous.
VOICE [male, with an ‘effect’ on it] You are early tonight, my friend.
CARRIAGE DRIVER The English Herr was in a hurry…
VOICE [male, with an ‘effect’ on it] That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend; I know too much, and my horses are swift.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 11
CARRIAGE DRIVER (To Harker) Are you sure you will not reconsider?
Before Harker can answer he is pulled into the second carriage. The second carriage races away.
VOICE [male, with an ‘effect’ on it] The night is chill, Mein Herr, and my master the Count bade me take all care of you. There is a flask of plum brandy underneath the seat, if you should require it.
Sound montage, about 12 seconds in length, as the carriage gets faster and faster. There’s the sound of wolves howling everywhere.
Story / soundscape reference: It builds to a frenetic crescendo and then snaps to silence. After 3 seconds we hear a large door opening [creaking] and then the sound of whooshing air [it’s almost as if someone is walking towards them but is drifting on air].
DRACULA Welcome to my house! Enter freely and of your own will! (Dracula doesn’t move, and it is Harker who eventually crosses the threshold and shakes the Count’s hand) Welcome. Come freely. Go safely; and leave something of the happiness you bring!
HARKER Count Dracula?
DRACULA I am Dracula; and I bid you welcome, Mr. Harker. Come in; the night air is chill, and you must need to eat and rest… (Beat) It is late, and my people are not available. Let me see to your comfort myself. (Beat) You will need, after your journey, to refresh yourself. I trust you will find all you wish. When you are ready, return and you will find your supper prepared. [beat] 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.
HARKER Mr Moorfoot asked me to hand you this personally upon my arrival.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 12
For reference: Dracula takes the letter from Harker, as he does so he moves very close to the younger man, making Harker uncomfortable. Dracula quickly pulls away, opens the envelope and reads. His face is intense for a while but then suddenly smiles. He hands the letter to Harker.
DRACULA The second paragraph… read it…
We hear Moorfoot reading the letter – there needs to be an echoing effect on his voice
MOORFOOT I must regret that an attack of gout, from which malady I am a constant sufferer, forbids absolutely any travelling on my part for some time to come; but I am happy to say I can send a sufficient substitute, one in whom I have every possible confidence. He is a young man, full of energy and talent in his own way, and of a very faithful disposition. He is discreet and silent. He shall be ready to attend on you when you will during his stay and shall take your instructions in all matters. (Beat) The crates you asked to be shipped have arrived safely, Ronald Moorfoot.
As Harker finishes the reading there’s the sound of the wolves howling again.
DRACULA Listen to them—the children of the night. What music they make! [beat] Ah, Sir, you dwellers in the city cannot enter into the feelings of the hunter. [beat] But you must be tired. Tomorrow you shall sleep as late as you will. I must be away till the afternoon; so, sleep well and dream well!
Story / soundscape reference: Dracula exits, leaving Harker alone in the room, clearly on edge. Suddenly there is the faint sound of laughter as the storm rages. Then laughter again… crashing of thunder… then silence…
End of Episode One
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 13
Episode Two
Act One: Scene 5 Non-specific place, interior. Lucy reading a letter from Mina. Slight effect on her voice.
LUCY My dearest Lucy,— “Forgive my long delay in writing. The life of an assistant schoolmistress is sometimes trying. I am longing to be with you, and by the sea. I have been working very hard lately, and I have been practising shorthand very assiduously. When Jonathan and I are married I shall be able to be useful to him, and if I can stenograph well enough I can take down what he wants to say in this way and write it out for him on the typewriter. (Beat) He and I sometimes write letters in shorthand, and he is keeping a stenographic journal of his travels abroad. When I am with you I shall keep a diary in the same way. I may show it to Jonathan someday if there is in it anything worth sharing, but it is really an exercise book. (Beat) I shall try to do what I see lady journalists do: interviewing and writing descriptions and trying to remember conversations. Hopefully Jonathan will be returning in about a week. It must be so nice to see strange countries. I wonder if we—I mean Jonathan and I—shall ever see them together. Good-bye. Your loving, Mina.”
Segue to…
Act One: Scene 6 Castle Dracula, Interior. Harker enters. He has his brief-case with him. He searches for Dracula. Atmospheric soundscape, abstract sounds to create unease.
HARKER Count? (Beat) Count Dracula? (Silence)
For reference: Harker makes his way over to a book-case and runs his finger along the spines, trying to read the titles.
HARKER It’s so dark in here… I wonder the Count can read these books in this light!
Dracula enters, catching Harker off-guard
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 14
DRACULA I find myself blessed with remarkable eye-sight, though the brightness of daylight does cause irritation.
HARKER (Defensive) I apologise for my rudeness…
DRACULA (Brushing Harker’s comment aside) I am glad you found your way in here, for I am sure there is much that will interest you. These companions have been good friends to me, and for some years past, ever since I had the idea of going to London. Through them I have come to know your great England; and to know her is to love her. I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is. But alas! As yet I only know your tongue through books. To you, my friend, I look that I know it to speak.
HARKER But, Count… you know and speak English thoroughly!
DRACULA I know that, did I move and speak in your London; none there are who would not know me for a stranger. That is not enough for me. Here I am noble; I am boyar; the common people know me, and I am master. But a stranger in a strange land, he is no one; men know him not—and to know not is to care not for. You shall, I trust, rest here with me awhile, so that by our talking I may learn the English intonation; and I would that you tell me when I make error, even of the smallest, in my speaking.
HARKER As you wish. May I come and select books from the library to read… you have a fine collection!
DRACULA Certainly. You may go anywhere you wish in the castle, except where the doors are locked, where of course you will not wish to go. There is reason that all things are as they are, and did you see with my eyes and know with my knowledge, you would perhaps better understand. (Beat) We are in Transylvania; and Transylvania is not England. Our ways are not your ways, and there shall be to you many strange things. Harker goes to ask a question but then stops himself, the Count sees this…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 15
DRACULA [continued…] (Smiling) Please, do ask your question… it is the only way we are to get to know each other better!
HARKER The Inn-keeper’s wife, Helga, she seemed most unsettled that I was to visit this place – she mentioned ‘ghostly traditions’… and the blue light I saw…
DRACULA (Again, smiling gently to himself) It is commonly believed that on a certain night of the year—last night, when all evil spirits are supposed to have unchecked sway—a blue flame is seen over any place where treasure has been concealed. That treasure has been hidden in the region through which you came last night, there can be but little doubt; for it was the ground fought over for centuries by the Wallachian, the Saxon, and the Turk. Why, there is hardly a foot of soil in this entire region that has not been enriched by the blood of men, patriots or invaders. When the invader was triumphant he found but little, for whatever there was had been sheltered in the friendly soil.
HARKER But how can it have remained so long undiscovered, when there is a sure index to it if men will but take the trouble to look?
DRACULA Because your peasant is at heart a coward and a fool! Those flames only appear on one night; and on that night no man of this land will, if he can help it, stir without his doors. And, dear sir, even if he did he would not know what to do. Even you would not, I dare be sworn, be able to find this place again?
HARKER There you are right. I know no more than the dead where even to look for them!
DRACULA Come, tell me of the house which you have procured for me.
HARKER (Pulling out papers from his brief-case. As he does so a locket with a photo of Mina falls to the floor, along with his journal. Harker goes to pick them up, but Dracula beats him to it.) Credit really does need to be given to Mr Renfield, as he was the one who prepared much of this transaction.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 16
DRACULA I heard about his unfortunate circumstance. Is there any improvement? (Immediately turning the conversation) You seem to have dropped a picture… [beat] and a journal… And who may I ask is this?
HARKER She is my fiancée, Mina… we are to be married as soon as I return. (Beat) With regard to Mr Renfield, alas, there is no improvement – though he is with the best people possible, so I am told; we all live in hope that he will make a speedy recovery.
DRACULA (Musing – taking one last look at Mina’s picture and then handing the locket back to Harker) Indeed… [beat] Your fiancé… such a treasure as to make any man’s heart sing, I envy you… and this journal?
HARKER I find it eases my mind to write about the day’s proceedings, it keeps me alert and focused… and Mina…
DRACULA I see… Would you like some wine? Oh, but of course you do… please continue… (Dracula pours Harker a glass of red wine)
HARKER At Purfleet, Mr Renfield came across just such a place as was seemed to be required. It is surrounded by a high wall, of ancient structure, built of heavy stones. The gates are of heavy old oak and iron.
DRACULA I am keen to see this place… The wine… taste it my friend, it’s… special.
HARKER (Tastes wine and acknowledges that it is very agreeable. He gets more animated and excited, seeing that his client is clearly pleased) The estate is called Carfax; no doubt a corruption of the old Quatre Face. (Beat) It contains in all some twenty acres, quite surrounded by the solid stone wall as mentioned. The house is very large and dates to medieval times. It looks like part of a keep with only a few windows and is close to an old chapel or church. (Beat)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 17
Although he could not enter it, as he had not the key of the door leading to it from the house, but he did take with his camera views of it from various points. There is but only one house close by, which has been formed into a private lunatic asylum. It is not, however, visible from the grounds. (Beat) In fact, the asylum is the very place that Mr Renfield currently resides.
DRACULA I am glad that it is old and big. I myself am of an old family, and to live in a new house would kill me. (Beat) A house cannot be made habitable in a day; and, after all, how few days go to make up a century. I rejoice also that there is a chapel of old times. We Transylvanian nobles love not to think that our bones may lie amongst the common dead. (Beat) I am no longer young; and my heart, through weary years of mourning over the dead, is not attuned to mirth. Moreover, the walls of my castle are broken; the shadows are many, and the wind breathes cold through the broken battlements and casements. I love the shade and the shadow and would be alone with my thoughts when I may. (Dracula studies Harker as the younger man puts away his papers) (Beat – looking towards the ‘window’) Why, there is the morning again! You must make your conversation regarding my dear new country of England less interesting, so that I may not forget how time flies by us. Though I insist you tell me more of your betrothed, such a fine woman is indeed worthy of much discussion…
Music Segue…
Act One: Scene 7 Story / soundscape reference: Abstract setting, Harker is clearly nervous. As he speaks there are frightening and jolting sounds on the soundscape, which make him start from time to time. He sits with a glass of wine, the wine Dracula gave him, and talks to the ‘air’, holding the locket with Mina’s picture in, and occasionally talking directly to it… The soundscape needs to indicate the passing of time… 3 or so days…
HARKER [an ‘effect’ on his voice, as if he is reading a narrative, with underscore] My dearest Mina – from what began as a promising enterprise has so very soon crumbled around me. I feel the Count has made me a prisoner! My host and I only meet at eventide and work through the night until dawn. He is a strange man, there is coldness about him and he moves from room to room like a restless sceptre. (Beat)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 18
It has been four weeks since I arrived at Castle Dracula but for a transaction such as this only two, three days at the most should be set aside to complete. My host seems to procrastinate, almost as if he is purposely keeping me here… he asks many questions regarding you, which I am beginning to feel uncomfortable about… (Beat) I speak to you out loud as I fear I will go mad if I did not hear the sound of a human voice. Castle Dracula has its own language, a frightening, yet sad voice that seems to be lost in time. (Beat) All the doors and windows are locked. The Count implies there are others, staff, residing in the place but thus far I have seen only him. Upon sensing that I was a prisoner here, a sort of wild feeling came over me. I rushed up and down the stairs, trying every door and peering out of every window I could find, all were locked and barred. (Beat) When I look back after a few hours I think I must have been mad for the time, for I behaved much as a rat does in a trap. When, however, the conviction had come to me that I was helpless I sat down quietly. (Beat) Of one thing only am I certain; that it is no use making my ideas known to the Count. He knows well that I am imprisoned; and has doubtless his own motives for it. So far as I can see, my only plan will be to keep my knowledge and my fears to myself, and my eyes open. (Beat) I am, I know, either being deceived, by my own fears, or else I am in desperate straits.
Soundscape segue…
Scene 8 Lunatic asylum, interior.
NURSE (Handing him his journal) Dr Seward, your journal, you left it on the ward.
SEWARD Ahh, thank you, nurse… I seem to be terribly pre-occupied at the moment with my latest patient... I’m becoming increasingly forgetful! Can you ask two male nurses to join me… I am to visit Mr Renfield shortly, and as we have little knowledge of where his mind will take him today, I suggest we proceed with every caution.
NURSE Certainly, Doctor. I will see to it right away.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 19
SEWARD [effect needs to be added to this monologue, as though it is a memory and Seward is recounting it] The case of Renfield grows even more interesting. For the first week he was perpetually violent. Then one night, just as the moon rose, he grew quiet, and kept murmuring to himself: “Now I can wait; now I can wait.” Once, today, he looked at me with inquisitive eyes, which suddenly softened… and he smiled what I believe to be a genuine smile… (Beat) It was soothing, somehow, to the feelings to find myself dissociated even in the mind of this poor madman from the others; but all the same I do not follow his thought. Am I to take it that I have anything in common with him, so that we are, as it were, to stand together; or has he to gain from me some good so stupendous that my well-being is needful to him? Tonight, he will not speak. Even the offer of a kitten or even a full-grown cat will not tempt him. (Beat) After a while I left him. The attendant tells me that he was quiet until just before dawn, and that then he began to get uneasy, and at length violent, until at last he fell into a paroxysm which exhausted him so that he swooned into a sort of coma.
The soundscape needs to build to a crescendo at this point, abstract sounds of the asylum, haunting and uneasy sounds from Renfield’s mind, birds in flight, the sound of the sea, manic laughter, distant screams, rolling thunder… this all builds to a snap to silence and then the flapping of wings merged into a rumble of thunder…
End of Episode Two
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 20
Episode Three
Act One: Scene 9 Castle Dracula, Interior, Harker’s room
HARKER (To himself, as he is shaving) Why are there no mirrors in this place… it’s useful that I have brought a pocket one with me… though it makes shaving extremely difficult…
Dracula suddenly emerges out of the darkness and places his hand on Harker’s shoulder.
DRACULA Good evening!
Harker jumps almost out of his skin and cuts himself
HARKER Ouch…
Sound of girl’s laugher, very faint
HARKER [continued…] How bad is the cut… [beat, then whispering to himself, girl’s laughter again] What… the Count… there… there’s no reflection!
DRACULA Take care how you cut yourself. It is more dangerous than you think in this country. (Seizes the glass) And this is the wretched thing that has done the mischief. It is a foul bauble of man’s vanity. Away with it! [beat] You can understand now why I choose not to have mirrors in my home… [beat] I should like that you join me downstairs… so we may continue with our talks of England and its people… I’m finding them fascinating…
(Harker calls after him.)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 21
HARKER As you wish, Count… I will be down presently… (Beat - To himself) Now how am I going to shave!
Suddenly there is the sound of laughter again.
HARKER Hello? Is there anyone there? (Silence – then 5 seconds later the same laughter sound again – Harker swings around and looks about the room) Listen, enough of these games… Who are you… what do you want?
[the voice has an echoing effect, as if it is almost dream-like and from Harker’s subconscious]
VOICE [female, with a ‘ghostly’ effect on it] Do not fear to sleep in any place where he is not. Place the crucifix over the head of your bed – your rest maybe freer from dreams…
HARKER Who are you? (Beat) Am I going out of my mind? I’m beginning to feel this nocturnal existence tell on me... I start at my own shadow and am full of all sorts of horrible imaginings.
VOICE Look out of the window, Jonathan Harker. (Beat) Look out over the beautiful expanse, bathed in the soft yellow moonlight till it is almost as light as day. In the soft light the distant hills become melted, and the shadows in the valleys and gorges of velvety blackness. The mere beauty will to cheer you; there suddenly become peace and comfort in every breath you draw. (Beat) Now cast a glance to the Count’s bedroom windows… tell me what you see…
HARKER Why?
VOICE For me…
HARKER …and why should I do as you ask?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 22
VOICE Because your very life may depend on it… look, tell me what you see…
For reference: Harker gingerly walks over to the window and looks out to where the Count’s bedroom is positioned.
HARKER I cannot see anything…
VOICE Look harder…
Harker looks more intensely at the Count’s bedroom window.
HARKER (Stumbling back in horror – then regaining his composure he looks again) There’s something moving… where the Count’s own room look out. It cannot be so…
VOICE What did you see, Jonathan?
HARKER (Beat) …the Count’s head coming out from the window. I cannot see his face, but I know it’s him… (Beat, Harker’s ‘fascination’ turns to ‘repulsion’) Oh, what… his whole body has emerged and… and he is crawling down the castle wall, he is… face down with his cloak spread out around him like great wings!
For reference: Harker collapses onto the floor, his head in his hands, rubbing his temples, trying to calm himself down.
This must surely be madness on my part, tiredness at least – my eyes surely deceive me, a trick of the moonlight maybe, else some weird effect of shadow... (Beat, recounting as if the ‘Voice’ were a ‘real’ person) I saw his fingers and toes grasp the corners of the stones, and using every projection and inequality move downwards with considerable speed… (Beat) What manner of man is this, or what manner of creature is it in the semblance of man? I feel the dread of this place overpowering me; I am trapped, in fear—in awful fear—and there is no escape for me; I am encompassed about with terrors that I dare not think of....
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 23
VOICE Jonathan Harker, you must leave this place as soon as you are able – nothing good will come of you remaining here. (Beat) I will be with you… watching.
HARKER Wait, don’t leave me… (Beat) Keep it together man, at least for Mina’s sake! (Beat, pulls himself together)
Soundscape segue to…
Act One: Scene 11 Mina meets Lucy, exterior, seaside, daytime
MINA Lucy, Lucy – let me look at you. (Beat) Why you look more beautiful than ever – this sea air clearly agrees with you!
LUCY Mina, how I have missed you.
MINA And I you. I have been so looking forward to this visit, especially as Jonathan is away on business…
LUCY Well we must make sure that your time here is spent filled with glorious things to do. (Beat) Come, let us walk along the cliff-top, the porters will bring your bags to the house. (Mina looks concerned about leaving her belongings in the hands of strangers) Don’t have a worry, Mina, these are trustworthy gentleman.
MINA If you’re sure…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 24
LUCY Now let us walk, gossip and then have tea at the house – Mrs Evans has prepared your room, just as you like it!
MINA So very kind; she didn’t need to go to all that trouble…
LUCY News from Jonathan?
MINA Not a word. He promised he would write every night, but I’ve not had a single piece of correspondence. It really isn’t like him at all. (Beat) I am convincing myself that there is something very wrong – no matter what I do to try and shake it, the very same feeling comes back to haunt me. (Beat) Let us talk of happy things… tell me of your suitors… this is news I have been longing to hear!
LUCY (Taking a deep breath) My dear, it never rains but it pours. How true the old proverbs are. Here am I, who shall be twenty in September, and yet I never had a proposal till to-day, and to-day I have had three in one day! Isn’t it awful! I feel truly sorry, for two of the poor fellows! I must tell you about them, but you must keep it a secret, from everyone, except, of course, Jonathan.
MINA (Laughing) My goodness, Lucy – I don’t believe I have ever seen you so light-headed!
LUCY Oh, you must allow me these moments of enjoyment, Mina.
MINA Then pray tell proceed, otherwise we shall be stood here until the sun sets!
LUCY Number One came just before lunch. I told you of him, Dr. John Seward, the lunatic-asylum man, with the strong jaw and the good forehead. He was very cool outwardly but was nervous all the same. He had evidently been schooling himself as to what he would say and had memorised them; but he almost managed to sit down on his silk hat, which men don’t generally do when they are at ease.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 25
[beat] He spoke to me, Mina, very straightforwardly. He told me how dear I was to him, though he had known me so little, and what his life would be with me to help and cheer him.
MINA And what was your response… I do hope you were kind, you know how sensitive men can be at times!
LUCY I tried my very hardest to be comforting. He asked if I could love him in time, but alas I had to shake my head and say ‘no’… I started to cry as I felt so badly for him. (Sniffles and takes a beat) He then stood and called himself a brute for upsetting me so… but he was strong and told me that if I ever wanted a friend I must count on him as one of my best!
MINA Well that is something at least. He sounds like a strong and decent fellow, and someone who would make an excellent friend.
LUCY Oh, Mina, I am so pleased you think that way as those were my thoughts also. (Beat) Number Two came after lunch on the very same day of all things! He is such a nice fellow, an American from Texas, and he looks so young for someone that has been to so many places and has had such adventures. (Beat) Well, Mr. Morris sat down beside me and looked as happy as he could, but I could see all the same that he was very nervous. He took my hand in his, and said ever so sweetly: ‘Ms Lucy, I know I ain’t good enough to regulate the fixin’s of your little shoes. Won’t you just hitch up alongside of me and let us go down the long road together.’ (Beat) He did look so good-humoured and so jolly that it didn’t seem half so hard as to refuse as it did poor Dr. Seward. (Beat) Before I could say another word, he began pouring out a perfect torrent of love-making, laying his very heart and soul at my feet. I suppose he saw something in my face which checked him, for he suddenly stopped, and said with a sort of manly fervour that could I have loved him if I had been free:—
MINA And what did you say to that?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 26
LUCY ‘Yes, there is someone I love, though he has not told me yet that he even loves me.’ I was right to speak to him so frankly, for quite a light came into his face. ‘That’s my brave girl. It’s better being late for a chance of winning you than being in time for any other girl in the world.’ And then he took his leave to travel back to London on urgent business, but not before placing a delicate kiss on my cheek.
MINA And should I ask about number three…
LUCY Arthur, Arthur… it took an age for him to ask! I gave him every opportunity, but he seemed to run from me like a scared rabbit when he sensed that I was seeking a sign from him!
MINA Oh Lucy, you must not push so.
LUCY A voice of reason, Mina, that is what you are – now let us be on our way…
Soundscape segue to…
Act One: Scene 12 Castle Dracula, Interior, evening, unsettling soundscape
Story reference: As Harker enters, the Count is standing beside the ‘fire-place’, his eyes looking deeply into the flames. Harker is agitated, however remains as still as he can.
DRACULA (Smiling softly to himself) I sense you have more questions? (Doesn’t turn to face Harker) You should never fear speaking what your mind asks; knowledge is a powerful thing…
HARKER I didn’t want to seem impertinent…
DRACULA Your English manners, reserve… it is fascinating for someone like myself to observe… it’s unlike anything I am used to… tell me, are all you English Gentlemen so restrained?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 27
HARKER In polite society there are… well, certain etiquettes that should be observed…
DRACULA And for me… do you think someone like me would be welcomed into your ‘polite-society?
HARKER You are a Count, you are titled, have money… every door will be open to you!
DRACULA (Laughing quietly) I am not so sure my English friend… when you have lived as long as I you begin to see the true nature… value, of matters and people… I find it an increasingly difficult world to live in…
HARKER My question…
DRACULA (Still with his back to Harker) But of course, ask what-ever you wish…
HARKER If you feel, as you say, that this is an increasingly difficult world to live in, then why move to somewhere such as London… a thriving metropolis of many, many people… surely it would be wiser to remain here…
DRACULA I feel the need to walk among people… to see new faces, smell new scents… look deeply into the eyes of men and woman and read their every thought… it has been an age since I truly left this Castle and I feel the time has come for a change… and you, Mr Jonathan Harker, have been a tremendous source of information for me, and for that I am eternally grateful.
HARKER You are most welcome. (Beat) Count, I have been here now for five weeks or more, as we have finalised the paperwork for your property purchase, I would ask that I may take my leave from your hospitality and return to England. (Beat) I wouldn’t want to out-stay my welcome and I am sure my employer will be wondering what news I have and when I shall return to continue with my many duties there.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 28
DRACULA I took the liberty of writing to your employer, this very day, asking his permission for you to remain with me for one month longer. There are certain other aspects of the legalities that I would like to discuss with you and I feel these are better done face to face, rather than through lengthy written correspondence… (Beat) I hope that you do not object to my asking this of you?
HARKER (Heavy hearted) Surely, if that is your wish. But is there need for it to be so long?
DRACULA I desire it much; nay, I will take no refusal. When your master, employer, what you will, engaged that someone should come on his behalf, it was understood that my needs only were to be consulted. I have not stinted. Is it not so? (Beat – beckoning Harker to sit) Please sit, I need to ask of you a question. Is it acceptable for a man in England might have say, two solicitors or more?
HARKER He may have a dozen if he wished, but it would not be wise to have more than one solicitor engaged in one transaction, as only one could act at any one time, and to change that would be certain to mitigate his interest.
DRACULA I see… would there be any practical difficulty in having one man to attend, say, to banking, and another to look after shipping, in case local help were needed in a place far from the home of the banking solicitor? (Beat) Now, suppose I, who have much of affairs, wish to ship goods, say, to Newcastle, or Durham, or Harwich, or Dover, might it not be easier to assign one in the ports?
HARKER It would be most easy, we solicitors have a system of agency one acting for the other, so that local work could be done locally on instruction from any solicitor, that the client, simply placing himself in the hands of one man, could have his wishes carried out by him without further trouble.
DRACULA But, I could be at liberty to direct myself. Is it not so?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 29
HARKER Of course, such is often done by men of business, who do not like the whole of their affairs to be known by any one person.
DRACULA Tell me, have you written to our friend Mr Ronald Moorfoot, or to any other?
HARKER I have not yet had the opportunity of sending letters to anybody.
DRACULA Then write now, my young friend. (Beat) I pray you, my good young friend that you will not discourse of things other than business in your letters. It will doubtless please your friends to know that you are well, and that you look forward to getting home to them. Is it not so? (Beat) I trust you will forgive me, but I have much work to do in private this evening. You will, I hope, find all things as you wish… (Before leaving Dracula turns to Harker one more time) Let me advise you, my dear young friend—nay, let me warn you with all seriousness, that should you leave these rooms you will not by any chance go to sleep in any other part of the castle. It is old, and has many memories, and there are bad dreams for those who sleep unwisely. Be warned! Should sleep now or ever overcome you, then haste to your own chamber or to these rooms, for your rest will then be safe. But if you be not careful in this respect, then… who knows what may happen…
[soundscape, with music under this final section, needs to build to a crescendo as this is the end of the episode]
End of Episode Three
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 30
Episode Four
Act One: Scene 13 Mina is joined by Mina, exterior – hillside, beside the sea
MINA Oh, Lucy. I apologise for my distant behaviour, I am just so worried. There was again no letter for me from Jonathan; I hope with my all my heart that everything is well with him.
LUCY I am sure it is – Jonathan is a good man, he will be thinking of you constantly whilst he is away. His work takes up a great deal of time…
MINA But it has been so many weeks now… and not a single letter… a note even; it’s almost as if he is vanished from the face of the earth! (Beat) Oh Lucy, you don’t think… (Beat, finding strength to say the words) That his love for me has waned?
LUCY Oh, goodness no – no two people have I seen more in love. Have faith, his task was an important one.
A clock strikes in the distance…
It seems cold this evening. (Beat) Let’s remain by the fire!
MINA (Kissing Lucy on the cheek) You are a good and dear friend, Lucy. I simply do not know what I would do without you!
Soundscape segue to…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 31
Act One: Scene 14 Lunatic Asylum, interior Dr Seward is with Renfield
SEWARD (Noting in his Journal – echoing effect as if he is recounting words he has written, but this disappears when he is speaking to Renfield directly)
The case of Renfield grows more interesting the more I get to understand the man. He has certain qualities very largely developed; selfishness, secrecy, and purpose. I wish I could get at what is the object of the latter. He seems to have some settled scheme of his own, but what it is I do not yet know. His redeeming quality is a love of animals, though, indeed, he has such curious turns in it that I sometimes imagine he is only abnormally cruel.
Dr Seward moves towards Renfield, who is restless
SEWARD Mr Renfield, how are we today?
RENFIELD I need them… I need to talk to them, you too need to listen to what they say – people should listen more…
SEWARD Mr Renfield, by ‘them’ you mean the flies you have been catching recently?
RENFIELD Indeed… they’re an odd sort of pet, this I know, but they’re mine and you can’t take them away from me. (Beat, sound of a buzzing fly begins, very distant at first then becoming more prevalent) They whisper to me, they know what is about to happen… that’s why they come to me, to tell me that the Master is preparing as we speak… he will soon be here and give me life eternal!
(Beat – Renfield takes hold of one of the flies he has in a jar, pulls out the fly and holds it close to Seward) This fly… Does he talk to you Doctor? Can you understand what he is saying?
SEWARD (Holding his ground) I hear nothing Mr Renfield, why don’t you help me understand by telling me what he’s saying… you have such a quantity of flies that surely the noise of them speaking all at once is the thing preventing you from sleeping… (Beat)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 32
I only say this because the nurses have noticed you spend all the twilight hours looking out of your window at the moon… is there something out there that calls to you? Does the brightness of the moon make you restless?
RENFIELD (Quite lucid) Even as a Doctor you would never understand, or even comprehend. (Lunges at Seward) I can smell your fear, Doctor… do you not want my pet? (Shakes the fly in the Doctor’s face)
SEWARD I thank you for the gesture, Mr Renfield, but no…
RENFIELD Then it has let me down and I have no further use for it! [beat] I shall eat it! (Renfield places the fly in his mouth and eats it)
SEWARD (Slightly sickened by what he has just witnessed, but not wanting to let Renfield know that) This hobby of yours, catching flies… it needs to stop… do you understand?
RENFIELD (Thinking for a moment, and then facing the Doctor square on) May I have three days? I shall clear them away. I would like to say ‘good-bye’ to each individually!
SEWARD (Beat) Three days… but no longer!
Soundscape segue to…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 33
Act One: Scene 15 Story / soundscape reference: Castle Dracula, night, interior, Harker’s bedroom. He is clearly distressed, pacing up and down, the slightest sound outside making him start. The wind is howling outside, rain begins to lash at the window.
VOICE [same ghostly female voice as before] Jonathan…
HARKER Thank goodness it is you… or my mind talking to itself!
VOICE You must remain strong, Jonathan – think of Mina, think of her world without you.
HARKER (Thinking for a moment) I must double my efforts to escape this place. But tell me… what is your name… why do you not show yourself to me?
VOICE …it is necessary for you to secure a means of escape. Your one hope is to venture deeper into the castle, to the crypt, there you will find the Count sleeping… he has a key that will unlock the doors… but you must pass through them to escape this treacherous place. (Beat) It is time for me to leave, the Count sleeps but only for a few hours!
HARKER What is happening to me… (Beat) May God preserve my sanity. (Beat) If I be sane, then surely it is maddening to think that of all the foul things that lurk in this hateful place the Count is the least dreadful to me. (Beat) Merciful God! Let me be calm. (Beat) I turn to my journal for repose. The habit of entering accurately must help to soothe me… I must find this key…
Story / soundscape reference: Harker opens his bedroom door and begins to walk around the castle. Lots of sounds of him trying to open locked doors, crashing of thunder. This section of the soundscape can be as abstract as possible, haunting, surreal. For reference; two Vampires, Brides of Dracula, which Harker does not see, are watching his every move.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 34
There is the sound of Harker opening a door and he enters ‘a room’. As he explores he comes across a coffin. It is standing on its end, so not flat down. Gingerly he approaches and opens it (slowly).
HARKER [astonished] What…? [beat, he comes face to face with Dracula in his coffin] The Count… [settling down] Compose yourself Jonathan, you need to find the key…
For reference: Harker is at first afraid but then looks through the Count’s clothes for a key. He feels all over the body, but there is no sign of the key. At the base of the coffin his finds some ‘soil’, which he lets run through his fingers, he then replaces this in the coffin.
HARKER Soil… why would this be here?
He stands. He then stops and looks at the Count. There is a mocking smile on Dracula’s face which drives him mad.
VOICE [echoing as if in Harker’s head] Jonathan, Count Dracula… this is the creature you were helping to transfer to London, where, for centuries to come he might, amongst its teeming millions, satiate his lust for blood, and create a new and ever-widening circle of semi-demons to batten on the helpless. [beat] Does that very thought not concern you? Look at his bloated face. Does not a terrible desire to rid the world of such a monster not fill you? [beat] There, the shovel beside you… pick it up and strike it down…
[on the soundscape, in an abstract manner, we hear Harker pick up the shovel]
HARKER [struggling with his thoughts] I must rid the world of you… Count Dracula… [beat, then Harker shouts as he brings the shovel down towards the Count’s head] You must die…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 35
[For reference: As he brings down the shovel, Dracula’s head turns, and his eyes fall full upon him, with all their blaze of basilisk horror. The sight paralyses him, and the shovel falls to the ground – we need an abstract sound sequence here to illustrate this]
HARKER What is this… why can I not move?
[For reference: Harker pulls away, horrified, but all the time ‘the Brides’ have been watching him. The Brides now chastise Harker, toy with him, manipulate him, they are luring him with their flirtations, they are relentless in their torment]
Reference: There is the sound of whispering, faint laughter, all things that would toy with Jonathan’s mind. This needs to build for about 12 seconds… we also need music here, to build to a crescendo, with the spoken lines included within
HARKER Who are these demon creatures?
Then in one final crash of thunder the two Vampires are either side of Jonathan, who calls out in absolute fear.
HARKER Please! God! Show mercy!
BRIDE 1 Go on! You are first, and I shall follow; yours is the right to begin.
BRIDE 2 He is young and strong; there are kisses for us both…
BRIDE 1 Sweet… honey-sweet, sends a tingling right through me…
[For the purpose of story reference: Harker is forced to the ground by the two Vampires. He is afraid to raise his eyelids but looks out and sees perfectly under his lashes. The girl goes onto her knees, and bends over him, simply gloating. There is a deliberate voluptuousness which is both thrilling and repulsive, and as she arches her neck she licks her lips like an animal.]
HARKER [panicked and desperate] Moonlight highlights the moisture on scarlet lips and on her tongue as it laps the white sharp teeth.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 36
VOICE [echoing effect] Lower and lower goes her head as the lips go below your mouth and chin they’re about to fasten on your throat, Jonathan. [beat] Can you hear the churning sound of her tongue as it licks her teeth and lips and feel the hot breath on your neck? [beat] The skin of your throat begins to tingle as one’s flesh does when the hand that is to tickle it approaches nearer—nearer. Jonathan, you can feel the soft, shivering touch of the lips on the sensitive skin of your throat, and the hard dents of two sharp teeth, just touching and pausing there. [beat] Jonathan, close your eyes in a languorous ecstasy and wait—wait with a beating heart.
[soundscape: sharp screeching sound, like nails being dragged across a blackboard. There are screams from the two creatures]
DRACULA (In a low whisper that cuts through the air) How dare you touch him, either of you? How dare you cast eyes on him when I had forbidden it? Back, I tell you! This man belongs to me! (Beat) I promise you that when I am done with him you shall kiss him at your will. Have patience! To-night is mine. To-morrow night is yours!
Soundscape crescendo to end episode…
End of Episode Four
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 37
Episode Five
Act One: Scene 16 Lunatic asylum, interior, night
SEWARD (Speaks as he writes, echoing effect as he recalls his thoughts) Renfield has turned his mind now to spiders. He keeps feeding them with his flies, and the number of the latter is becoming sensibly diminished, although he has used half his food in attracting more flies from outside to his room.
RENFIELD (Shoots a glance to Seward) My spiders are essential to me; they’re not becoming as great a nuisance as my flies… (Beat) You asked me to get rid of the flies, which I did, how can I help it if they return and want to be with me? (Beat) They are my comfort… I need them…
SEWARD The flies… or the spiders?
For the purpose of story reference: Renfield looks at the doctor, then to the spiders in a box and then hears a horrid blow-fly, bloated with some carrion food, buzzed into the room. He goes into ‘stealth’ mode and watches the fly, and then, at the right moment, he reaches out and catches it.
RENFIELD (Almost absent-minded) Both!
After studying the fly for a few moments between his finger and thumb, and, before Seward knew what he was going to do, he puts it in his mouth and eats it.
That was good, and very wholesome, Doctor – you really should try them sometime; you see it was life, a strong life, and it gave life to me. (Renfield returns to scribbling in his notebook)
SEWARD May I ask what it is that you are writing? (Beat) Am I permitted to see it?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 38
RENFIELD (Pauses for a moment) You wouldn’t understand what it means, only my friends (indicating to the insects) and I know its meaning. (Beat) I will hold it out to you, but you cannot touch it… or take it from me – now you must give me your word on that!
Reluctantly Seward agrees and Renfield gingerly holds out the open journal, occasionally turning the pages so Seward can see.
SEWARD (Looking at the contents) These numbers, you appear to have many pages of them… can you tell me what they mean?
RENFIELD I could… but I won’t!
SEWARD And why not?
RENFIELD The Master would be displeased…
SEWARD (Trying a different approach) You seem to have many single numbers added up in batches, and then the totals added in batches again. Is there significance to this… it reads like an auditor’s notebook…
RENFIELD (Taking the note-book back) You have seen enough; the Master will be displeased if I permit you to see more…
SEWARD I see. Mr Renfield, I am leaving for a few days, but shall call in on you upon my return.
RENFIELD (Very lucid) As you wish… time is running out though… don’t be away for too long!
For reference: Renfield doesn’t answer as he plays with his spiders and Seward can see that he has ‘lost’ him for the time-being and hurriedly exits. Soundscape segue…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 39
Act One: Scene 17 Interior domestic scene, Mina, who is clearly distressed, and Mrs Evans
MINA (Speaking to Mrs Evans, the house-keeper) Mrs Evans —I am anxious… it soothes me to express myself here to you - I hope you don’t find it too much of an imposition.
MRS EVANS Not at all Ms Mina, you know that I am always here for you.
MINA (Pacing and wringing her hands as she talks – she has a letter from Jonathan) It is like whispering to one’s self… listening at the same time… there is something about Jonathan’s shorthand symbols that makes it different from writing. (Beat) I am unhappy about Lucy and about Jonathan. I had not heard from him for some time, and was very concerned; but yesterday dear Mr Moorfoot, sent me a letter from him. I had written asking if he had heard, and he said the enclosed had just been received. It is only a line dated from Castle Dracula… it says he is just starting for home. That is not like Jonathan.
(Begins to get emotional. Mrs Evans moves over to hold her)
And then there’s Lucy, she’s taken to her old habit of sleep walking. Her mother has spoken to me about it, and we have decided that I am to lock the door of our room every night. Lucy’s father had the same habit. As you know, Lucy is to be married in the autumn, to Arthur Holmwood, and she is already planning out her dresses. (Beat) He is coming up here very shortly—as soon as he can leave town, for his father is not well… I think dear Lucy is counting the moments till he comes. I daresay it is the waiting which disturbs her.
MRS EVANS (Comforting) I am sure that’s the case. Wedding nerves have a habit of making people do strange things. It’ll be her nerves, and now that you have told me I will keep an eye on her for you. (Beat) Why don’t you speak with Mr Holmwood… I am sure that he can advise you about Ms Lucy. He is friends with Dr Seward and I’m sure he would be only too happy to help.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 40
MINA That’s a wonderful idea. I’m sure Lucy wouldn’t mind, and it is for her safety and well-being that we are thinking after all. (Beat) Thank you so much, I’m sure all will be well… it’s just, well I miss Jonathan terribly.
MRS EVANS Mr Harker is fine; man and I am sure he is counting the hours until you are together again.
MINA You are a comfort to me, and now I must write Mr Holmwood’s letter.
Soundscape and music segue to…
Act One: Scene 18 – [mini-scene] Castle Dracula, interior, Jonathan Harker’s bedroom. Music soundscape, dramatic as Dracula looks at Mina’s photo… in the background the two vampire brides are seducing Jonathan…
DRACULA So… you are Jonathan’s Mina… how fortuitous he has your image with him… you must be dear to his heart… [beat] You remind me of the one I lost… [beat] My love… taken from me… [beat, laughs] Soon you will be mine… but not before I drink from your fiancé… he is something we shall share…
Soundscape: there is the swooshing of a cape and then Harker’s screams as Dracula bites into his neck…
Music builds to a crescendo and then gently segues into the next scene…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 41
Act One: Scene 19 Lunatic Asylum, interior
Dr Seward enters, Renfield is in a pool of light, alone. He is elated to see the doctor. Seward is concerned as Renfield doesn’t look at all well.
RENFIELD Doctor, how pleased I am to see you – I have a very great favour to ask… a kitten, a nice little, sleek playful kitten, that I can play with and teach, and feed – and feed – and feed!
SEWARD But what of your sparrows? Were they not companioning enough for you? (Beat) You look pale Mr Renfield, have you been eating and sleeping enough?
RENFIELD I sleep some, and have eaten well today…
SEWARD But the nurse has just told me you sent your food back, having not touched it!
RENFIELD Ahh, yes, well I had to eat them… they ate all my flies and spiders… and well… a kitten would be such a comfort to me…
SEWARD Eat them? Eat what?
RENFIELD Why the sparrows of course…
SEWARD You ate live sparrows?
RENFIELD After I had broken their necks… so nourishing!
SEWARD (Starting to take Renfield off-stage) I need to get you to the infirmary, no wonder you have a grey pallor!
RENFIELD But what of the kitten!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 42
SEWARD (Trying to avoid giving an answer) You need to give me time to think about your request… but would you not prefer a cat than a kitten?
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 me a kitten, would they?
SEWARD I will see what I can do…
Soundscape segue to…
Act One: Scene 20 Castle Dracula, interior, Harker’s bedroom
DRACULA Tomorrow, my friend, we must part. You return to your beautiful England, I have a task which may have such an end that we may never meet again. (Beat) In the morning come the Szgany, who have some labours of their own here and also come some Slovaks. When they have gone, my carriage shall come for you, and shall bear you to the Borgo Pass to meet the diligence from Bukovina to Bistritz.
HARKER Why may I not go to-night?
DRACULA Because, dear sir, my coachman and horses are away on a Mission.
HARKER I would walk with pleasure.
DRACULA (Smiles a soft, smooth, diabolical smile) And your baggage?
HARKER I can send for it some other time.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 43
DRACULA You English have a saying which is close to my heart, for its spirit is that which rules our boyars: ‘Welcome the coming; speed the parting guest.’ Come with me. Not an hour shall you wait in my house against your will, though sad am I at your going. Come!
Suddenly Dracula stops
Suddenly there is the howling of many wolves, almost as if the sound sprang up at the rising of his hand. After a momentary pause, Dracula proceeds, in his stately way, to the door; he draws back the ponderous bolts, unhooks the heavy chains, and begin to draw it open.
As the ‘door’ opens, the howling of the wolves grows louder and angrier. Harker can see he will be torn to pieces if he leaves the castle.
HARKER (Falling to the floor and covering his face with his hands) I… I can’t leave… please… close the door; I shall wait…
DRACULA (Smiling) To struggle against me is useless, my friend!
With one sweep of his powerful arm, the Count throws the doors shut, and the great bolts clang and echo through the hall as they shoot back into their places.
DRACULA Here you will remain… I am so looking forward to visiting England… and of course meeting your Mina…
HARKER NNNOOO!!! (Beat) Mina! I am trapped in this place with these demons. I shall not remain with them; I shall scale the castle wall farther than I have yet attempted. I shall find the key... I will find a way out from this dreadful place. (Beat) Away from this cursed spot… this cursed land…
Music builds to a crescendo and then snaps to silence
End of Episode Five
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 44
Episode Six
Act One: Scene 21 Lunatic asylum, interior, day-time
For story / scene reference: Dr Seward is talking with Arthur Holmwood. Renfield is rocking, writing in his journal, and ‘playing’ with flies and spiders.
SEWARD It’s a most strange case, seems to be no rhyme nor reason for it, one day perfectly sane… healthy man, but within less than a week of returning from Europe he became… well, what you see before you.
HOLMWOOD Have you called in anyone for a second opinion?
SEWARD Indeed, I have corresponded with several colleagues, two of which I’m hoping will join me later this week.
HOLMWOOD Disgorged a whole lot of feathers you say?
SEWARD Yes, he admitted that he’d eaten his birds – he just took them and ate them whole!
HOLMWOOD And did he give a reason why?
SEWARD He said they’d eaten his spiders and flies! He appears to be ‘rebuilding’, starting his process again; flies to spiders, spiders to birds… who knows where it would end given the opportunity… (Beat) I gave Mr Renfield a strong opiate last night, enough to make even him sleep, and took away his pocket-book to look at it. (Beat) My homicidal maniac is of a peculiar kind. I shall have to invent a new classification for him, a zoöphagous maniac; what he desires is to absorb as many lives as he can, and he has laid himself out to achieve it in a cumulative way. He gave many flies to one spider and many spiders to one bird, and then wanted a cat to eat the many birds. What would have been his later steps?
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HOLMWOOD It is indeed a complicated matter, and one I’m sure you’ll rise to the challenge of. (Beat) John, there’s another reason for me visiting you today… it’s a delicate matter that I’m unsure of how to tackle – it’s Lucy, I’m sure you are aware that she and I are to be married…
SEWARD Arthur… Lucy has made her decision, and I respect that and am happy for you both, truly, so please let us not allow this to come between us…
HOLMWOOD You are indeed a gentleman, and a good friend… (Beat) There’s something else, about Lucy…
SEWARD She’s not ill I hope!
HOLMWOOD Of that I am not sure… (Pulls out the letter from Mina) I received this letter from Mina Murray, who is staying with Lucy presently. (Beat) It appears that Lucy has been sleep-walking, and it’s getting to an extreme where she’s leaving the house and waking up some distance from there… I’m sure you can imagine how distressing this is… what if something un-to-ward should happen while she is in this state? Is there anything you can do?
SEWARD Has she contacted her physician?
HOLMWOOD You know Lucy; she’s of a mind that there’s nothing the matter and that we are all fussing over a trivial matter…
SEWARD But you sense it is more than that?
HOLMWOOD Indeed… (Beat) Would you be so good…
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SEWARD Say no more. Why don’t we visit with Lucy and Ms Murray, and after I examine her I can determine what needs to be done.
HOLMWOOD Are you sure… I do not want to place you in an unfortunate position with regards to Ms Westenra…
SEWARD Arthur, please, tis true I have great affection for Lucy, but her friendship is something I cherish and place that above all else.
HOLMWOOD Thank you, John. I will arrange for us to meet with the ladies…
SEWARD Of course...
HOLMWOOD Until then.
There’s the sound of departing footsteps as Holmwood leaves
SEWARD [sighing] Oh, Lucy, I cannot be angry with you, nor can I be angry with my friend whose happiness is yours; If I only could have a cause as strong as my poor mad friend here—a good, unselfish cause to make me work—that would indeed be happiness.
Soundscape / Music segue to…
Act One: Scene 22
Story / Soundscape reference: Castle Dracula, interior. Harker, he is ‘rocking’, his hands over his ears. On the sound-scape there is the sound of chains, men digging, and then hammering as the lids of the coffins are sealed… then said coffins being lifted onto horse-drawn carts and the sound of the carts being taken away with horse’s hooves clattering on the gravel drive. The sounds get louder and louder, Harker rocks more frenetically… (Needs to last for about 90 seconds) Harker then hears Dracula give orders.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 47
DRACULA (Talking to the gypsy’s transporting the crates) Remember, these crates need to be at Varna no later than Tuesday, the Demeter sails on the evening tide to England and all fifty need to be aboard. (Beat) The Captain is awaiting your arrival… I shall follow presently, now be away and stop for no-one!
For story reference: Dracula smiles and turns to look in Harker’s direction, but doesn’t look directly at him. He pulls out the locket with Mina’s photo in, looks at the photo, then in Harker’s direction, then back to the photo before placing it in his pocket.
DRACULA (Quietly, more to himself) Good-bye Jonathan Harker… We will not meet again… I will pass on your best to sweet Mina… thank you for returning my love to me… (Beat) After one glance into my eyes she will be mine… forever! (Beat) I am leaving you here to amuse my concubines… they’re very playful, and are so looking forward to having you… (Beat) Don’t disappoint them…
HARKER (Hearing the Count) MINA!!!
Count Dracula exits, laughing
Soundscape / Music segue to…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 48
Act Two: Scene 1 Interior, daytime, domestic scene
For reference: Lucy and Mina are taking tea, late afternoon, interior. Lucy is reading a letter, whilst Mina is looking pensive. Mrs Evans enters, Mina begins to stand but Mrs Evans shakes her head.
MRS EVANS Ms Mina, there are no letters for you! (Beat) I’m sure you’ll hear word soon! It was quite a storm we had last night, didn’t manage to sleep a wink myself!
MINA (Sitting again) Thank you, Mrs Evans, I live in hope that I do… and yes, the rain, it was particularly ferocious…
LUCY (Takes Mina’s hand) Be strong dear Mina, Jonathan’s heart is yours and I’m sure that as soon as he is able he will send word.
MINA (Begins to stand) I need some air, maybe a walk along the seafront… (Beat) Lucy, I need to speak with you… about last night…
MRS EVANS (Inadvertently interrupting) But it’s getting late… (Beat) Anyway… If its solitude you seek Ms Mina, then the seafront’s the last place I would go at present!
MINA (Slightly frustrated that she was interrupted) And why might that be Mrs Evans?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 49
MRS EVANS The ship, the one grounded on the rocks. Quite a sight it is… people from all over have come to see. (Beat) Other than the Captain there was not a soul on board they say… Henry Applegate, the butcher, he says the boat drove right up on the sand heap – every spar, rope and stay was strained… (Beat) But he heard the strangest thing…
LUCY (Excited) And what was that?
MRS EVANS Well, one of the watchmen said that the very instant the shore was touched, an immense dog sprang up on deck from below, and running forward, jumped from the bow onto the sand. Making straight for the steep cliff, where the churchyard hangs over the laneway to the East Pier…
MINA (Smiling) A dog? Are you sure he’s not telling you one of his tall stories!
MRS EVANS (Getting slightly carried away with her recounting of the information, slight effect on her voice) It appears that the coastguard found the Captain literally lashed to the wheel. (Beat) It was no wonder that the poor man was shocked, or even awed, for not often can such a sight have been seen. The man was simply fastened by his hands, tied one over the other, to a spoke of the wheel. Between the inner hand and the wood was a crucifix, the set of beads on which it was fastened being around both wrists and wheel, and all kept fast by the binding cords. The poor fellow may have been seated at one time, but the flapping and buffeting of the sails had worked through the rudder of the wheel and dragged him to and fro, so that the cords with which he was tied had cut the flesh to the bone!
MINA Mrs Evans, you recount a tall-tale!
MRS EVANS As God is my witness, it is no word of a lie I promise…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 50
LUCY We should go and see… how exciting! MINA How ghoulish… the poor man… but no word of his crew?
MRS EVANS (Enjoying the ‘mysterious’ moment) Not a word! It turns out that the schooner is a Russian from Varna and is called the Demeter. She is almost entirely in ballast of silver sand, with only a small amount of cargo—a number of great wooden boxes filled with mould. This cargo was consigned to a Whitby solicitor, Mr. S. F. Billington, of 7, The Crescent, who this morning went aboard to take possession, but the boxes were all broken and sodden with seawater!
LUCY How strange! (Beat) But what of the hound?
MINA The hound?
LUCY Oh, Mina, the one that jumped from the ship!
MRS EVANS It was not to be found; it seems to have disappeared entirely from the town. It may be that it was frightened and made its way on to the moors. There are some who look with dread, for it is evidently a fierce brute. Early this morning a large dog, a half-bred mastiff close to Tate Hill Pier, was found dead in the roadway. It had been fighting, and manifestly had had a savage opponent, for its throat was torn away, and its belly was slit open as if with a savage claw.
MINA Mrs Evans!
MRS EVANS (Slightly indignant) Well, I say it as I see it… or as it’s told to me… We should all be on our guard if you ask me! (Beat) There’s something in the air I tell you, I can feel it, nothing that I can rightly put my finger on, but never-the-less! (Beat) It’s getting late; I shall turn down your beds…
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MINA Thank you, Mrs Evans… you are most kind. (Beat – Mrs Evans exits – Mina turns to Lucy) Lucy, there is something I need to speak with you about.
LUCY About the boat? The hound!
MINA (Smiling) You are so excitable! (Beat) No, neither of those things. It’s about… well, your sleep-walking! (Lucy is about to protest, but Mina is not having any of it!) Lucy, I have taken the liberty of writing to Arthur, please do not think badly of me, it is for your own safety that we are all concerned…
LUCY (Taken aback) Mina, why should you do such a thing?
MINA [need a sound effect on her voice as she retells the story] I have been concerned for some time, but last night you frightened me… Your bed was empty… (Beat) I looked for you in all the other open rooms of the house. Finally, I came to the hall door and found it open. (Beat) The clock was striking one as I was in the Crescent, and there was not a soul in sight. I ran along the North Terrace but could see no sign of you. The coming of the cloud was too quick for me to see much; but it seemed to me as though something dark stood behind the seat you love so much… (Beat) What it was, whether man or beast, I could not tell... There was undoubtedly something, long and black, bending over your half-reclining white figure. I called in fright, “Lucy! Lucy!” and something raised a head, and from where I was I could see a white face and red, gleaming eyes. (Beat) You did not answer, and I ran… I could see you half reclining with your head lying over the back of the seat. You were quite alone. (Beat)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 52
When I bent over you I could see that you were still asleep. Your lips were parted, and you were breathing—not softly as usual, but in long, heavy gasps. It took me an age, but I brought you back home… (Beat) Are you certain you can recall none of what I describe?
LUCY (Suddenly tired, and rubbing her neck) Mina, I have no recollection of all that you say. I know that you mean well… (Beat) …and I simply do not know what I would do without you and your friendship! (Beat) I am sorry, but I’m feeling so terribly tired, I think I need to lie down!
MINA (Noticing Lucy rubbing her neck) Your neck! (Stands and moves closer to have a look) Have you been bitten?
LUCY I did not notice… whatever it is has become more tiresome as the day has passed.
MINA Let me see…
LUCY Please don’t fuss; I am sure it is nothing!
MINA Please… Lucy. (Gingerly Lucy allows Mina to see her neck. There are two red bite marks there.) You have been bitten… I am going to call for Arthur and John this instant. They were planning to visit anyway, but this matter is becoming too serious to ignore!
LUCY (Standing, begins to speak and then faints into Mina’s arms) Oh, Mina, please… there really is noth…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 53
MINA (Catching Lucy and calling out to Mrs Evans) Oh, Lucy… (Beat) Mrs Evans… quickly… Mrs Evans!
Dramatic music builds up to end the episode…
End of Episode Six
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 54
Episode Seven
Act Two: Scene 2 Lunatic asylum, daytime
For story reference: Renfield is looking up to the ‘heavens’, there is a determined smile on his face. Clearly Seward is concerned. He is speaking with Arthur Holmwood.
SEWARD There was a strange and sudden change in Renfield last night.
HOLMWOOD How so?
SEWARD At about eight o’clock he began to get excited and sniff about as a dog does when setting. The attendant encouraged him to talk. (Beat) He is usually respectful to the attendant and at times servile; but the man told me he would not condescend to talk with him at all. (Beat) All he would say was:— “I don’t want to talk to you: you don’t count now; the Master is at hand.”
HOLMWOOD And do you have any answers as to the cause of these events?
SEWARD Not at present. (Beat) The attendant thinks it is some sudden form of religious mania which has seized him.
They are interrupted by the entrance of Mrs Evans.
SEWARD Mrs Evans… what brings you here?
MRS EVANS Oh, Dr Seward, Mr Holmwood, forgive the interruption… its Ms Lucy… you are needed urgently.
All exit and we segue to…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 55
Act Two: Scene 3
For story reference: [Zach, we need to talk about the sound-scape for this opening section]
Castle Dracula, interior, pin-spot on Harker who enters dishevelled (he has just had sex with the Vampire Brides). As he enters the castle library he is greeted by a gypsy, who is simply standing, waiting for him. Harker is nervous, knowing the existence of the gypsies, but not having had much to do with them during his stay at Castle Dracula. The gypsy steps forward, Harker is frozen to the spot, not knowing what this man wants… The gypsy studies Harker for a while and then reaches for his pocket, Harker flinches, the gypsy smiles and gestures reassuringly that everything is OK. From out of his pocket the gypsy pulls the key Harker needs to unlock the doors to the castle and escape. Slowly Harker reaches for the key, apprehensive at first, but then takes it from the gypsy’s hand. As Harker takes hold of the key the gypsy clasps both his hands around Harker’s and grips hard. Harker is slightly taken aback but stands his ground.
GYPSY You need to leave this place; certain death waits if you remain.
HARKER Who are you…? A gypsy… but I thought you worked for…
Harker goes to speak but the man indicates for him to remain silent
GYPSY Ssshhh… For centuries the Count imprisoned my people… I have been watching you, the games he plays with you… I should not wish you to suffer the same fate as we have done… (Beat) With him gone you have a chance to escape. Here… (Hands Harker a small bag of coins) …this will help you travel to your own home…
HARKER I do not know what to say… I wondered if I would ever be able to…
GYPSY My friends are waiting for you beyond the Castle gate; some fear this place too much to enter…
HARKER But not you?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 56
GYPSY I have faced death too many times to concern myself with fear now. (Beat) The Count has use for me in tending for what remains of his estate. (Beat) His women will sleep for hours now… this is your chance and you must not spend another moment here.
HARKER But…
GYPSY Go, for time is not on your side…
HARKER I hope that one day I can repay you for your kindness…
GYPSY Then let us leave that in the hands of the fates… (Beat) Now go…
Story reference: The gypsy escorts Harker to the door and with one final hand-shake sees him out of the door.
Soundscape: A sudden noise in another part of the Castle makes the gypsy uneasy, turn and then exit quickly in the direction the sound came from…
Music / Soundscape segue to…
Act Two: Scene 4 Evening, interior, Lucy Westenra’s home
Holmwood and Seward are led into the room by Mrs Evans. Mina is beside Lucy, who is lying down, covered with a blanket
MINA Oh, John… Arthur… (Beat) She’s worsened…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 57
Holmwood kneels beside Lucy, Arthur takes her pulse
SEWARD How so?
MINA Last night, I followed her, and eventually found... (Beat) At first, I thought she was alone, but then, there was something else there… a dark shape leaning over her. (Beat) I called out, it raised its head and I saw a face, white as the moon, piercing red eyes… (Beat) I ran towards her, but she was alone when I arrived… (Pointing to the bite) And this has been plaguing her all day. I did not see it last night…
SEWARD (Examining the bite) Did she say anything with regards to this?
MINA Not a word, it only seemed to trouble her this afternoon…
SEWARD She is running a high fever, she looks almost anaemic… (Beat) Mrs Evans, has there been any alteration in Ms Westenra’s diet?
MRS EVANS She has been slightly off her food in recent days, and I don’t think she has yet eaten today… I’ll go and prepare something and see if the poor thing will eat. (Mrs Evans exits)
HOLMWOOD (To Mina) Was it an animal, a man?
MINA It was dark, and my only concern was for Lucy… but I could swear it was a ‘man’, but not a man like I have ever seen before!
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SEWARD We must get her to a hospital… she is clearly worsening…
LUCY (Delirious) No… I am staying here… with my Mina… (Beat) My neck… Arthur… it burns…
HOLMWOOD I am here my darling… (Beat) John, what are we to do?
SEWARD (Thinking for a moment) Clearly Ms Westenra means to remain here… and if so she needs to be made as comfortable as possible. (Beat) What concerns me more than anything is what or who, she was bitten by… and what possible ailments she may contract from that bite! (Feeling her temperature again) She is getting weaker… (Light-bulb moment. Looks to Holmwood.) Do you remember me speaking to you with regards to Van Helsing? (Beat) The Professor I studied under!
HOLMWOOD (Dismissive) Yes, his ideas are simply outrageous! What help might he be anyway… and is he not in Europe?
SEWARD No, he is attending a seminar in London. (Beat) His ideas are… often… unorthodox I grant you that, but he remains one of the most advanced scientists to date.
HOLMWOOD Are you not over-reacting? Lucy has been bitten, but do you not feel it somewhat of a ‘leap’ to contact Van Helsing about a matter that is a treatable infection of some kind?
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SEWARD (Indignant) My dear friend, in the time we have been here, Ms Westenra’s condition has worsened, her eyes have become sunken, and all colour has gone… it’s as if her very life is being, or has been… drained, for want of a better word… knowing something of Van Helsing’s work, particularly that which appertains to bites and tropical infections, I consider his counsel the most appropriate course of action. (Beat) I shall take my leave and contact him immediately. (Beat) Ms Murray, do not leave Ms Lucy’s side, ensure she drinks as often as she is able. (Beat) I will return as soon as I can.
MINA I will remain with her.
HOLMWOOD Thank you, Mina. (Beat) John… I will come with you… let us travel to London this very night… (Beat, looks to Lucy) I only hope that you are right with regards to Van Helsing!
SEWARD (As they exit) So do I my friend, so do I!
Soundscape / Music segue [soft music] as we go to…
Act Two: Scene 5 Dim Pin-spot, abstract setting
SISTER AGATHA [there needs to be a sound effect on her voice as she is writing a letter] I write by desire of Mr. Jonathan Harker, who is himself not strong enough to write, though progressing well, thanks to God. He is under our care, suffering from a violent brain fever. He wishes me to convey his love, and to say, with his dutiful respects, that he is sorry for his delay, and that all his work is completed. (Beat)
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He has told me all about you, and that you are shortly to be his wife. All blessings to you both! He has had some fearful shock—so says our doctor—and in his delirium his ravings have been dreadful; of wolves and poison and blood; of ghosts and demons. Be careful with him always that there may be nothing to excite him of this kind for a long time to come; the traces of such an illness as his do not lightly die away. (Beat) In a short time, he has won all hearts by his sweetness and gentleness. He is truly getting on well, and I have no doubt will in a few weeks be all himself. (Beat) But be careful of him for safety’s sake. Many, many, happy years for you both. Sister Agatha.
Segue to…
Act Two: Scene 6 Lucy Westenra’s house, evening, interior
For reference: Mina is seated beside Lucy, mopping her brow; they are in a dim pin-spot. Mina is comforting Lucy, talking to her, Lucy is delirious, Mina is talking to Lucy as she tends to her friend
MINA And at last, correspondence from Jonathan… (Beat) Although I am relieved he is safe and recovering. He has asked that I visit him and that we be married the moment I arrive… Oh, Lucy, I have sent a Telegram to say yes, yes and a million times ‘yes’! (Beat) But I wonder, looking at you as I do, should I not remain here… (Looks to Lucy) Oh, my dearest Lucy… what is happening to you… since that… ‘thing’ bit you and you grow no stronger… I hope Dr Seward returns shortly, there has been no news... (Beat) I will be back presently, keep fighting Lucy!
For story reference: Mina mops Lucy’s brow one more time and then exits, leaving Lucy alone. The wind begins to build outside, as though a storm is brewing, but there’s no rain. There is then the sound of the windows bursting open and Dracula [dramatic music] is standing there.
Zach: We need music here… also an eerie and very abstract soundscape
Lucy stirs and after a few moments turns to Dracula. She holds out her arms and beckons him in.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 61
LUCY (Almost ‘mouthing’ the words) Come… come and drink…
Story reference: Dracula moves down to where Lucy is lying and after circling her he crouches down behind her and bites into her neck. Lucy reacts, painful at first and then ‘enjoyable’. Satisfied that he has drained enough blood, Dracula sits back. With one final look into Dracula’s eyes, Lucy rests her head again.
Then a sound of Mina returning. Dracula shoots in the direction the sound is coming from and steps back into the shadows, he watches Mina enter with fresh water / towel and sit beside Lucy. Mina begins to tend to Lucy but begins to sense there is someone or ‘thing’ in the room with them.
MINA Hello? (Beat) Is there anyone there?
Dracula steps out of the darkness slightly as if wanting to study Mina. There’s a sound from where Dracula is standing, Mina starts and turns, as she does so Dracula covers his face with his cloak and ‘disappears’, but not before Mina sees a glimpse of his face and clearly remembers it from the previous occasion.
MINA (Screams) What in Gods-name are you? (Beat) Mrs Evans, come quickly! Within seconds Mrs Evans enters
MRS EVANS What-ever is the matter, Ms Mina?
MINA (Clearly distraught) That… thing, creature I saw last week, when Lucy was sleepwalking… it was here, in this very room…
MRS EVANS (Nervous) Has it gone?
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MINA It just… disappeared!
MRS EVANS Ms Mina, you check on Ms Lucy… (Beat) I’ll make sure all the doors and windows in the house are locked.
MINA Lucy has a burning temperature… (Beat) Telegram to Arthur and John, telling them of what has happened and that they must return here quickly…
MRS EVANS But of course, Ms Mina
Build-up of music to end the episode…
End of Episode Seven
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Episode Eight
Act Two: Scene 7 Liverpool Street Station, evening, exterior
VAN HELSING John, good to see you… and your friend?
SEWARD Arthur has travelled back to Whitby. (Beat) There was startling news from Mrs Evans, the house-keeper…
VAN HELSING Pray tell…
SEWARD Well it seems that the creature that bit Ms Lucy returned to her rooms and her fever is racing… (Beat) The bite mark on her neck, the one I explained to you, it has also become inflamed…
VAN HELSING Does the fiancé know I am here?
SEWARD Arthur knew I planned to meet with you and ask you visit Ms Westenra, but I have not yet informed him of your arrival.
VAN HELSING (Beat, sighing slightly) Let me caution you. All men are mad in some way or the other; and inasmuch as you deal discreetly with your madmen, so deal with God’s madmen, too. (Beat) You tell not your madmen what you do nor why you do it; you tell them not what you think. So you shall keep knowledge in its place, where it may rest—where it may gather its kind around it and breed. You and I shall keep as yet what we know here, and here. (Touches Seward on the heart and on the forehead, and then touches himself the same way) I have for myself thoughts at the present. Later I shall unfold to you.
SEWARD Why not now? It may do some good; we may arrive at some decision.
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VAN HELSING Let’s not be premature. Let me see your patient and make an informed decision from that point onwards. (Beat) You were always a careful student, and your case-book was ever fuller than the rest. You were only student then; now you are master, and I trust that good habit has not fail. Remember, my friend that knowledge is stronger than memory, and we should not trust the weaker.
SEWARD I suggest we travel with all haste to Whitby, for I fear that Ms Westenra is worsening by the hour.
Train whistle at station as train leaves and then we segue into…
Story and Soundscape reference: Seward and Van Helsing travel on the train from London to Whitby. So, the sound-scape needs to be of a steam train racing. This can last for about 10 seconds and as it ends we segue into a domestic interior.
SEWARD Lucy, I’d like you to meet Professor Van Helsing, a good friend and my tutor.
LUCY (Shakes his hand weakly) Professor, so good of you to come… (Beat) But surely, I am fine, just a little tired.
MINA (Looking to Arthur, Seward and then to Van Helsing) Professor, Mina Murray, Lucy’s friend.
VAN HELSING (Van Helsing warmly shakes her hand) Ah, the one who has not left Ms Westenra’s side… you are indeed a good friend.
MINA (Sighs) For what good it has done!
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VAN HELSING (Reassuring) Good friends on-hand to help, and nurse, are to be cherished, Ms Murray (Beat) John tells me it is you who have seen this… how shall we say for want of a better description… ‘creature’, that it’s believed has bitten Ms Lucy?
MINA Indeed. (Beat) I believe it to be a ‘man’ of sorts, but his face so pale… it’s like nothing I have seen previous!
VAN HELSING (Listening) Indeed, well I should like to talk with you further about exactly what it was that you saw, but for now my attention really be with Ms Lucy – is that agreeable with you?
MINA Yes, indeed. (Beat) I need to prepare for my journey to meet with my fiancé. I leave tomorrow… unless you think I should remain…
VAN HELSING No, no… not at all. Lucy is in good hands here, she will be well-looked after… and your fiancé, from what I hear, is going to need some nursing of his own – and I can think of no one better than his love to do that. But before you leave, you and I can speak but for a few more moments about what you saw? (Mina nods her head and then exits, Van Helsing turns to Holmwood) And you must be Arthur Holmwood, Lucy’s fiancé?
HOLMWOOD Indeed, thank you so much for coming…
VAN HELSING Well, let’s not be thanking each other presently, not until we investigate what ails Ms Westenra… and see if we can find a means by which to make her well again.
Story reference: Van Helsing sits beside Lucy and examines her fully. He gives her a reassuring smile and then indicates for Seward and Holmwood to join him to one side.
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VAN HELSING There is no time to be lost. She will die for sheer want of blood to keep the heart’s action as it is. There must be transfusion of blood at once. Is it you or me?
SEWARD I am younger and stronger. Professor. It must be me.
VAN HELSING Then get ready at once. I have my bag. I am prepared.
HOLMWOOD What are your thoughts, Professor?
VAN HELSING She is bad, very, very bad. Nay, do not go like that. (Arthur suddenly goes weak) You are to help her. You can do more than any that live… your courage is your best help.
HOLMWOOD What can I do? (Beat) Tell me, and I shall do it. My life is hers, and I would give the last drop of blood in my body for her.
VAN HELSING My young sir, I do not ask so much as that—not the last! (Beat) Young Ms wants blood, and blood she must have or die. My friend John and I have consulted; and we are about to perform what we call transfusion of blood—to transfer from full veins of one to the empty veins which pine for him. John was to give his blood, as he is the younger and stronger than me… (Beat) …but, you are better than either of us, old or young, who toil much in the world of thought. Our nerves are not so calm and our blood not so bright than yours!
HOLMWOOD If you only knew how gladly I would die for her you would understand…
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VAN HELSING Good… (Beat) In the not-so-far-off you will be happy that you have done all for her you love. Come now and be silent. You shall kiss her once before it is done, but then you must go; and you must leave at my command…
(Van Helsing returns to Lucy and sits beside her, pulls out a small bottle of tonic and gets her to sip from it)
Now, little Ms, here is your medicine. Drink it off, like a good child. See, I lift you so that to swallow is easy. Yes…
(Van Helsing calls to Arthur)
Now, take off your coat… You may take that one little kiss whilst I prepare.
(Holmwood kisses Lucy, whilst Van Helsing prepares for the transfusion with Seward)
(Van Helsing administers the transfusion, as he does so he notices the bite mark and winces… he shoots Seward a knowing look - upon completing the transfusion he turns to Holmwood)
The brave lover, I think, deserve another kiss, which he shall have presently.
Now, Mrs Evans, take down our brave young lover, give him of the port wine, and let him lie down a while. He must then go home and rest, sleep much and eat much, that he may be recruited of what he has so given to his love. He must not stay here. Hold! A moment. I may take it, sir, that you are anxious of result. Then bring it with you that in all ways the operation is successful. You have saved her life this time, and you can go home and rest easy in mind that all that can be is. I shall tell her all when she is well; she shall love you none the less for what you have done. Good-bye.
Holmwood is led out of the room by Mrs Evans, leaving Seward and Van Helsing to converse beside Lucy’s bed.
SEWARD What do you make of that mark on her throat?
VAN HELSING What do you make of it?
SEWARD I have not examined it properly yet!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 68
VAN HELSING Then do so – immediately! (Seward examines Lucy’s neck) Well?
SEWARD I can make nothing of it!
VAN HELSING I must go back to Amsterdam to-night. There are books and things there which I want. You must remain here all the night and you must not let your sight pass from her. (Beat) No nurses… we are the best nurses, you and I. You keep watch all night and see that nothing disturbs her. I shall be back as soon as possible. And then we may begin.
SEWARD Begin? What on earth do you mean?
VAN HELSING We shall see. (Beat) Remember, she is your charge. If you leave her, and harm befalls, you shall not sleep easy hereafter! (Beat) In two days I shall return!
Van Helsing exits, leaving Seward seated beside Lucy. Lucy stirs.
SEWARD You do not want to go to sleep?
LUCY I’m afraid.
SEWARD Afraid to sleep! Why so? It is the boon we all crave for.
LUCY Ah, not if you were like me—if sleep was to you a presage of horror!
SEWARD A presage of horror! What on earth do you mean?
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LUCY I don’t know. And that is what is so terrible. All this weakness comes to me in sleep.
SEWARD But, you may sleep to-night. I am here watching you and promise that nothing will happen.
LUCY I can trust you!
SEWARD If I see any evidence of bad dreams I will wake you at once.
LUCY You will? Really? How good you are to me. Then I will sleep!
Mrs Evans enters the room.
SEWARD Ah, Mrs Evans, Lucy sleeps soundly.
MRS EVANS I’m glad. Now, Doctor Seward. You look worn out. (Beat) No sitting up to-night for you. I am more than capable of sitting with Ms Lucy. If there is to be any sitting up, it is I who will sit up with you both…
(Mrs Evans shows Seward into ‘the next room’, where he lays down)
You must stay here. I shall leave this door open and the door too. You can lie on the sofa for I know that nothing would induce any of you doctors to go to bed whilst there is a patient above the horizon. If she needs anything I shall call out, and you can come to her at once!
SEWARD Thank you, Mrs Evans… but I insist you call me if anything happens!
MRS EVANS Now, off to sleep with you.
Segue to…
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Act Two: Scene 8 Mina journeys to Jonathan – again, a soundscape that shows travel as Mina races to be beside her fiancé.
MINA (Voice-over whilst she is travelling. We will need the sound effect of a racing carriage, a boat and train… in that order.) Oh, my dearest Lucy, I worry for you so much. I know you are in safe hands. I know you will be anxious to hear all that has happened since I caught the boat to Hamburg. (Beat) I did want to say ‘good-bye’, but John thought it best I let you sleep. (Beat) I found my dear one so thin and pale and weak-looking. He is a wreck of himself, and he does not remember anything that has happened to him. At least, he wants me to believe so, and I shall never ask! (Beat) He has had some terrible shock. Sister Agatha, a born nurse, tells me that he raved of dreadful things whilst he was off his head. I wanted her to tell me what they were; but she would only cross herself.
SISTER AGATHA (A direct continuation from the end of Mina’s voice-over.) If a nurse through her vocation should hear them, she should respect her trust.
MINA I understand. (Beat) But… I am so worried.
SISTER AGATHA (Seeing that Mina is terribly troubled) I can tell you this much, that it was not about anything which he has done wrong himself; and you, as his wife to be, have no cause to be concerned.
MINA (Takes hold of Sister Agatha’s arm) I had begun to believe that he should have fallen in love with another. (Beat) I tremble at the idea of my being jealous about Jonathan! (Beat)
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And yet, Sister, hearing those words fills me a joy when I knew that no other woman was a cause of trouble. I would like to sit by his bedside. (Beat) Sister, he is waking!
HARKER (Delirious, tired, but clearly pleased to see Mina) My love, you came to me.
MINA Of course… nothing in this world would stop me.
HARKER (To Sister Agatha) Thank you for sending for my love…
SISTER AGATHA Her being here will help you grow strong...
HARKER Sister, could you bring my coat journal...
SISTER AGATHA I have it right here… (Hands the journal to Harker, who takes his notebook out of the pocket and beckons for her to sit beside him)
HARKER ‘Wilhelmina’… You know, dear, my ideas of the trust between husband and wife. I have had a great shock, and I do not know if it was all real or the dreaming of a madman. The secret is here, and I do not want to know it. Are you willing, Wilhelmina, to share my ignorance? Here is the book. Take it and keep it, read it if you will, but never let me know.
MINA (Taking the book and holding it to her chest) I will never open it unless it was for your own dear sake. (Beat, turns to Sister Agatha) You mentioned that Jonathan asked for us to be married as soon as I arrived. May that be so?
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SISTER AGATHA The formalities are being taken care of as we speak. (Beat) The Chaplain of the English Mission church has been sent for; you will be married this afternoon. Although it is against the doctor’s advice, Mr Harker wishes to return home no later than two days’ time. He will not say it, but he has become fearful and wishes to leave as soon as he can.
MINA Thank you, Sister...
SISTER AGATHA Now, let’s get this young man to his room…
Mina reluctantly leaves with Sister Agatha; clearly wanting to remain with Jonathan, as they leave Sister Agatha indicates for an orderly to come and collect Jonathan and take him to his room…
Segue to…
Act Two: Scene 9 Lunatic asylum, interior, moving to exterior, night-time
Story reference: Renfield is looking at the night sky. At first, he is peaceful, but then as he begins to sniff around like a dog he becomes more agitated. Seward is watching from a distance. Seward takes a step forward.
SEWARD Mr Renfield, is there something the matter? (Beat) Is there something bothering you?
RENFIELD I don’t want to talk to you: you don’t count now; the Master is at hand…
SEWARD Master? (Beat) Which Master would that be? Is it your spiders you speak of?
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RENFIELD (Looking at his spiders) Bother them all! I don’t care a pin about them!
SEWARD What? You don’t mean to tell me you don’t care about spiders? (Beat) But you have a notebook filled with columns of small figures, all relating to your spiders!
RENFIELD The bride-maidens rejoice the eyes that wait the coming of the bride; but as the bride draws nigh, then the maidens shine not to the eyes that are filled…
SEWARD I’m not sure that I understand!
Story / Soundscape reference: Suddenly Renfield looks up; there is the sound of a flapping of wings. (It’s Count Dracula as a bat!) He follows the sound around the room, until Renfield indicates by his stare that it is in a fixed spot. Seward is hastily following Renfield’s gaze and can only squint his eyes in the direction of the bat. Slowly his vision becomes clearer and he can make-out what Renfield is looking at.
SEWARD (Hoarse whisper) A bat! (Beat) What the… !?!
RENFIELD I am here to do your bidding, Master. I am your slave, and you will reward me, for I shall be faithful. I have worshipped you long and afar off. Now that you are near, I await your commands, and you will not pass me by, will you, dear Master, in your distribution of good things? [beat] I shall be patient, Master. It is coming—coming—coming! (Beat – to Seward) Now I can wait.
Segue to…
End of Episode Eight
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Episode Nine
Act Two: Scene 10 Lucy Westenra’s house, interior, the following morning
Van Helsing enters and places his hand on a sleeping Seward
VAN HELSING And how is our patient?
SEWARD (Waking, sleepy) Well, when I left her, or rather when she left me.
VAN HELSING Come, let us see. (They both look at Lucy in horror) Gott in Himmel! (Van Helsing raises his foot as if to stamp down in anger, but his anger subsides, and he remains calm) Quick! Bring the brandy
(Seward races out; Van Helsing leans over Lucy and does what he can to make her comfortable. Seward re-enters, with glass of brandy, which he hands to Van Helsing, who makes Lucy sip)
It is not too late. It beats, though but feebly. All our work is undone; we must begin again. There is no young Arthur here now; I have to call on you yourself this time, friend John.
(Van Helsing administers another transfusion, this time from Seward)
I fear that with growing strength she may wake; and that would make danger, oh, so much danger. But I shall precaution take. I shall give hypodermic injection of morphia. (Van Helsing proceeds with the injection) That will do…
SEWARD Really? You took a great deal more from Arthur!
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VAN HELSING He is her lover, her fiancé. You have work, much work, to do for her and for others; and the present will suffice. (Beat) Mind, nothing must be said of this. If our young lover should turn up unexpected, as before, no word to him. It would at once frighten him and enjealous him, too. (Beat) You are not much the worse. Go into the room, and lie on your sofa, and rest awhile; then come here to me.
Mrs Evans enters, bringing in some ‘flowers’ (it is in fact garlic)
MRS EVANS The Professor thought these might brighten your spirits!
VAN HELSING Thank you, Mrs Evans. (Beat) These are for you, Ms Lucy.
LUCY For me? Thank you, Professor…
VAN HELSING Yes, my dear, but not for you to play with. These are medicines. (Beat, Lucy pulls a face!) Nay, but they are not to take in a decoction or in nauseous form, so you need not snub that so charming nose. This is medicinal, but you do not know how. I put him in your window, I make pretty wreath, and hang him round your neck, so that you sleep well… smell them like the lotus flower as they wash away your troubles. (Beat) Oh yes! They, like the lotus flower, make your trouble forgotten. It smells so like the waters of Lethe, and of that fountain of youth that the Conquistadores sought for in the Florida’s, and find him all too late.
LUCY Professor, I believe you are only putting up a joke on me. Why, these flowers are but common garlic.
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VAN HELSING (Standing suddenly and being stern) No trifling with me! I never jest! There is grim purpose in all I do. Take care, for the sake of others if not for your own. (Beat) Do not fear me. I only do for your good; but there is much virtue to you in those so common flowers. See, I place them myself in your room. I make myself the wreath that you are to wear. But hush! No telling to others that make so inquisitive questions.
Lucy nods and accepts. Van Helsing takes Seward aside, whilst Mrs Evans exits
SEWARD Well, Professor, I know you always have a reason for what you do, but this certainly puzzles me. It is well we have no sceptic here, or he would say that you were working some spell to keep out an evil spirit.
VAN HELSING Perhaps I am! (Beat, and turning to Lucy) Tonight, when you go to sleep, take care you do not disturb it; and even if the room feel close, do not to-night open the window or the door.
LUCY I promise… (Beat) And thank you both a thousand times for all your kindness to me!
VAN HELSING (To Seward) To-night I can sleep in peace, and sleep I want—two nights of travel, much reading in the day between, and much anxiety on the day to follow. Tomorrow in the morning early you call for me, and we come together to see Ms Westenra.
Soft music segue here to the next scene…
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Act Two: Scene 11 Morning, interior, Lucy Westenra’s house
MRS EVANS You will be glad to know that Lucy is better. The dear child is still asleep. I looked into her room and saw her, but did not go in, lest I should disturb her.
VAN HELSING Aha! I thought I had diagnosed the case. My treatment is working…
MRS EVANS You must not take all the credit to yourself, doctor. Lucy’s state this morning is due in part to me…
VAN HELSING How you do mean, ma’am?
MRS EVANS Well, I was anxious about the dear child in the night and went into her room. She was sleeping soundly—so soundly that even my coming did not wake her. But the room was awfully stuffy with those horrible, strong-smelling flowers you brought, and she had some of them round her neck. I feared that the heavy odour would be too much for the dear child in her weak state, so I took them all away and opened a bit of the window to let in a little fresh air. You will be pleased with her, I am sure.
Mrs Evans exits, pleased that she has been of some ‘help’
VAN HELSING (Breaking down) God! God! God! (Beat) What have we done, what has she done, that we are so sore beset? Is there fate amongst us still, sent down from the pagan world of old, that such things must be, and in such way? (Beat) How are all the powers of the devils against us! (Beat, suddenly he motions for Seward to join him by Lucy’s bedside) Come, we must see and act. Devils or no devils, or all the devils at once, it matters not; we fight him all the same.
Story reference: The two men enter ‘Lucy’s’ room and gasp when they see her. Van Helsing moves over to Lucy and feels her pulse
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VAN HELSING It is not yet too late! Quick! Bring the brandy!
Seward does as he is asked, and Van Helsing tries to force Lucy to sip the liquid
SEWARD Will she live, Professor?
VAN HELSING If I thought not I would stop here where we are now, and let her fade away into peace… (Beat) But she is so weak… I truly I see no light in life over her horizon!
SEWARD But surely there is something that we can do!
VAN HELSING My God, the knowledge of what to do eludes me! (Beat, turning, desperation on his face) Where are we to turn for help? We must have another transfusion of blood, or that poor girl’s life won’t be worth an hour’s purchase. You are exhausted already; I am exhausted too. I fear to trust those women, even if they would have courage to submit. What are we to do for someone who will open his veins for her?
Arthur Holmwood enters, unaware of the severity of the situation
HOLMWOOD John, Professor… I sent word I was travelling from London today; my father seems to be improving and so I wanted to spend some time with Lucy… (Beat, see’s their ghastly looks, and then moves to Lucy) What… what has happened… she is worse! (Beat) Why was I not told? Why did you not send for me!
Van Helsing takes him by the shoulders and stands firm
VAN HELSING Your Lucy was improving, dramatically… (Beat, looks to Seward) But last night… well, it seems that matters have taken a turn for the worse…
SEWARD Arthur, we have only just arrived ourselves!
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HOLMWOOD What needs to be done to save her?
VAN HELSING A brave man’s blood is the best thing on this earth when a woman is in trouble. You’re a man and no mistake. Well, the devil may work against us for all he’s worth, but God sends us men when we want them.
Story reference: Van Helsing, Seward and Holmwood administer another blood transfusion. After the transfusion Holmwood collapses in a state of exhaustion.
Tend to your friend, brandy will help!
Seward aids Holmwood, whilst Van Helsing remains with Lucy
HOLMWOOD (To Seward) John, I am losing track of the days, how long has this been going on?
SEWARD About ten days.
HOLMWOOD Ten days! Then I guess, my friend, that poor Lucy, that we love, has had put into her veins within that time the blood of two strong men. Man alive, her whole body wouldn’t hold it. (Beat, in a fierce half-whisper) But… What took it out?
SEWARD (Shaking his head) That is the crux. Van Helsing is simply frantic about it, and I am at my wits’ end. I can’t even hazard a guess. There has been a series of little circumstances which have thrown out all our calculations as to Lucy being properly watched.
HOLMWOOD And what of her chances…
SEWARD Again, that my friend is a question I simply can’t answer as of yet…
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VAN HELSING (Urgently calling) John… come here! Seward and Holmwood join Van Helsing The bite marks on her neck... (Beat) They have vanished… and her pulse is so weak… (Beat) It will not be long now. It will be much difference, mark me, whether she dies conscious or in her sleep.
LUCY (Weak) Arthur! Oh, my love, I am so glad you have come! Kiss me!
Story / Soundscape reference: Holmwood goes to kiss Lucy, but Van Helsing swoops in and pulls him back, tossing him onto the floor. Hearing the commotion, Mrs Evans enters. Seward and Van Helsing stand back aghast as there is a fleeting surge of rage in her voice, her teeth ‘Vampire-like’ and champing viciously together. There is a final outburst and then her eyes close and her head falls to the pillow.
VAN HELSING She is gone…
Story reference: Mrs Evans, clearly upset, takes a fraught and horrified Holmwood away as Van Helsing moves closer to Seward
SEWARD Peace at long-last…
VAN HELSING (Solemnly) Not so; alas! Not so. It is only the beginning!
SEWARD What do you mean?
VAN HELSING We can do nothing as yet. Wait and see. (Beat) To-morrow I want you to bring me, before night, a set of post-mortem knives.
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SEWARD Must we make an autopsy?
VAN HELSING Yes and no. I want to operate, but not as you think. Let me tell you now, but not a word to another. I want to cut off her head and take out her heart. Ah! You a surgeon, and so shocked! You, whom I have seen with no tremble of hand or heart, do operations of life and death that make the rest shudder. But I must not forget, my dear friend John, that you loved her; and I have not forgotten it, for it is I that shall operate, and you must only help. I would like to do it to-night, but for Arthur I must not; he will want to see her—to see it. Then, when she is coffined ready for the next day, you and I shall come when all sleep. We shall unscrew the coffin-lid and shall do our operation: and then replace all, so that none know, save we alone.
SEWARD But why do it at all? The girl is dead. Why mutilate her poor body without need? And if there is no necessity for a post-mortem and nothing to gain by it—no good to her, to us, to science, to human knowledge—why do it? Without such it is monstrous.
VAN HELSING John, I pity your poor bleeding heart. If I could, I would take on myself the burden that you do bear. You have been my friend now many years, and yet did you ever know me to do any without good cause? (Beat) I may err—I am but man; but I believe in all I do. Were you not amazed, nay horrified, when I would not let Arthur kiss his love—though she was dying—and snatched him away by all my strength? Well, I have good reason now for all I want to do. You have for many years trust me; you have believed me weeks past, when there be things so strange that you might have well doubt. Believe me yet a little, John, there are strange and terrible days before us. Let us not be two, but one, that so we work to a good end. Will you not have faith in me?
SEWARD Yes… I do…
Music crescendo as the episode is ending…
Segue to…
End of Episode Nine
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 82
Episode Ten
Act Two: Scene 12 Exterior, Harker and Mina walking arm in arm, daytime, crowded London street scene
Story reference: Harker and Mina are clearly ‘happy’, though Mina has concerns for his health. Harker suddenly sees someone / something in the crowd and is startled. He grows tense; Mina senses this and becomes concerned
MINA Jonathan, what is it my love?
HARKER My God! (They both stare at a man in the shadows – the man is looking at Mina INTENSLEY) Do you see who it is?
MINA No, dear, I don’t know him; who is it?
HARKER (Looking terrified) It is the man himself! (Beat) It is the Count. My God, if this be so! Oh, my God! My God! If I only knew! If I only knew! (Clearly becoming increasingly distressed)
MINA Come my dear, it has been a tiring day. (Beat) Let us make our way home…
Soundscape as Harker and Mina make their way home
MINA Look, we have arrived back home… here; a Telegram has arrived for you...
Harker takes the telegram and opens it…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 83
HARKER (Opening the telegram) Professor Van Helsing… the man you spoke of… (Reading) oh, this is terrible news! (He is forced to sit. Lucy takes the telegram from his hands and reads it herself. She sits beside him)
MINA (Reads out content of telegram, voice effect needed) You will be grieved to hear that Ms Lucy Westenra died the day before yesterday. Stop. She was buried today. Stop. I have the need to speak urgently with Ms Murray, nay, Harker and if convenient will tomorrow catch the early morning train to meet with you. (Beat, takes hold of Harker’s hand tightly) Oh, what a wealth of sorrow in a few words! Poor Lucy! Gone, gone, never to return to us! And poor Arthur, to have lost such sweetness out of his life! God help us all.
HARKER (Standing) Please forgive me, I have the need to rest my head a while. (Beat, looks into Mina’s eyes lovingly) I will never tire of seeing your beautiful face… it is a vision that has seen me through the most treacherous of times… I love you so very much.
MINA And I you, my husband… (Beat) You are my world. Now, pray go rest.
Music segue needed here to take us from previous scene into the next…
VAN HELSING Madam Mina, so good to see you again. The last met I wanted to ask you what you remembered when you discovered Ms Lucy and the ‘creature’, but time wasn’t on our side…
MINA (Shuddering) I know… but I believe I told you all that I could remember…
VAN HELSING (Leading Mina to a seat, whilst he remains standing and paces throughout) I see but let us explore the possibility that there are additional details – facts if you like, which would help me right a terrible wrong! I have been empowered by Arthur Holmwood, to read his poor departed fiancé’s papers and letters, and wish to ask you some questions appertaining to my findings…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 84
MINA I can tell you, I believe, Professor, all that I can remember, only hoping that it will be of use to you.
VAN HELSING Ah, then you have a good memory for facts, for ‘details’?
MINA Not especially so… (Beat, pulls out some papers and both hers and Jonathan’s journals) But I wrote it all down… typed it in manuscript form… and included in it are the words from my husband’s journal, so people, should they wish, know everything.
VAN HELSING (Clearly delighted) How wonderfully practical. (Beat) May I read it?
MINA If you wish!
Story reference: Van Helsing takes the journals and papers and paces feverishly as he reads, getting increasingly excited
VAN HELSING Oh, Madam, how can I say what I owe to you? These journals, this manuscript, it opens the gate to me. I am so very grateful to you —if ever Abraham Van Helsing can do anything for you or yours; I trust you will call on me…
MINA Professor, you praise me too much…
VAN HELSING And please tell me, how is your husband?
MINA (Nervous) He was recovering well. But has had a recent shock… (Beat) You are aware that Mr Moorfoot, Jonathan’s employer, passed away recently and Jonathan has taken over his duties.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 85
VAN HELSING Indeed… but you say ‘was’ recovering well?
MINA (Recounting) It was yesterday, before we read your Telegram… (Beat) He thought he saw someone… the image of the person he went to Transylvania to meet, something which led to his brain fever…. Dracula… Count Dracula.
VAN HELSING I fear for you both… (Beat – then in a reassuring voice to Mina, soft music needed here…) My life is a lonely one, and so full of work that I have not had much time for friendships; but since I have been summoned to here, seen so many good people and such nobility... You have given me hope. I promise you that I will gladly do all for him that I can and make your life together a happy one. (Beat) I shall stay close by to-night, for I want to think much over what you have told me, and if I may, I hope that you will allow me to take this journal with me and read more.
MINA Of course, Professor.
VAN HELSING Tomorrow morning, if you permit, I should like to return and question you both…
MINA Indeed… (Beat) I cannot thank you enough for taking such a burden off my mind. This has been a difficult time for both Jonathan and I…
VAN HELSING (Smiling) Yes, marriage… love… but then the shadow of this matter. (Beat) Together we shall seek the source and root out the problem, of that I am certain. Now all well wishes to your husband and I look forward to meeting you both in the morning. (Beat - Van Helsing is about to leave, but turns to Mina) Madam, if I were to ask you and your husband to aid me, would either of you decline?
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MINA Professor, if this matter concern’s the ‘Count’ that my husband is so fearful of, and is the cause of poor Lucy’s death, then I can speak for both my husband and I that we shall come when you will.
Music segue to…
Act Two: Scene 13 Lunatic asylum, interior, lunchtime
Story reference: Seward turns as Van Helsing bounds in, newspaper in hand. He thrusts the newspaper into Seward’s hand
VAN HELSING (Pointing to a particular article) What do you think of that?
SEWARD (Taking paper) … a number of children have been decoyed away at Hampstead… and small puncture wounds were found on their throats! (Beat) It’s 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 injured Lucy has also injured them.
VAN HELSING That is true indirectly, but not directly.
SEWARD (Perplexed) How do you mean, Professor? (Beat – silence) Tell me! I can hazard no opinion. I do not know what to think, and I have no data on which to find a conjecture.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 87
VAN HELSING Do you mean to tell me, John that you have no suspicion as to how Miss Lucy died?
SEWARD Of nervous prostration following on great loss or waste of blood…
VAN HELSING And how the blood lost or waste? (Seward thinks, but shakes his head; he cannot come up with an answer – Helsing sits down beside him) You are clever man, John; you reason well, and your wit is bold; but you are too prejudiced. You do not let your eyes see nor your ears hear, and that which is outside your daily life is not of account to you. (Beat) Do you not think that there are things which you cannot understand, and yet which are? (Beat) It is the fault of our science that it wants to explain all; and if it explains not, then it says there is nothing to explain. (Beat) I suppose you believe not in corporeal transference. No? Nor in materialisation. No? Nor in astral bodies. Nor in the reading of thought. Or in hypnotism…
SEWARD Yes, Charcot has proved that well!
VAN HELSING (Smiles) John, am I to take it that you simply accept fact, and are satisfied to let from premise to conclusion be a blank? Then tell me—for I am student of the brain—how you can accept the hypnotism and reject the thought reading. Let me tell you, my friend, that there are things done to-day in electrical science which would have been deemed unholy by the very men who discovered electricity. (Beat) There are always mysteries in life. (Beat) Do you know all the mystery of life and death? Do you know the altogether of comparative anatomy and can say wherefore the qualities of brutes are in some men, and not in others? Can you tell me why in the Pampas, ay and elsewhere, there are bats that come at night and open the veins of cattle and suck dry their veins; how in some islands of the Western seas there are bats which hang on the trees all day, and then when the sailors sleep on the deck, because that it is hot, flit down on them, and then—and then in the morning are found dead men, white as even Ms Lucy was?
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SEWARD Good God Professor! Do you honestly mean to tell me that Lucy was bitten by such a bat; and that such a thing is here in London in the nineteenth century?
VAN HELSING I am telling you to believe…
SEWARD (Interrupting Van Helsing) Believe what Professor? Tell me the thesis, so that I may apply your knowledge as you go on. At present I am going in my mind from point to point as a mad man, and not a sane one, follows an idea. I feel like a novice lumbering through a bog in a mist, jumping from one tussock to another in the mere blind effort to move on without knowing where I am going! So, Professor, to believe what?
VAN HELSING To believe in things that you cannot. Let me illustrate. (Beat) I heard once of an American who so defined faith: ‘that faculty which enables us to believe things which we know to be untrue.’ For one, I follow that man. He meant that we shall have an open mind, and not let a little bit of truth check the rush of a big truth. We get the small truth first. Good! We keep him, and we value him; but all the same we must not let him think himself all the truth in the universe.
SEWARD Then you want me not to let some previous conviction injure the receptivity of my mind with regard to some strange matter. Do I read your lesson correctly?
VAN HELSING Ah, you are my favourite pupil still. It is worth to teach you. Now that you are willing to understand, you have taken the first step to understand. (Beat) You think then that those so small holes in the children’s throats were made by the same that made the hole in Ms Lucy?
SEWARD Yes…
VAN HELSING Then you are wrong. Oh, would it were so! But alas! No. It is worse, far worse.
SEWARD In God’s name, Professor Van Helsing, what do you mean?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 89
VAN HELSING They were made by Ms Lucy!
Seward stands and is clearly furious
SEWARD Professor Van Helsing, have you gone mad?
VAN HELSING Would I were! (Beat) Madness was easy to bear compared with truth like this. Oh, my friend, why, do you think I go so far round to tell you so simple a thing? Was it because I hate you and have hated you all my life? Was it because I wished to give you pain? Was it that I wanted, now so late, revenge for that time when you saved my life, and from a fearful death? Ah no!
SEWARD Forgive me!
VAN HELSING John, it was because I wished to be gentle in the breaking to you, for I know you have loved that so sweet lady. But even yet I do not expect you to believe. To-night I go to prove it. (Beat) The logic is simple, no madman’s logic this time, jumping from tussock to tussock in a misty bog. Dare you come with me?
SEWARD And then what will happen?
VAN HELSING (Taking a key from his pocket) This is the key that opens the tomb. I had a copy from the coffin-man who gave it to give to Arthur. [beat] We spend the night, you and I, in the crypt where Lucy lies.
Music builds to crescendo as episode comes to an end…
End of Episode Ten
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 90
Episode Eleven
Act Two: Scene 14 Lucy’s crypt, night, interior
Story reference: Van Helsing and Seward are speaking in hushed tones as they enter ‘Lucy’s crypt’ – they bring with them items in a bag and a shovel
SEWARD What are you going to do?
VAN HELSING To show you what I already know… (Van Helsing beckons Seward to look into the crypt) That this coffin is empty!
SEWARD (Gasps, then composes himself) Well, I am satisfied that Lucy’s body is not here! But that only proves one thing!
VAN HELSING And what is that, John?
SEWARD That it is not there!
VAN HELSING (Smiling) That is good logic, so far as it goes. But how do you—how can you—account for it not being there?
SEWARD Perhaps a body-snatcher? Some of the undertaker’s people may have stolen it!
VAN HELSING (Starts, as if hearing a sound) Quickly… someone comes… or if I am correct in my thinking, returns… now, we must hide in the shadows!
Story / Soundscape reference: Seward and Van Helsing hide, as they do Lucy enters, almost in a trance-like state. She moves over to the coffin but stops when she sees the lid is open. Lucy swings around to where the two men are standing, bares her Vampire teeth and lunges at them.
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 91
There then ensues a fight between Lucy (who is strong) and the two men. The end result is that Van Helsing stakes Lucy, she falls, struggling, Seward looks on ‘helpless’, Van Helsing then takes the shovel and as he brings it down (as in going to chop off Lucy’s head). Van Helsing, mopping his brow, joins him, bringing the bag and shovel.
VAN HELSING Are your nerves recovered, John? Do you believe me now?
SEWARD (Gulping) Do not press me too hard all at once. However, I am willing to accept.
VAN HELSING John, know this… should we come across more Un-Dead, cut off their heads and burn their hearts or drive a stake through it, so that the world may be rid of them! (Beat) I learned much from both Mr Harker’s journal and that of his courageous wife. Un-Dead, or Vampires as they’re so often referred to have the strength of at least twenty men, and can change form to bat or wolf… (Beat) If I am correct, then I know who bit Ms Lucy and is the cause of such great unhappiness… and where to find him.
SEWARD Who, Professor… and where?
VAN HELSING Count Dracula… and if you are brave of heart, I ask you to join me in my quest! But first you have much reading to do… two journals and a manuscript… they will answer some of your many questions!
SEWARD Who is Count Dracula? And what quest… where are we going?
VAN HELSING First to Telegram Jonathan and Mina Harker, as I fear, they are both in grave danger and I fear I must do something I hope I will not regret… and then Arthur, no… Lord Godalming, now his father has passed… it is terrible for him to lose two so close to him so quickly after each other… (Beat) And then to Transylvania… Castle Dracula, the home of the Un-Dead… that will be our battle- ground!
Van Helsing exits
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 92
SEWARD (Beat) (To a departing Van Helsing) Battle-ground? (Beat) What danger… (Seward also exits)
Music segue from previous scene to the next…
Segue to…
Act Two: Scene 15 Interior, Van Helsing’s room at The Berkeley Hotel, London, evening
HOLMWOOD (Clearly upset) Professor, are you in earnest; or is it some monstrous joke? (Beat) I simply cannot believe what I am hearing… my poor Lucy… you went into the crypt… and… (Beat) I am willing to be patient in all things that are reasonable; but in this—this desecration of the grave—of one who… (Beat) And Mina… this journal… what happened to Jonathan… it is all far too fantastical for me to believe…
MINA (Quietly) There is not a false word written…
HARKER Arthur… Mina is correct… I was held a prisoner there for months… this… this ‘man’… (Beat) No, not a ‘man’, this creature… he is cursed… and he; ‘it’… must be destroyed.
HOLMWOOD Transylvania…?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 93
VAN HELSING (Matter of fact) There are mysteries which men can only guess at, which age by age they may solve only in part. Believe me; we are now on the verge of one. Which is why I had to cut off the head of dead Ms Lucy! (Beat) Please, I wish you all would have some tea – it is a blend I have procured myself, unique and revitalising.
The three men decline, but Mina drinks, watched by Van Helsing
And how do you find it, Madame?
MINA (Clearly doesn’t like it, but doesn’t want to offend) It is indeed an interesting blend, Professor, not one that I am used to…
VAN HELSING (Insisting) Please, then another cup…
Not wanting to appear impolite, Mina has some more tea
HOLMWOOD And why Mina? (Beat) Why do you fear for her life?
VAN HELSING Jonathan has already informed me, and it is indeed in his journal, that Count Dracula had an instant fascination with his then fiancé. (Beat) He kept a hold of a locket containing her portrait and himself travelled to Whitby, leaving with a ship laden with fifty boxes of earth from his home-land, and as a large dog… but methinks it was a wolf, jumped ashore as the ship ran aground… (Beat) True, it is coincidence that the man sent to do business with the Count had a fiancé who clearly reminded the Count of someone he lost… but was it?
SEWARD Meaning?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 94
VAN HELSING Well Doctor, you yourself have been treating the first person sent to do business with the Count… (Beat) All I ask is that you keep an open mind… all roads lead to this Count Dracula meeting Mina… however ‘coincidental’… do they not? (Beat) With Mr Renfield home, driven to ‘insanity’, a fresh young replacement needed to be sent to conclude what is undoubtedly a lucrative business arrangement. If someone other than Jonathan Harker was sent then Doctor, maybe you would have one other patient to care for! (Beat) Mr Jonathan is held prisoner, many questions are asked of him by the Count, who admittedly probably desired a fresh source of blood… a new feeding ground so to speak, and selected London many moons ago, but upon seeing the picture in the locket of the lovely Ms Mina… well… it was all too good to be true…
HOLMWOOD And Lucy?
VAN HELSING Forgive what I am about to say… for someone who has lost a love so dear the words sound cold…
HOLMWOOD Please, go on…
VAN HELSING Food! (Beat) The Count needed a food supply, and who better than Ms Lucy, whose close friend Ms Mina was visiting… (Beat) Which is why it benefited him ‘so-well’. With Ms Lucy in a trance-like state from sleepwalking, it gave him the perfect opportunity to use this to his advantage and only took just enough blood to quench his thirst… so to speak!
HOLMWOOD Surely you jest, Professor…
VAN HELSING A monster he may be… but there is still a ‘man’ somewhere in his being and he possibly enjoyed watching, spying-on if you like, Ms Mina… not yet wanting to make his move… it is after all the delight of many an ‘animal’, whatever they be… ‘the thrill of the hunt’… as they say!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 95
HARKER So, Professor, you say that he was biding his time…
VAN HELSING Only the Count himself knows of his intentions… I am merely following the breadcrumbs that he is leaving, whether he knows it or not!
HOLMWOOD And you genuinely believe he will be heading back to his Castle…
VAN HELSING Yes, because with the ship, the one carrying soil and mould from his homeland, grounded and its contents all spilled and spoiled and dampened by seawater… I am sure that he must return home for some reason which I have not yet fathomed, which wasn’t his design… (Beat) Despite his power, his strength, he evidently fears discovery or interference, without earth from his homeland he is almost in a state of helplessness… my reading and research leads me to believe that he is confined between dawn and sunset in his wooden box, for his wooden box contains such earth and thus far he has only been seen at night… daylight is his ‘enemy’… and the only way he can return home is with the aid of the Szgany, the local Gypsies he has some sort of ‘hold’ over… …but… (Beat) (Looks to Mina) He will not, leave without his ‘prize’… (Beat) With her he can set aside his ‘desires’ of London…
HARKER But what of all his books… his talk of coming to London…
VAN HELSING Do you know if he was being truthful? (Beat) Why should you doubt his word when you first met? (Beat) But now, knowing what you know… do you still believe that is or was his intention?
HARKER Professor, I simply do not know what to believe any longer… (Beat) But what are we to do?
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 96
VAN HELSING (To Mina) Madame Mina, would you be so kind as to open the window. I’m feeling a little warm
Mina stands, she is clearly troubled, and walks over to the window, opening it
MINA It is getting stuffy in here… a breath of air will do us all the world of good!
VAN HELSING Thank you… (Calming everyone down) There is always ‘hope’ Mr Jonathan… (Beat) I have…
Soundscape / Story reference: Before Van Helsing can finish, Dracula swoops in through the open window… Before anyone can do anything, he sweeps his cape over Mina, who is standing beside the open window and in an instant they both ‘disappear’. Harker, Holmwood and Seward race to ‘the window’, with Harker crying out ‘Mina!!!’ into the night air. Van Helsing remains still. Realising that the situation is ‘beyond’ them, the men look to each other and then to Helsing. Harker looks at the Professor, who stares straight back into his eyes. Harker then has a ‘light- bulb’ moment of realisation
HARKER (Begins calmly, but then there is anger and fear in his voice) You… (Struggling to find his words) You knew this would happen… (Beat) You needed a way to draw him out… Mina was the… the bait! (Begins to lunge forward, but his held by Seward, and then Holmwood) After all we gave you… you used Mina to draw him out! I should kill you!
SEWARD (Disbelieving) Jonathan, I know that you are upset… (Beat) But surely you can’t think that… (Looks to Van Helsing Realising the look in Van Helsing’s face reveals that this was a part of his ‘plan’) Professor…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 97
VAN HELSING If you gentleman will remain calm I will explain, for it is a far greater picture than those gathered in this room… and Ms Mina!
HOLMWOOD This is outrageous… you’re a monster!
VAN HELSING I fear that you will call me many things, and what I have set in motion I hope that you will see, once your anger subsides, is for the greater good!
HARKER I care only for Mina…
VAN HELSING Fear not for Ms Mina. She will be safe for a while…
HARKER (Still struggling with Holmwood and Seward to free himself) How can you be so sure? (Beat) That… creature could be turning Mina into… a Vampire as we speak!
VAN HELSING Because, the tea she drank contains, amongst other herbs, extract of garlic… a particularly potent type… and garlic is one of a number of means to protect oneself from a Vampire’s bite.
SEWARD The Professor is correct… about the garlic… I have been reading of many accounts…
HARKER That still does not excuse…
VAN HELSING My methods in this case, were, extreme, but I was indeed at a loss as to how to ‘draw him out’ as you say… the thought about using Ms Mina as a means by which to make the Count show himself only came to me recently…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 98
HARKER And you did not confer? (Beat) You took it upon yourself to risk her life… him now returning to that wretched place… If I didn’t need your guidance in this matter, I would thrash you to within an inch of your life!
VAN HELSING Mr Jonathan… let us then use this anger, this drive you have, to sail tomorrow night, on the evening tide, to France, then by train from Paris to Budapest and finally horse and carriage to our destination; Transylvania… passage has already been arranged… I am convinced without a shadow of doubt, that is where he is heading… to the Castle Dracula, which I am sure still gives you nightmares, for this is the only way we will save the life of your Mina, aid you in confronting your demons… and for the sake of human-kind everywhere… (Beat) Rid the world of the Count once and for all!
Music crescendo to end the episode…
End of Episode Eleven
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 99
Episode Twelve
Act Two: Scene 16 Lunatic asylum, interior
Seward bursts in to see Renfield on the floor, his face bruised and battered. Seward crouches down to speak to Renfield
SEWARD Mr Renfield, I came as soon as I heard. (Beat) …the blood, you’re beaten… what has happened?
RENFIELD (Almost trance-like, maybe an effect on his voice – needs music also) ‘Rats, rats, rats! Hundreds, thousands, millions of them, and everyone a life; and dogs to eat them, and cats too. All lives! All red blood, with years of life in it; and not merely buzzing flies!’ I laughed at him, for I wanted to see what he could do. Then the dogs howled, away beyond the dark trees in His house. He beckoned me to the window. I got up and looked out, and He raised his hands, and seemed to call out without using any words. A dark mass spread over the grass, coming on like the shape of a flame of fire; and then He moved the mist to the right and left, and I could see that there were thousands of rats with their eyes blazing red—like His, only smaller. He held up his hand, and they all stopped; and I thought he seemed to be saying: ‘All these lives will I give you, ay, and many more and greater, through countless ages, if you will fall down and worship me!’ And then a red cloud, like the colour of blood, seemed to close over my eyes; and before I knew what I was doing, I found myself opening the sash and saying to Him: ‘Come in, Lord and Master!’
(Beat)
I don’t care for the pale people; I like them with lots of blood in them. So, when He came I was ready for Him. I saw the mist stealing in, and I grabbed it tight. I had heard that madmen have unnatural strength; and as I knew I was mad—at times anyhow—I resolved to use my power. He felt it too, for He had to come out of the mist to struggle with me. I held tight; and I thought I was going to win… till I saw His eyes. They burned into me, and my strength became like water. He slipped through it, and when I tried to cling to Him, He raised me up and flung me down, again and again... There was a red cloud before me, and a noise like thunder, and the mist seemed to steal away under the door. (Beat) His words were hollow! I am no more! I am no more!
(Renfield dies)
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 100
SEWARD (Soothing) Rest… Mr Renfield… it is time for you to rest in peace, you poor, tortured man… I must with all speed travel to London to journey with my comrades to Castle Dracula this very evening… I will, with every fibre of my being, seek justice for what has been done to you…
Segue from music / soundscape of previous scene to a ‘horse-drawn carriage’ as it races with great speed through the night…
Zach: Need dramatic build of music for the following scene…
Act Two: Scene 17
Story / Soundscape reference: Scene with the four men (Van Helsing, Jonathan Harker, John Seward and Arthur Holmwood) travelling by horse-drawn coach at great speed towards Castle Dracula. There needs to be the sounds of horses pulling the carriage they are on a dirt road, Holmwood jeering on the horses, it must be frenetic… a race against time. It is late afternoon and the sun is beginning to set. Big music stuff going on here Zach – we’ll need to go through this one very carefully…
HOLMWOOD We need to hurry; the sun is beginning to set… (Beat) If what you say is correct, Professor, the darkness will be the Count’s only friend!
HARKER (Pointing) Borgo Pass… I can see it in the distance…
VAN HELSING Are you sure?
HARKER I remember crawling this road, when I escaped the castle… (Beat) Not something a man is likely to forget, Professor!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 101
VAN HELSING Hold your nerve, Mr Jonathan… hold your nerve, for Mina needs us all… (Beat) We must remain strong together! (Beat) We must reach the castle before sunset and burn it to the ground, giving this creature of the night nowhere to seek refuge…
HOLMWOOD What happens if the Count is caught in the sun’s rays?
VAN HELSING (Shouting loud so as to be heard over the soundscape) It is written that his body will crumble to dust and be blown by the wind to all corners of this cursed land!
HOLMWOOD Can you be sure of that? (Beat) For all our sakes… I hope you’re right…
VAN HELSING (Almost to himself) So, do I my boy (Beat) So, do I!
Story reference: As the four continue onward, with the soundscape playing, the lighting begins to change, indicating that we are fast-approaching sunset
HARKER Time is not on our side, Professor!
VAN HELSING Your Lordship, I suggest you use your skills as a horseman to make these beasts hasten their speed if we are to accomplish what we came here to do!
Holmwood takes the hint and we see him pushing the horses even faster. As they travel, we begin to hear the sounds of wolves, hundreds of wolves, howling…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 102
HARKER (Solemn) He knows we are coming! (Beat) He is sending his beasts to stop us!
VAN HELSING Then we are right… (Beat) The creature has returned home… (Beat) Faster your Lordship, faster…
SEWARD The sun is almost set… we are running out of time…
HARKER (Jubilant) The Castle, through the gatehouse and into the courtyard…
Story reference: The ‘carriage’ and its passengers’ race into the castle courtyard and come to a halt. Just as they disembark the sun sets and Count Dracula stands before them, Mina in his arms. She isn’t struggling, just in a trance from Dracula’s hypnotic stare.
The four men stand before the Count, each ready to attack. We hear on the soundscape the wolves howling even louder, clearly getting closer. The Count is unflinching.
DRACULA Professor, we meet at last!
VAN HELSING Unhand her, Dracula. Haven’t you caused enough hurt!
DRACULA And what of the hurt done unto me? (Beat) Should I not seek vengeance?
VAN HELSING None of the people present caused you harm, these people are not to blame for what has happened to you! (Beat) If it’s pity, nay sympathy that you seek, well, you will not find that amongst those here!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 103
DRACULA (Looks intently at Van Helsing and then smiles) You cannot possibly imagine what I have been through, what I have endured… you, a man of scientific mind would marvel at the sights I have seen, the world in its ever-changing form… I have battled, fought for what I believe and the one soul who meant everything to me was taken, by an act of cowardice… I swore revenge on the people who did this…
VAN HELSING But those days are long-gone Count… what gives you the right to defy and steal the lives of innocents?
DRACULA Over 400 years of witness, to watch how man never learns… (Beat) His follies repeated… I wanted just a moment of peace with the one I loved!
VAN HELSING But this woman… she is NOT the one you loved! (Beat) True, she is the image of her, but look Count, look… she is the love of another… and you would take that away from another man, you would pain him the way you have been pained… where is the resolve and justice in that!
DRACULA I care not for justice, as none has been shown to me… (Beat) My life has been one of waiting, waiting to find my love… (Beat) Can you not understand that?
VAN HELSING I am but a lonely old man… I have failed those I loved… (Beat) But what I suggest to you is that yours is a life wasted… (Beat) There are no promises in this life… choices are made, often by others who affect us, you have no ‘right’ to do what you have done to others… even you, if there is indeed an ounce of ‘man’ left in you, can’t make claim to that!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 104
DRACULA There is wisdom in your words, but it does not satisfy the heart! (Beat) Your tincture, Professor, a clever move, the residue has lasted in Mina’s body for several moons, but it weakens and begins to leave her helpless… (Beat) It is provident then, that you shall all bear witness to making Mina mine… (He bites into Mina’s neck)
HARKER Nooo… Mina!
DRACULA With the sharing of blood our destiny has come to pass…
HARKER She will never be yours…
VAN HELSING [shouting] Jonathan… no… he is too strong for you…
DRACULA Mina… she was never yours!
Story and Soundscape reference: Harker screams out Mina’s name and lunges at Dracula, who lets Mina’s body fall to his feet. Dracula knocks Harker aside and then a ‘battle’ ensues between the Count and the men.
Interspersed throughout the fight we hear the following lines – placing of each to be determined as the soundscape is created
HARKER Mina, Mine my love, come back to me… please… come back…
SEWARD Professor… the wooden stake… hand me the stake…
HOLMWOOD You devil, you killed my Lucy, you will pay dearly for that!
DRACULA Lucy served her purpose… she gave me life!
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 105
VAN HELSING Be careful your Lordship, do not let him take your blood…
DRACULA Professor, you’ve become tiresome, it’s time to rid you once and for all!
VAN HELSING You may end my life you monster, but there will be others – you’ll not go unchallenged!
SEWARD He’s too strong… get up Holmwood, watch your back… he’s coming…
HOLMWOOD [as an aside] He has the strength of a dozen men… how are we to defeat him.
VAN HELSING Do not give up your Lordship, we may not get another chance like this for a long time to rid this pestilence once and for all!
DRACULA Even with your combined strength you are no match for me!
Story / Soundscape reference: This needs to be a ferocious battle, with Dracula battling each of them, all get knocked about. Harker remains with Mina, leaving the fighting predominantly to Holmwood, Seward and Van Helsing. Eventually Dracula knocks each of the three men down, Van Helsing being the final one, as he knocks Van Helsing down Harker grabs a stake and as Dracula turns, clearly wanting to finish ‘turning’ Mina, Harker rams the stake through his heart.
HARKER The stake, throw me the stake… [beat] Die… you abomination!
Sound of stake being plunged into Dracula’s heart…
DRACULA [crying out] You… how dare you… take… my… life…
HOLMWOOD You got him Jonathan…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 106
VAN HELSING Well done Mr Harker… push the stake right into his heart!
DRACULA [as he is dying with a stake in his heart] Nooo… this is not the end for me Mr Harker… our Destiney’s are intertwined forever…
HARKER Your life has come to an end, Count… your body turned to dust!
Story / soundscape reference: Dracula falls to the ground – all very dramatic – reaches out a fist to Harker, who pulls away and then a longing hand to Mina, who begins to reach for him, but Jonathan Harker pulls her back into his arms.
Slowly Van Helsing, Seward and Holmwood stand, and one by one they move towards him. Dracula ‘twitches’ and Harker immediately ‘jumps’ up and pushes the stake further into him.
Dracula lets out one final agonising ‘cry’.
VAN HELSING It is over… [beat] We shall sleep more soundly now.
HARKER Mina, Mina… please, wake up…
MINA [groaning, sleepily] Jonathan, Jonathan… is that you?
VAN HELSING Ahhh, the little Miss… she awakens…
SEWARD Is it really over Professor?
VAN HELSING Let us pray that is the case!
Soft music inserted here…
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 107
HOLMWOOD (Looking up at the moon-lit sky, and then to the mountains) Look… (Beat – all look) See! See how the mountain snow, under the moonlight, is stainless… pure white!
HARKER Mina, let me hold you in my arms…
SEWARD [cautionary] Be careful, Jonathan… the Count bit her… you don’t know…
HOLMWOOD Is she going to be alright, Professor?
VAN HELSING We should be cautious…
Dramatic music build up…
SEWARD [calling out in haste] Jonathan, watch out… Mina, she’s going to bite you…
HARKER [cries out as Mina bites his neck] Aaaarrrrgggghhhh….
Bigger build up of music…
VAN HELSING NNNOOO!!!
Music gets softer… there is a sinister laugh… the cry of wolves…
The End
DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 108