DRACULA CHARLES MOREY BRAM STOKER'S. Adapted By. Charles Morey, 1990 Revised 2010

Transcription

1 BRAM STOKER'S DRACULA Adapted By CHARLES MOREY Charles Morey, 1990 Revised 2010 Representation: Mary Harden Harden-Curtis Associates 850 7th Ave., Suite 903 New York, NY Revised - November, 2010

2 NOTE This adaptation of Bram Stoker's extraordinary novel DRACULA is an attempt to translate that work to the stage in a manner that is as faithful as possible to the plot structure, characters, thematic concerns, tone, and sensibility of the original. Thus, it retains all but one of the novel's principal characters and many of its minor figures as well. It follows Stoker's plot sequence and attempts to maintain the semi-documentary tone of the original. And it tries to balance the explicit allegorical framework of the struggle between good and evil with the unalloyed melodrama of the Gothic thriller. As originally produced by the Pioneer Theatre Company and subsequently by the Repertory Theatre of St. Louis, the play was set on an open raked stage (designed in both instances by Peter Harrison) surrounded by crumbling Gothic columns. Tracks moved palettes containing furniture and/or actors into and out of the playing space as required. There was an area up center for the several scrim through appearances and also a rear projection screen for the moon, "wolf's eye" projections and, in the most recent production, video sequences. Bats - as well as the actor playing Dracula - flew on several occasions. We had elevators, pyrotechnics and fog of every conceivable variety. In short - these were enormous physical productions. And, therefore, the script contains many annoying references to special effects and seemingly impossible shifts in location. Bram Stoker's story, however, is so strong on its own terms that I remain quite confident that this adaptation can be produced successfully in a far simpler manner. (In fact, among the strongest experiences of this play to date, are several rehearsal room run-throughs with no special effects whatsoever.) The only true necessity is a company of actors capable of filling the enormous emotional size of the material and an imaginative staging that allows the piece to move rapidly from event to event. This material should play with a ferocious urgency. The stakes (pun intended) are enormous in virtually every scene. In its most recent production, the Pioneer Theatre Company 2010 revival, the first act played in 1:12 and the second in 1:02 for a total running time of 2:29 including a fifteen minute intermission. Charles Morey

3 Bram Stoker's DRACULA CAST 1. Abraham Van Helsing 2. Jonathan Harker 3. Dr. John Seward 4. Arthur Holmwood 5. Lucy Westenra 6. Mina Murray Harker 7. R. M. Renfield 8. Count Dracula 9. Mrs. Westenra / Peasant Woman 10. Coachman/Captain Swales/Reporter/Gentleman/ Peasant Man 11. Peasant Man /Maxwell /Reporter 12. Reporter / Peasant Man 13. Peasant Woman / Bride / Tart 14. Peasant Woman / Bride 15. Peasant Woman / Bride Note: The size of the company can be reduced to eleven through the following doubling. This will necessitate the cutting of the scrim through appearances for the brides, relying on recorded voice-overs in those sequences, and using only two brides in the final scene. Such extensive doubling will necessitate some very quick, but not impossible costume changes. It may also be necessary to reverse the order of Act One, Scene 2 and Act One, Scene 3 in order to accommodate the smaller company. 1. Abraham Van Helsing 2. Jonathan Harker 3. Dr. John Seward 4. Arthur Holmwood 5. Lucy Westenra / Bride 6. Mina Murray Harker / Bride 7. R. M. Renfield / Peasant 8. Count Dracula 9. Mrs. Westenra / Peasant Woman / Bride 10. Coachman/Captain Swales/Reporter/Gentleman/ Peasant Man 11. Peasant Man /Maxwell /Reporter Time and Place May to November of Various locations including: Castle Dracula, Transylvania; the

4 seaside resort town of Whitby in Yorkshire; various locations in and around London.

5 (Revised - November 4, 2010 ) ACT I SCENE 1 An open playing space in a cruciform shape set on a diagonal raking strongly upstage. The whole is broken up by fragments of Gothic architectural ornament: layers of colonnades disappearing into the distance, the columns crumbling and broken away, wrapped in vines. Broken pieces of statuary and stone litter the floor. Ragged pieces of tapestry hang from columns and arches. The raked deck is surrounded by an earthen slope pushing out of which are more broken pieces of statuary and possibly tombstones. The whole has very much the feeling of Piranesi's "Antichita d'albano e di Castel Gandolfo". The curtain rises on a low ground fog. There is a small stone structure center which will later serve as an abstracted "coach". It is almost nightfall. Jonathan Harker enters to center carrying a small valise. He puts the valise down, checks his watch, consults an appointment book/diary. A wolf howls low in the distance. A group of peasants slowly gather, entering separately. They begin to speak - low and somewhat threatening - approaching him tentatively. They make the two fingered sign to ward off the "evil eye". Ordog...Pokol... Vrolak... Please... What do you want? Stregoica...Vlkoslak... Vrolak...Ordog... I'm sorry, I don't understand. PEASANT MAN 1 PEASANT WOMAN 1 PEASANT MAN 2 PEASANT WOMAN 2

6 2. PEASANTS Ordog...Pokol...Stregoica...Vrolak...Vlkoslak... (Note: it is not intended here or elsewhere that the peasants speak in unison, rather each word is assigned to a different actor and so arranged by the director to create a threatening aural soundscape.) Does anyone speak English?... I don't know what you want...please... A peasant woman holds up a crucifix and approaches Harker Vrolak!! Vrolak! PEASANT WOMAN 1 I'm sorry... I don't understand... Please. She drops to her knees and throws the crucifix at his feet then pulls away. The other peasants continue to chant. St. Georg Nacht. Yes...? St. Georg Nacht! Ordog... Vrolok... PEASANT WOMAN 2 PEASANT WOMAN 2 PEASANT MAN PEASANT WOMAN 1 PEASANTS (Very threatening) Ordog... Pokol... Stregoica... Vrolak... Vlkoslak... PEASANT WOMAN 2 (Insistent) St. Georg Nacht... Nacht der Vampiren! The Peasants freeze. ABRAHAM enters.

7 3. In the year of our Lord Eighteen Hundred and Ninety Two a series of documents came into my hands while consulting upon the saddest of medical cases. These diaries, journal entries, newspaper articles and letters of dear friends one to another have here been placed in an order to reveal a story so totally at variance with the possibilities of contemporary belief as to appear the ravings of madmen. We offer no proofs. We ask none to believe us. You have only my word before God that what follows is pure and simple fact. Jonathan Harker's Journal, 3rd May, Harker steps out of the freeze Left Munich at 8:35 P.M. on May 1st arriving in Vienna early next morning; and on to Buda- Pest which seems a wonderful place from the glimpse I got from the train. I had the impression we were leaving the West and entering the East as we crossed that splendid bridge over the Danube... Letter from Miss Mina M urray to Miss Lucy Westenra. Mina enters. Forgive my long delay in writing. While Jonathan is away in Transylvania I have been working very hard at my studies in stenography and typing. When we are married I hope to be useful to him in business. But tell me all the news! I hear rumors of a tall, handsome man? Letter from Miss Lucy Westenra to Mina Murray. Lucy enters....thanks and thanks again for your sweet letter. Yes there is someone! In fact my dear, it never rains but it pours. Here I am with two proposals. Isn't it awful? I feel so terrible. Oh, and Mina, so wonderful. I have had to let down one of the fellows dreadfully... Come visit me at Whitby, please. Oh Mina, I'm so confused... Letter. Arthur Holmwood to Dr. John Seward. Arthur enters.

8 4. Jack, you are my oldest friend. I hope this will not cause a break between us. Do you remember when were trapped by that freak storm in the Highlands for five days? Let that be the mark of our friendship, not this latest. I would call on you immediately but I must stay with father who remains perilously ill. The diary of Doctor John Seward. Seward enters....ebb tide in appetite today. Cannot eat. Cannot rest. Since my re-buff of yesterday, nothing in the world seems worth the doing... The only cure is work! I have thrown myself into the study of one of my patients. R.M. Renfield, age 59, sanguine temperament, morbidly excitable, periods of gloom, possibly dangerous to himself and others. His uniqueness manifests itself in a fixation which I have never previously encountered. He desires to absorb as many lives as he can and he has laid himself out to achieve it in a cumulative manner. He gave many flies to one spider and many spiders to one bird - which he proceeded to eat! I call him a zoophagous (life eating) maniac... If only I could have as strong a cause as my poor mad friend to make me work. Renfield enters. I know the secret Doctor! The Master is coming and I know the secret. The blood is the life. The blood is the life. THE BLOOD IS THE LIFE. PEASANTS Ordog...Pokol...Stregoica...Vrolak...Vlkoslak... Under Renfield's lines the peasants resume their threatening warning. All clear except Harker and the Peasants. A coachman enters. The Peasants re-direct their chant at him with renewed vehemence while they simultaneously back away. Take this, please. PEASANT WOMAN 2 She presses a crucifix upon him.

9 5. Ah. Here is the coachman. I really must go. Please take this. Wear it. Please. PEASANT WOMAN 2 Alright... yes... thank you. But tell me...what is it? What are they saying? Harker climbs on the "coach" behind the driver. PEASANT WOMAN 2 Ordog means Satan. They wish you protection from the evil one. The evil one...!? Vrolak...mean...VAMPIRE! PEASANT MAN The Driver cracks the whip.. The group of peasants back up into the darkness. Lights and sound create the impression of rapid movement and the passage of time. The coach plunged into the night, climbing steadily into the Borgo Pass. The Carpathians towered above us, granting an endless perspective of rock and pointed crag. (A large bat - wings flapping slowly appears silhouetted in the moon, possibly leading, or following the coach. After a moment it disappears.) After what must have been several hours, the rolling clouds that had obscured the moon suddenly passed revealing the approach to a vast ruined castle from whose windows came no ray of light and whose broken battlements showed a jagged line against the sky. The coach stops. Harker climbs down. The driver exits. Harker stands alone for a moment. A wolf howls. An old man clad in black appears silently. His face is gaunt and white. Grey hair hangs lankly from an almost bald skull. DRACULA Welcome to my house, Mr. Harker. Enter freely and of your own will.

10 6. Count Dracula? DRACULA I am Dracula. And I bid you welcome to my house. Come freely, go safely and leave something of the happiness you bring. (Several wolves howl, close at hand. Harker turns to look, momentarily startled.) Be not fearful. There is reason that all things are as they are. And did you see with my eyes and know with my knowledge you would understand. Come in; the night air is chill, and you must need to eat and rest. (Lights change, they cross to a table laid for dinner.) I pray you be seated and sup how you please. You will, I trust excuse me that I do not join you; but I have dined already. Thank you, Count. My employer, Mr. Hawkins, extends his regrets that he could not come personally. DRACULA I am confident you will serve my needs. But come, eat. Sample the wine of my country, Harker, Jonathan. Ah, you must forgive me. I fall into my people's habit and use the patronymic first! Jonathan Harker. I do not speak your English well. But Count, your English is excellent. DRACULA Learned from books, I am afraid. Through them I have come to know your London. I long to pass through the crowded streets teeming with life...but come, tell me of England and of the house you have purchased for me. Yes, of course. Here you are. (Handing him an envelope of documents.) The estate is called Carfax. It is about twenty acres, surrounded by a solid stone wall. The house itself is very large and parts of it date back to the middle ages, the most recent additions from Cromwell's time, I believe. A great man. A man of strength. DRACULA There is only one neighboring house. A private lunatic asylum. (Dracula reacts slightly.) Oh, its not visible from the grounds... The oldest part of the house is of immensely thick stone and contains an ancient underground chapel.

11 7. DRACULA I am glad that it is old. I myself am of an old family. A house cannot be made habitable in a day and how few days go to make up a century. I rejoice also there is a chapel of old times. We of my line love not to think that our bones may be amongst the common dead... I am afraid it is somewhat desolate and gloomy. DRACULA I seek not gaiety. And my heart, through weary years of mourning over the dead is not attuned to mirth. The walls of my castle are broken, the shadows are many and the wind breathes cold through the casements. I love the shadow and would be alone with my thoughts when I may. (A wolf howls in the distance.) Ah, listen, the children of the night, what music they make.(a pause. Then, lifting a glass of wine.) To England. To England. Why do you wish to go to London, Count? DRACULA It shall make me feel young again. But, my dear friend, Jonathan Harker, I have been preparing for many, many years for this journey to England. Now, you must tell me everything. The Count questioned me on every conceivable subject. It was getting to be very late indeed but I said nothing for I felt under obligation to meet my host's wishes. I was exhausted from my journey and could not help experiencing a strange chill at the ebb flow of the night. DRACULA Why here is the morning. How remiss I am. You must make your conversation less interesting. You are tired. Your bedroom is ready and tomorrow you shall sleep as late as you will. I shall be away till the evening. I look forward to exploring the castle and it's grounds. May I? DRACULA You may go anywhere you wish in the castle except where the doors are locked, where of course you will not wish to go. Good night, Mr. Harker. The Count exits.

12 8. The view from my rooms is magnificent, but I am not at heart to describe it, for when I tried to explore the castle I found nothing but doors everywhere and all locked and bolted! We have repeated this routine for more than two weeks - the Count interviewing me until dawn as to the manners and mores of the English. This strange night-existence begins to tell. If there were anyone else to talk with, but there is no one, only the Count. But et me be prosaic as far as facts... During the day I sleep as the dead and do not awake until the sun is setting over the mountains the following evening. When I went to make my toilet I could find no mirror in my room with which to shave. So I have taken to hanging the small shaving glass from my kit near the window. As he describes the action he removes a small mirror and straight razor from behind a column and prepares to shave himself. Dracula appears silently from behind a column) Good Evening. DRACULA Good Morning...evening. I did not see you come in. Harker jumps, cutting himself slightly. Harker examines the looking glass and the view of the room it holds then turns, horrified, having been unable to see Dracula in the glass. Dracula reacts involuntarily to the blood, displaying a slight but perceptible impulse towards Harker.) DRACULA You have drawn blood. Take care how you cut yourself. It is more dangerous than you think in this country. (Grabbing the mirror.) And this is the wretched thing that has done the mischief. It is a foul bauble of man's vanity. (He flings it off-stage.) Your dinner is laid in the next room, Mr. Harker. I must be away tonight on other business. You will, I hope, find everything as you wish. Count Dracula...! (Starting to object, then tentatively)... I should make my return to England shortly.

13 9. DRACULA Friend Jonathan. You come to me as agent of my solicitor. You shall rest here with me a while so that by our talking I may learn of your England. But my fiancée is expecting my immediate return. DRACULA Ah. How charming. None-the-less, you shall remain. Perhaps you would care to write your fiancée? Yes... of course. DRACULA The posts are few and uncertain. You will now write three letters please, one dated June 12 stating your work here is complete and you shall start for home in a few days; one dated June 19 that you have now arrived at Bistritza ; and one dated June 29 that you have entrained for Budapest. But that's absurd! DRACULA We are in Transylvania; and Transylvania is not England... (Harked starts to respond.) Let me advise you my dear young friend, it would be unwise to attempt to depart my company before our business is complete. Am I to be a prisoner? DRACULA Offend not my hospitality, Mr. Harker. Mine is a strange land. There are many dangers for such as you who would seek to leave my... protection. As you wish. DRACULA It shall be for the best... (He starts to go. An echoing, distant,, almost subliminal sound of women's laughter.) One further caution: should you leave this room or the next; you will not by any chance to go to sleep in any other part of the castle.

14 10. Sleep? Why should I... DRACULA Sleep takes many forms, Mr. Harker, and serves many purposes. It comes easily in such a house as mine which is old and has many memories. And there are bad dreams for those who sleep unwisely. He exits. I know now the span of my life, God help me! At once I began to search the castle. As before doors everywhere all locked and bolted. I ran up the stairs to the highest tower. The only window is to the South where the castle sits on the edge of a terrible precipice - a sheer drop of a thousand feet. As I leaned from the window, the wild crags of the Carpathians arrayed before me in the bloodless light of a full moon, a sensation like an icy finger on the back of my neck caused me to turn and look up - and there clinging to the side of the tower wall...! A form swoops down behind the scrim throwing its shadow on Harker then disappearing into a mistshrouded full moon. Harker runs downstage. (CONT'D) What manner of man is this! Or what manner of creature in the semblance of a man! My only hope for sanity is to try to record all I can. Harker sinks to the floor and begins to write feverishly in his notebook. Lights and music convey the passage of time. Harker rubs his forehead. He is becoming groggy. We hear strange music. Out of the gloom appear three women. We hear laughter and soft voices, but muffled and echoing as if we are under ether. The three women approach Jonathan slowly. Go on. You are first. WOMAN #1 WOMAN #2 We shall follow. Your's is the right to begin. WOMAN #3 He is young and strong. There are kisses for us all.

15 11. The three women approach Jonathan and begin to kiss and pet him. He responds sensually but as if anesthetized. They unbutton his shirt and loosen his collar, stroking him. We've been waiting for you So long, we've been waiting. Now you shall belong to us... You want us, don't you... You belong to me now...for all time. WOMAN #2 WOMAN #3 WOMAN #1 WOMAN #2 WOMAN #3 As she puts her mouth to his throat Dracula appears suddenly. He carries a cloth sack which he drops to the floor. He snarls violently. DRACULA AAHHHHHHH! (He crosses angrily to Woman #3 and throws her away from Jonathan.) How dare you touch him, any of you when I have forbidden it! This man belongs to me! You yourself have never loved! You never love....never love... WOMAN #3 WOMAN #1 WOMAN #2 DRACULA Yes, I too can love; you yourselves can tell it from the past. (He gently touches her throat.) Is it not so? I promise you that when I am done with him, you shall have him, to kiss at your will. Wait... have patience, tomorrow he is your's.

16 12. Are we to have nothing tonight? WOMAN #3 Dracula nods towards the sack he has dropped on the floor. It moves slightly. One of the women goes to it hurriedly. We hear a baby's cry. The women exit with the bag laughing softly. Dracula exits in an opposite direction. Lights change. Harker awakens. God preserve me! Great God! Merciful God! Let me be calm for out of that way lies madness indeed. In the awful light of a grey dawn, May 30, 1892 I vainly watch as a band of Transylvanian peasants load fifty great wooden boxes on their crude wheeled handcarts and draw them slowly through the castle gates, towards the crest of the Borgo pass. It is clear. The Count intends to travel to London - with its millions of souls - and I am to be left... (the lights begin to change suggesting sunset as the sound of the brides soft laughter begins to echo through the castle, drawing ever nearer.) I must attempt to scale the castle wall! God be merciful. The precipice is high. Should I fall, at least at its foot a man may sleep as a man! SCENE 2 Jonathan disappears. The laughter of the brides echoing and fading away as......the laughter of Lucy and Mina rises as they enter running and cross downstage to a small stone bench followed by Mrs. Westenra and Captain Swales who remain apart engaged in conversation. Oh, Mina. Why can't they let a girl marry more than just one man? Lucy!? Oh I don't mean it of course. But I've had two proposals from two wonderful men...! MRS. WESTENRA Lucy, dear, you remember Captain Swales... (Lucy leaves Mina.)

17 13. Good Mornin' Miss. SWALES Lucy, Captain Swales and Mrs. Westenra talk, apart. I travelled to the seaside resort of Whitby today to join Lucy on holiday while Jonathan is abroad. Straight away she brought me to a most beautiful spot - a little stone bench in the village graveyard high above the harbour and the town. You and Captain Swales go on ahead mother, we'll sit here... (Returning to Mina.) Lucy? Tell me! Do you know Jack Seward? The doctor? Yes. He came down to see me the other day. He was so nervous - he almost managed to sit on his hat! (She laughs at the thought, then, becoming tearful...) He told me how much he cared for me - and then he asked if I thought I could love him in time. Of course I was in tears and when I shook my head his hands trembled and then he asked if I cared already for anyone else. And I told him and he took both my hands in his and said he hoped I would be very happy and that if I ever wanted a friend I must count him as one of the best. Oh Mina, it isn't a happy thing to see a poor fellow, whom you know loves you honestly, passing quite out of your life. But Lucy? Who is the other? Arthur Holmwood. Lord Godalming's son?

18 14. Yes. Oh Mina he is so wonderful! He absolutely swept me away. I do love him. I know I do. But I feel so... I'm very confused Mina..One minute I'm laughing the next crying. Mina, have you ever...? What? I mean with Jonathan... Have you ever wanted...? Wanted...? (Understanding.) I'm not sure I understand. I can't sleep at night Mina. And when I do I have these dreams. What sort of dreams? About Arthur. Sometimes Jack. Others too. Sometimes men I don't know. And I... Last night, Mina, the air was so thick and oppressive it felt like a hand on my breast, pressing me down into the bed... Lucy, I don't know what to say. (Breaking out of it.) But Arthur and I are to be married in the autumn. And that, as they say, is that. You will be my maid of honor? Oh, Lucy. Matron of honor, I hope, by then. MRS. WESTENRA Captain. (Pointing out to sea.) Is that ship in danger? SWALES I can't make her out. A Russian by the look of her. But she's knockin' about in the queerest way. And that be one devil of a storm puttin' in behind her! Townspeople enter as if watching the storm at sea.

19 15. REPORTER 2 The Whitby Daily telegraph, 8 August,1892. REPORTER 1 (With notebook and pencil.) One of the strangest and most sudden storms on record has just been experienced here. The day was unusually fine until the afternoon when the wind fell away entirely leaving the dead calm and sultry heat that predicts a storm. REPORTER 2 The only vessel noticeable was a foreign schooner with all sails idly flapping as she rolled on the undulating swell of the sea. REPORTER 1 Then, with a rapidity that seemed incredible... The tempest broke. REPORTER 2 REPORTER 1 Most strangely, however, this savage storm seemed to be centered upon the foreign vessel that now wallowed at the mouth of the harbor. She's heading right for the reef! TOWNSWOMAN SWALES No,look,she's come around: against the wind? How the devil did she do that? My God! Oh, Mina. Look! SWALES She's going to ground herself beneath the East Cliff. There she comes. She's grounded. What's that! Is that a dog? TOWNSWOMAN MRS. WESTENRA

20 16. SWALES Did ye see that leap. Good Lord! That's no dog! That's a wolf! Lights focus strongly on Lucy. The dim, daytime moon turns a veiny, blood red for an instant. The moon is overtaken by a projection of the wolf's eye. A loud distorted wolf howl. A terrifying scream from Lucy. Mina! Did you see? My God! It looked right up here. It looked right at me. Did you see that? My God! All exit except the reporter. REPORTER 1 By courtesy of the village constabulary, your correspondent was permitted to tour the vessel. There was not a living soul aboard, only the body of one poor seaman who was lashed to the wheel. His throat had been torn open as if by some animal. The schooner is a Russian from Varna called the "Demeter". She has only a small cargo - a number of large wooden boxes filled with earth. SCENE 3 Dr. Seward's office. A desk and chairs. 9 August. Strange and sudden change in Renfield last night. He is usually quiet and respectful during our interviews, but tonight... I don't want to talk to you. You don't count now; the Master is at hand. The M aster, Renfield? Do you mean the resurrection of our Lord? Oh Doctor, all your learning and there is so little you know. He takes out a notebook and begins to jot something down.

21 17. Tell me Renfield. I wish to learn. Doctor, does your God mind the fall of a sparrow? I believe he does. And of a spider? Or a fly? What is in your book, Renfield? My accounts. Accounts? "We defy augury; there's a special providence in the fall of a sparrow." If God minds the fall of a sparrow why will he not spare me! God's goodness encompasses all creatures. May I see your book? Here. It doesn't matter. The Master is coming. There are many columns here. What do all the numbers mean? It doesn't matter. The Master is coming. Now I can wait. Wait for what, Renfield? Do these numbers have anything to do with your flies? Or your spiders? Bother them all, I don't care a pin for them now.

22 18. Not for spiders? "The bride-maidens rejoice the eyes that wait the coming of the bride; but when the bride-groom draweth nigh, then the maidens shine not to the eyes that are filled." I'm afraid I don't understand. Can you explain that to me? There is very little you understand, Doctor. Would you like more sugar? To attract more flies? I told you! Not now! I need to be patient for the Master. Perhaps we'd better say good evening. We don't seem to be getting anywhere tonight. The column to the left represents fly lives; to the right; spider lives. Each page a day. Each day small lives added to the greater life. But Doctor! Each day as well I lose life. Fly lives and spider lives only add seconds, Doctor. They are not enough. Not enough to stem the flow of my life... But now the Master is at hand. I will serve him and he will reward me with ever greater lives. We all must die, Renfield. (Laughs hysterically.) All? Surely not all? Do you read scripture Doctor? Yes. "Hewho believeth in me shall have eternal life". Yes, of course, but that refers to the life of the spirit...

23 19. I mean real life, full-blooded life! No. No! I must be patient. He is coming. The Master is coming. I must be patient. I want to go back to my cell now, Doctor. Please. Of course. Doctor? Might I ask a very great favour? He presses a button. An attendant enters. Yes. I'd like a kitten, a nice little, sleek, playful kitten that I can play with and teach and feed and feed... and feed. A kitten? Why not a cat? Oh yes, I would like a cat! I only asked for a kitten lest you should refuse me a cat. No one would refuse a poor madman a kitten would they? I'll think on it. Please doctor, I should be so grateful. I said I'll think on it. Renfield has an impulse of violence towards Seward but restrains himself. He is distracted by a large, buzzing fly nearby. He stalks it momentarily, snatches it out of the air and eats it.

24 20. SCENE 4 Lucy's bedroom. Mina is seated writing in her diary. Lucy is asleep in bed. 11, August. Nothing still from Jonathan since that strange and brief final note from Bistritz. I am dreadfully afraid something has happened. I have not had much rest lately. Lucy has taken up her old habit of sleep-walking and Mrs. Westenra has asked me to sit up with her as she is afraid that she might do herself some harm through this... nocturnal perambulation. Arthur is coming up to visit shortly. Lucy is counting the moments until she can show him the seat on the churchyard cliff - from whence we saw that strange event the other day - but which remains the most beautiful spot in Whitby. I am so tired... so, so, tired... A light fog begins to curl around the bed and chair. Mina falls asleep. The fog thickens. Music. The distant howl of a wolf. The bedclothes magically pull themselves off Lucy revealing her asleep in her nightclothes. Come... Come... DRACULA (V.O.) Lucy rises and wanders through the fog... DRACULA (V.O.) Come to me my love. I am eternity... I am the life... I am the blood. Come... Come... Come......finally arriving at the bench in the graveyard. Dracula appears out of the fog - rising by elevator and trap if possible. He envelopes her in his cape. She arches her neck, rising to him as he places his mouth upon her throat. Mina awakens with a start in the bedroom. She goes to the bed. Lucy? Lucy!? She runs out following the path Lucy has taken to the churchyard. As she approaches she calls out..? (CONT'D)

25 21. Dracula rears up. His face is smeared with blood. He gestures towards Mina. The moon pulses red. Perhaps a projection of the wolf's eye. He disappears. Mina has not seen him. (CONT'D) Lucy! (Lucy moans. Mina comes to her.) Lucy, my God, what are you doing out here? You must be freezing. Let me get my shawl around you. How did you get all the way out here? (Lucy moans again and puts her hand to her throat.) What is it? Oh, Lucy I'm so sorry. I must have pricked you with the clasp. Here now, come on, let me get you back to bed. Oh Mina, you won't tell anyone? Not Arthur. Please, you won't tell. Of course not. You've had a terrible dream - that's all. Now come back to bed. The eyes again. Red eyes. Wolf's eyes. SCENE 5 (Entering.) Jack, I must speak with you. Mina takes Lucy back to the bed, then exits. Seward's Sanitarium. Yes? You are one of my oldest friends. I need your help. Of course, you know I'll do anything you ask. I'm afraid it's Lucy.

26 22. Ah. I know you still love her. She had to choose between us, Jack... but I'm asking you to do me this favour. What is it you want? I want you to see her. She's ill. The local doctors don't have an idea as to the cause, but she looks awful and is getting worse every day. I know this might be painful for you, but for Lucy's sake - and the sake of our old friendship - will you see her? I'm sure the Whitby doctors are quite competent... Jack, the thing is I can't be there as I should. My father is terribly ill and I'm all that's left of the family. If only you could see her, I know you could help...you're my oldest friend... Please. Of course I will. Did you ever doubt it? They freeze. 19, August. At last, news of Jonathan! I have received a letter from the Hospital of St. Joseph and Ste. Mary in Budapest informing me that Jonathan has been under their care for almost six weeks suffering from a sort of brain-fever. I am to leave in the morning and shall bring him home. I feel awful about about leaving Lucy. I went for a walk on the cliffs last night and when I returned I glanced up and saw Lucy sitting at the open window. She was fast asleep but with the strangest aspect - as if she were waiting for someone. She looks so haggard and worn. But I must leave tomorrow. My journey is mapped out and my luggage ready. My dear friend. You won't like what I have to tell you. Mina exits. Seward and Arthur break the freeze. What is it?

27 23. I've seen Lucy. I cannot find any functional disturbance or malady. But surely... At the same time, I am not by any means satisfied with her appearance. I would have judged her anemic on a first diagnosis, but I have analyzed her blood and it shows, really, a quite vigorous state of health. Then what could be causing her to look the way she does? Those dreams she speaks of... the sleep-walking? I don't know Arthur. I simply don't know. Good Lord, what can we do? I have written to my old friend and professor Abraham Van Helsing. He knows as much about obscure diseases as anyone in the world. (As Seward speaks, Van Helsing enters and begins to examine Lucy.) He is not only a medical doctor but a philosopher and a metaphysician. As a young man he studied for the priesthood, took his vows, but left his order to marry. A man of absolutely open mind, he has an indomitable resolution and the kindliest and truest heart that beats. SCENE 6 Seward and Arthur cross into the scene. My dear young miss, I have the so great pleasure to meet you because you are so beloved. They told me you were a trifle pale... pouf! (Dismissing the notion.)... You are beautiful! I am fine Doctor Van Helsing... absolutely fine. These two worry about me like old women.

28 24. Well, I know nothing of your charming fiancé, Mr. Holmwood. But, this one: a brilliant student once; now, perhaps an excellent Doctor, but he knows nothing of the young ladies. Sit up now, I listen to your breath. No all he thinks is of the work. No eye for the young ladies or he would not still be single... I have mis-spoke? Not at all Doctor. You are quite right. So, young lady, you feel weak? I... sometimes have difficulty sleeping. My dreams are very full. It's nothing. My father was a sleepwalker as well, mama tells me. You walk in your dreams sometimes? You do not stray far, I trust? No, of course not. Once I... (awoke on the cliff)... But Mina... it's nothing. Most assuredly. Nothing at all. Dreams are such strange windows to the mind. Now, Miss Lucy, forgive me. I wish to feel the glands in your throat. No. I... Just for a moment, please. Would you mind to remove the scarf. No... I can't.. I mustn't... Shhh... Shhh... Shhh... It is lovely, but we must now remove it. It's alright Lucy, darling. There. Now. That's not so bad. The glands feel quite normal. (As Lucy turns her head to replace the scarf, Van Helsing notices the two small marks on her neck.) Mijn God!

29 25. What is it? Doctor? Is there anything wrong? Nothing. Nothing, my young friends... Miss Lucy, you have two small puncture wounds on your throat here. Do you know where you got them? Mina told me she caught me with the pin of a clasp when she was fastening my shawl. It was just an accident. John, come look. I want you to see this. Take your hand away now, Miss. It doesn't appear to be much. No. It doesn't appear to be much. Now, Miss Lucy. Do you remember this accident with the clasp. Where did this happen? We were on the cliffs. The cliffs? Yes, the cliffs above the harbour. There is a lovely spot in the churchyard where Lucy enjoys sitting. Isn't that what you mean, darling? Ah. And when did this happen? I can't remember. Of course you can.

30 26. No. I don't want to think about it... You must! You will tell me, now. See here... I am sorry. But I must know this if I am to be of help. Now, please. You will tell me, ja? I... I suppose I must have been sleep-walking again. (As Lucy relives her nightmare we hear distant music and Dracula's voice repeating "Come... Come... Come to me my love... I am eternity... I am the life... I am the blood... come... come.") I was in my bed. I wasn't quite dreaming; but for some reason I wanted terribly to be in the churchyard on the cliffs. Passing through the streets the whole town seemed to be filled with dogs all howling at once and there's a kind of a mist that almost pulls me along and the mist is closing around my face... And I... some... thing... long and dark with red eyes... and I'm sinking now into deep green water... and singing in my ears... women singing... suddenly my soul seems to float free of my body and I'm looking down on... and then this awful, agonizing shudder right through the center of me...! The speech builds to a scream after which she collapses in tears. Lucy! Oh my God. Lucy. Arthur. Hold me. Don't go away. Please hold me. Ah, my dear Miss Lucy. I am so sorry to have made you to do this. But it is good to let such things pass through us by the telling of them. I leave you now in the good care of Mr. Holmwood. But, I shall return soon... John, you and I will step into the next room, ja? Van Helsing and Seward cross away. Well?

31 27. I can find no functional cause of this illness. With you I agree, she is in no way anemic. But there is cause. There is always cause... She is a lovely girl... She means something more to you than a patient? She does. Did. It is past. Ah. I see. I am sorry. What did you think of those marks on her throat? (Checking his notes.) Two small punctures over the external jugular vein. Edges white and somewhat jagged. No sign of corruption but not wholesome. Quite impossible that she could have lost much blood from there. Her night clothes would have been drenched. Quite impossible!? Well, yes. Friend John, you have a good mind. You may one day be a good Doctor when you come to realize "there are more things in heaven and earth than are dreamt of in your philosophy." (Ironically.) I have a madman in my care who quotes Hamlet as well. Perhaps you should pay more attention to him. I must return to Amsterdam tonight, John. Amsterdam? But you just got here. I know. There are books and documents there. I must write to my old friend Professor Szgany in Budapest. I will send you certain flowers. Flowers! I thought you came to help Lucy; to help me...

32 28. Of course I did. This sweet young girl is dear to you I know and in so short a time she becomes dear to me as well. I will send you these medicinal flowers; the aroma may help. You must put them at her window and in a garland around her neck. Until these arrive you, or Arthur must stay with her all the night. You must not sleep. I shall be back as soon as possible. And then we may begin. Begin? We shall see. Remember. She is your charge. If you leave her, and harm befall, you shall not sleep easy hereafter. (He exits.) I am beginning to wonder if my long habit of life amongst the insane is starting to tell on my own brain. We followed Van Helsing's instructions to the letter. Arthur and I alternating nights sitting up with Lucy until the lack of sleep began to affect us both. (She wakes, screaming and clutching at her throat.) AHHHHH. The eyes again! Always those eyes! It's alright, now. It's alright. I'm here. Nothing can happen. Try to go back to sleep. I can't breath. I can't catch my breath. Shhh. Shhh. You must try to sleep. It only brings the horror. The horror? I'm here, now. You must sleep tonight. Oh, Arthur. Do you know how sometimes when you start to go off to sleep you feel as if you are falling and then awake with a start?

33 29. Yes? I have that same feeling always but I never wake up with that little start. I just keep falling and falling until I feel as if my soul were falling away from me, draining away... Oh God, if I could really, truly sleep. SCENE 7 Lights fade. 8, September. A week has passed. The arrival of Van Helsing's flowers quite confounded us. They are nothing but common garlic! However, we have followed the Doctor's wishes and hung them around her room. And Lucy's happy vivacity seems to be returning. There is even a touch of color in her cheeks. I have a telegram from Van Helsing asking me to meet him at the train in the morning. We proceeded immediately to the Westenra residence. Upon our arrival we met Arthur disembarking from his carriage as we stepped from ours. Dr. Van Helsing! You're back. Good God man, what are you doing? Weren't you with Miss Lucy last night. I was called away. I'm afraid my father is on his death-bed. But Mrs. Westenra offered to sit up with her and we arranged all those flowers exactly as you instructed us. As I told you on the way she is improving rapidly. I think she's out of any danger now. MRS. WESTENRA (Entering.) Good Morning, Doctor Van Helsing. So good to see you back. Yes. Delighted. But, Miss Lucy... MRS. WESTENRA You will be glad to know that Lucy is much improved. The dear child is still asleep.

34 30. So, my treatment is working? And I've done my little part myself. How do you mean, Mrs. Westenra? MRS. WESTENRA MRS. WESTENRA Well, I looked in on her last night after she'd fallen asleep. She began to thrash about so and kept pulling at those awful flowers around her neck and it seemed so close and stifling in that room - so I took them all away and opened the window to let in a little fresh air. And all at once, she seemed to relax and sleep easy. You will be pleased with her, I am sure. Good day, doctor. Van Helsing bows slightly - restraining himself as Mrs. Westenra exits - then moves rapidly to Lucy's bed followed by Seward and Arthur. My God! (He looks her over quickly.) As I expected, there is no time to lose. Lucy. Oh, my God. Lucy! Doctor, she's ice cold! (To Seward.) She will die for sheer want of blood. There must be a transfusion at once. Jack, do you know...? Arthur matches. Mr. Holmwood, you are the fiancé of our dear Miss Lucy. She is very, very bad. You are to help her? If you only knew how gladly I would die for her.

35 31. Only to sit down beside her will be sufficient. (Taking out tubing and needles.) The ghastly paraphernalia of a beneficial trade. John you will prepare him as I do Miss Lucy. We will sedate her mildly. She must not awaken during the proceedings. (Preparing Arthur.) Make a fist if you would... that's right. Now. We can only wait. (CONT'D) There. Enough. (He removes the transfusion equipment.) Blood begins to flow in the clear tubing. Music and Lights indicate a passage of time. Above, behind a scrim, we see Dracula, arms folded as if asleep. He moves - sensing the intrusion of new blood. His head jerks. Lucy trembles violently. Dracula disappears. Lucy relaxes. Here Arthur, hold this on the wound for a minute or two. Do you feel alright. I'll be fine thanks. You stay with her, Arthur. John and I must consult. She will sleep for a long while now, I think. Jack... thank you. Seward and Van Helsing exit. Lights and music indicate the passage of time. Lucy begins to wake. What's happening to me? You're going to be fine now, darling. I know it. What's that on your arm?

36 32. I gave you blood. Oh, Arthur. I'm sure it sounds strange but I felt as I lay there and watched my blood pass into your veins; as the color returned to your cheeks and your hand began to warm; I felt as if we were truly married in that moment. Oh darling, I wish we were... for real... right now. Will you always love me? Of course. And when I'm dead? Don't speak of that. It shan't be for many years: when you are old and gray and surrounded by grand-children... Children...(Beginning to cry) I'll never have children. I mustn't! Lucy, darling, it will be alright! You'll be well soon, I know it. (He tries to hold her. She pulls away.) Will you open the window? It's very close in here. Of course. (In a panic.) NO! Don't!... (A change coming over her.) Look at the moon. It's almost full, isn't it? Why does it look so enormous?

37 33. I don't know... an optical illusion I suspect. Something to do with its position on the horizon. It looks like a fat, bloated, child... (She laughs lightly.) Well that's an odd way to put it. But it's good to see you laugh again. Laugh again! Why, Arthur I've never felt happier than I do right now. Really darling? The night air makes me feel so alive... I'm ripe. Full of your blood, I suppose. (She laughs.) Lucy, I don't think you should be getting up just yet. Arthur, I want you. You said before that we were married through our blood. I know we are. The only way in which we can truly be married. Lucy... Come to me Arthur. Hold me. Oh Arthur... kiss me, my love... kiss me... I want you. Now. They kiss deeply. She pulls her head to one side, opens her mouth wide exposing fangs. Van Helsing enters. NO! For God's sake no. My God, what's happening?! What's happening! He crosses rapidly to them and pulls Lucy away. They struggle for a moment - Lucy demonstrating surprising strength - then Van Helsing hurls her to the floor.

38 34. Lucy is curled in a corner, her face twisted in a spasm of rage. Lucy! (CONT'D) No. Not for your living soul and hers. Oh, My God! Oh God, what have I become? He starts to go to her. Van helsing stops him. Lucy's hideous snarl slowly turns to tears. Now. Go to her. Take her hand. No. Don't touch me. Please don't touch me! (To Van Helsing.) My true friend. Oh help him. Guard him. Guard him from me and give him peace. Help me! Oh God, help me. SCENE 8 Lights change. Arthur carries Lucy back to her bed then exits along with Van Helsing. Seward steps forward. 20, September. Only resolution and habit can let me make an entry here tonight. I have never before felt as miserable; as low-spirited, as sick of the world and all in it as I do now. I had returned to London, my work and my patients. Holmwood was staying in Whitby and nightly watching over Lucy. Van Helsing was buried in the British Museum continuing those fevered researches the subject of which he will only hint. Arthur's good father finally gave up the fight and died. Arthur had no choice but to leave Whitby. He telegraphed both Van Helsing and myself to come immediately to take over the watch. As only bad chance and cruel misfortune could have it, neither telegram ever arrived at its destination. There is nothing left to do - only to curse the telegraphers - and a God whose indifference could allow such horror. MRS. WESTENRA (Entering Lucy's bedroom.) Now, don't you worry darling. I'm sure Dr. Seward will be here soon. But I know exactly what to do;after all I've been seeing to you for many a year now.

39 35. Oh, mother. Sit with me. Tell me stories like you used to when I was a girl. Tell me about Father. Tell me about the day you met him. MRS. WESTENRA Good Gracious! You want me to remember things I haven't thought about for years. Yes. Please mama. Just talk to me. Oh really, Lucy. (Becoming hysterical.) Please mama! MRS. WESTENRA MRS. WESTENRA Lucy, dear... Well, your father. He was such a handsome man. You remember I met him at a garden party. He had just returned from the Crimea and had been terribly wounded at Sevastopol. It must have been 1856, or...no? Was it '57? In any event it was Springtime and everything imaginable was in bloom As Mrs. Westenra talks on we hear - faintly - Dracula's voice calling to Lucy. We also see the three Brides behind a scrim. They call to Lucy as well. DRACULA (Overlapping.) Come... Come to me... I am the life... I am the blood... The blood is the life. WIVES (Overlapping.) Come... join us... we are eternity... we are the blood... MRS. WESTENRA It was a party for Sybil Prynne and oh, my, all the young men were there and so many in uniform. Her father was a General, of course, and Sybil was quite the beauty so all the young officers flocked around. (Lucy has begun to climb out of bed and move towards the window.) Lucy... Lucy... (Mrs. Westenra goes to her.) Lucy darling, where are you going? Get back in bed dear. Please. Lucy. Please. Mama? Mama, it's you?

40 36. MRS. WESTENRA Of course it's me. You must stay in bed, dear. Dr. Seward and Arthur would be very dis-pleased. Now get back in bed. Perhaps I ought to let you try to sleep. No, please! Don't let me dream! Talk to me. Please. Tell me things about Father. You were telling me about Father. MRS. WESTENRA Yes, of course. Calm down now, Lucy dear. He was a soldier when you met? Wasn't he? Tell me, please. MRS. WESTENRA Yes. He was in uniform and so handsome, so dark and handsome. Bristling whiskers. And he leaned just ever so slightly on a walking stick. I use that stick sometimes and it makes me always think of that beautiful Spring day. Well, he seemed so brave and distant but Sybil Prynne was making a shameful play for him, so naturally... There is the distant howl of a wolf. A shadow of a bat flutters across the scrim. Oh, my. What could that be.? (Weakly) No... No... MRS. WESTENRA (CONT'D) MRS. WESTENRA It's alright. There's nothing to be afraid of. No, Mama. Don't. Don't. Don't! Dracula appears. He is fifty years younger. In the music we hear an over amplified heartbeat. He gestures. The moon turns its veinous blood red. It is accompanied by an extremely loud and distorted wolf's howl. Mrs. Westenra reaches to her forehead. Another gesture. Another sound. Mrs. Westenra clutches at her left arm. A third gesture and sound. Mrs. Westenra collapses across the bed.

41 37. Lucy rises and walks slowly towards the vampire. He caresses her face and throat with one finger. He is surprisingly gentle. He envelopes her in his cape dropping his mouth to her throat. She gives herself to him fully. All life sinks from her body. They drop into the fog - via elevator and trap if available. SCENE 9 Letter, Mina Harker to Lucy Westenra - unopened by the deceased. My dearest Lucy, It seems like an age since I heard from you or indeed since I wrote and I'm afraid only a quick line here. I have found my dear Jonathan in Budapest. Oh, so thin and pale and weak. Something awful has happened to him. He does not remember the details or at least does not wish to remember them. He has kept a journal - which he has given me for safe-keeping - but he tells me he never wishes to read it. I intend to do the same and let our lives begin anew from this hour - for Sister Agatha has sent for the chaplain of the Anglican mission church and we are to be married shortly. Oh Lucy, in a few short weeks we shall all be together again. My blessings and love to you, your dear mother, and Arthur. Seward's office. Oh God what have I done! I never should have left for an instant. My God, Jack, what have I done? Arthur, it's not your fault. You couldn't have done otherwise. You've been a great friend, Jack. I know she loved you. Don't speak of it, please. She told me and I know there was no friend had a closer place in her heart than you. I don't know how to thank you for all you did for her...what am I going to do? The whole of life seems gone from me.