Dracula (1st ed. - 07.30.

08) - dracula_mcnulty9jr
Copyright 2008 William McNulty
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To Diane with undying love

Cast of Characters
ROBERT RENFIELD, a lunatic of unique appetites and an unfortunate sense of humor.
A MONSTER, a vicious supernatural demon; the shape assumed by
Dracula when he isnt concerned about appearances. Part
zombie, part werewolf, he loves a good chase and is always
thirsty.
MINA GRANT, a beautiful undead woman in her late twenties. We
will see her in various stages of vampirism.
MARGARET SULLIVAN, Dr. Sewards loyal assistant. Irish. Tries
to conceal her working class roots with an air of propriety.
ABRAM VAN HELSING, an older man, still in good physical condition, with a razor mind and an intense interest in the supernatural.
DR. THOMAS SEWARD, an intelligent, fine young Englishman in
his early thirties. The former fianc of the late Mina Grant. A
deeply caring, vulnerable human being.
COUNT DRACULA, a brute who revels in the pain and suffering
he brings to others. Capable of enormous charm and courtly
manners when such affectations are called for.
THE BRIDES, three Vampiresses with seductive ways and dire
purposes.
THE CHILD, female, between 7 & 10. Wears a communion dress.
NORBERT BRIGGS, an attendant at the asylum. A rough customer;
not entirely a brute, but capable of violent behavior when
pushed to it.
LUCY WESTPHAL, a lovely young Englishwoman. Extremely intelligent, and when not being drained of blood on a regular
basis, quite vivacious.
JONATHAN HARKER, a young solicitor. Handsome, impetuous,
madly in love with Lucy.

Setting
The action takes place in and around the Purley Sanitorium on the
west coast of England in the late nineteenth. There is also a brief
memory sequence in Transylvania.
Production Notes
I believe Dracula is the story of a vicious and unscrupulous monster
who thrives not only on the blood of his victims, but on their suffering. I find nothing campy or romantic about this character; I do
not think a powerful male figure who brutally attacks young
women is funny, attractive, or in any way sympathetic. I therefore
set out to write an adaptation of this story that reflected that view of
its central character. This sets the stage for a primal confrontation
between Good and Evil, an interpretation I feel is well served by
wholeheartedly embracing the horror genre. There are many movies and books of the genre, but few playwrights have attempted to
bring it to the stage. So, whereas I think the story has strong moral
content, I would encourage you who produce this play to indulge
your inner twelve-year-old and make it as wild and bloody as your
imagination and your technical facilities will allow.
As preposterous as the events and circumstances of the play may
be, it works best, I believe, when the actors take it as seriously as
possible. If the audience feels you are sending it up in any way, the
show will lose its tension and its impact. Dreadful things happen in
this story: a young man drives a stake through the heart of his beloved; a woman begins to lose her true self and descend into bestiality; yet another womans mind is completely destroyed and she
becomes a helpless slave, and so on. These are sad and painful
events and when good actors play them truthfully audiences will be
drawn in and respond sympathetically. Certainly Renfield functions as comic relief, but we must always be aware of the real pain
and terror that governs his every action.
Finally, I would suggest casting people with considerable physical
skills. I think the play is carried along by its many moments of
physical confrontation. With material such as this we engage our
audience emotionally by frequently engaging them viscerally.
7

The Set
I strongly recommend that the design allow for each locale to
morph smoothly and quickly into the next. Momentum is a key
factor in the effect of this material. Blackouts can have a potent impact as when Dracula blows out the lights, but if they are used
where not indicated they will disrupt the flow of action.

The Effects
The stage directions contained herein are, of course, a record of our
production at Actors Theatre of Louisville. You will note that the
show is pretty heavy on special effects. You may have ideas about
how to avoid the need for some effects; you may even have ideas
about others youd like to employ (I hope you do!). If you find some
of what is described hard to fathom, and would like to know what
we did in those instances, feel free to contact me, and Ill fill you in.
Please send such inquiries to Playscripts.

The Storm
The onstage visual events that accompany Sewards dictation in the
Prologue can be quite an interesting project for the designers. Our
production was done in the round with a wall surrounding the
playing area. This allowed us to cover the floor in fog dense enough
that images (the ship, the hound, etc.) could be projected into it as it
swirled around Renfields ankles. That worked well for us, but in a
proscenium house I would imagine these images could effectively
be projected on walls. I do feel that some added visual content is
necessary, given that the recording goes on for a bit. I also think the
actor will enjoy playing the impact of these wild, disturbing images
that are being conjured up around him.

The Songs
The Bells of Hell is a traditional marching song, dating back, as
far as I know, to WWI, making it somewhat anachronistic for this
Victorian melodrama, but I felt it was so appropriate for Renfields
entrance in ACT II I simply couldnt resist. You can find the tune
online.
As for Renfields Lovely Lady Mina, youll have to invent your
own melody, but I would suggest something with an English Music
Hall quality.
Also with Lucys Come away, you young and eager. The melody
is up to you, but I would think in terms of something haunting and
ancient.

The Spell
Van Helsings Act II incantation is an ancient Enochian conjuration
for combating malevolent demons found in Alister Crowleys book,
The Goetia, The Lesser Key of Solomon the King. I have no idea about
pronunciation; if this is of great concern to you, I suppose you could
seek out a warlock, although I cannot recommend that course of action. I thought it might be helpful to the actors, however, to provide
a translation. It goes as follows:
I curse thee!
In the name of Jehovah!
Let the light and all the Holy Ones of Heaven curse thee unto
the burning flame that liveth forever, and unto the torment unspeakable!
And thy name and seal, which I have put in this dwelling of
poison shall be in torment among creatures of sulphur
and bitter sting, burning in fire of earth, in the name of Jehovah exalted in Power in these three names
Tetragrammaton, Anaphexeton, and Primeumaton!
Apparently Jehovah goes by a few other names in Enochian. At any
rate, I hope thats useful.

Acknowledgments
Dracula premiered at Actors Theatre of Louisville, Kentucky on
September 22, 2007 with the following cast and crew:
MONSTER......................................................... Genesis Doyle
MINA (alternating shows).........................Elizabeth Gilbert,
Dara Tiller
MARGARET SULLIVAN...................................Sarah Sexton
ABRAM VAN HELSING ...........................William McNulty
ROBERT RENFIELD........................................... Marc Bovino
NORBERT BRIGGS.......................................Nathan Gregory
THOMAS SEWARD ..........................Jonathan Kells Phillips
LUCY WESTPHAL ...................................... Sandra Struthers
COUNT DRACULA ...................................Misha Kuznetsov
JONATHAN HARKER ....................................David Ian Lee
THE BRIDES .......................................................Sarah Sexton,
Elizabeth Gilbert, Dara Tiller
THE CHILD ....................................................... Sophie C. Hill
Director.........................................................William McNulty
Dramaturg................................................ Julie Felise Dubiner
Set Design................................................................ Paul Owen
Costume Design ......................................... Lorraine Venberg
Hair & Wigs ........................................................ Kelly Meurer
Lighting Design .................................................... Tony Penna
Sound Design............................................. Benjamin Marcum
Properties Design ............................................. Doc Manning,
William Griffith
Video Design.......................................................... Jason Czaja
Casting ......................................................Zan Sawyer-Dailey,
Emily Ruddock
Dialect Coach .......................................................... Rinda Frye
Fight Director.................................................... K. Jenny Jones
Stage Manager .......................................... Michael D. Domue
Production Assistant........................................ Melissa Miller
Stage Management Intern ................................... Erica Sartini
Directing Assistant.......................................... Erin Bukowski
Rehearsal Assistant ...............................................Matthew Sa

10

Acknowledgments (continued)
All production groups performing this play are required to include
the following credits on the title page of every program:
Originally dramatized by John L. Balderston & Hamilton Deane
from Bram Stokers world-famous novel, Dracula
As adapted by William McNulty

I wish to express my sincerest gratitude to:

Marc Masterson (Artistic Director, Actors Theatre of
Louisville) who encouraged me to undertake this project.
Julie Felise Dubiner, our extraordinary dramaturg, whose
suggestions along the way unfailingly resulted in a vastly
improved script.
Diane McNulty, my beautiful wife, whose loving support
and perceptive feedback were invaluable throughout the
entire creative process.

11

DRACULA

adapted by William McNulty

ORIGINALLY DRAMATIZED BY
JOHN L. BALDERSTON & HAMILTON DEANE
FROM BRAM STOKERS WORLD-FAMOUS NOVEL, DRACULA
ACT I
Prologue
(At Rise: The initial setting is a cellblock in the asylum. In one area,
isolated in light, is a small gramophone. The machine sits atop a pedestal and is of the sort once used for dictation. In another area is a
large wooden door with a barred window. The interior dimensions of
the cell are defined in light. As the lights dim we hear a ruckus outside the door.)
RENFIELD. (From outside:) No! No! Let me go, you brute. Dont put
me back in there! Dont put me back in there!
(The door opens and RENFIELD is thrown in. He lies on the floor
whimpering for a bit. Now the gramophone magically comes to life.
The cylinder begins to turn, the needle drops into place, and after a
bit of scratchiness, we hear SEWARDs voice. RENFIELD hears it
too, and stands attentively, as though listening through a wall.)
SEWARD. The Journal of Dr. T.M. Seward. Entry recorded this 21st
day of March, 1898. Since my last entry six weeks ago, I have seen
the love of my life, Mina Grant, languish and die of a malady I
could neither remedy nor, indeed diagnose. As if this were not a
full enough portion of grief for any man to bear, I have subsequently been forced to witness those same symptoms developing in
my dear friend, Lucy Westphal, and have been equally powerless to
prevent her decline.
(Music.)
Though my beloved Minas symptoms first manifested on the
morning of February 7, the events of the preceding evening were so

13

14

William McNulty

bizarre and foreboding that, although I cannot rationally connect

them to our troubles, I instinctively feel they bear mentioning.
(As he speaks the storm is created on stage in sound and light. RENFIELD watches in terror as the events SEWARD describes are recreated all around him. The sound and imagery intensifies over the
course of the narration, peaking at the end of the inmate montage.)
It was at dusk on that horrendous evening that, I noticed a ferocious storm gathering on the horizon. The huge black cloud increased in size as it hurtled toward the shore. I know it was my
imagination, but I had the distinct feeling that this was not merely
some meteorological phenomenon, but rather some conscious, malevolent being with an appetite for destruction.
I was not alone in my interest since many of the villagers had gathered on the beach and at vantage points along the cliffs and were
looking on in wonder and amazement, for out of the center of the
storm, from the belly of the beast, as it were, a small sailing ship
appeared! She was a cargo ship of the sort rarely seen any longer,
and she was being tossed about cruelly like a childs plaything.
As she neared the shore, pursued by that relentless, howling maelstrom, we expected to see the frantic crewmen on deck trying to
keep her afloat and guide her away from the rocks ahead. But only
one figure was in evidence. There was a man at the wheel, swaying
about wildly with no apparent control over his movements. Was he
drunk? Unconscious? If so, how could he still be gripping the
wheel?
With a crash that rivaled the thunder now all about us the ship was
driven upon the rocks.
And the answer became apparent. The man was dead, quite dead.
His hands were not gripping the wheel at all but had been lashed to
it for reasons I cannot begin to discern.
Thinking there might still be a few living souls on board, several of
the more courageous townfolk approached the vessel to affect a rescue. But, immediately, a great gust of wind tore the hatch from the
cargo hold and, from below, the ships only living occupant
emerged. There he stood, impervious to the powerful winds swirling about him and the prodigious waves rushing across the deck, a

Dracula

15

huge black hound! His proportions exceeded those of any breed I

had ever seen or heard of; easily larger than a Great Dane and as
massive across the shoulders and haunches as a stallion. As if to acknowledge his presence, the clouds briefly parted and the full moon
shown upon him prompting him to throw back his head and release a howl so loud and passionate that it could easily be heard
above the winds and thunder that surrounded him. Then, with a
mighty lunge, he cast himself over the rail and landed on the beach
twenty feet below.
He then cast his attention to the promontory above this hospital
where stands Carfax Abbey, and as he turned to gallop off in that
direction he once again gave forth with that ungodly howl. This
time the sound of it seemed to penetrate the very walls of the
building, echoing up and down the corridors and stirring the inmates to their own wild, demonic chorus
(RENFIELD has grown increasingly agitated throughout all of this,
but, with the evocation of the hellhound, he can no longer contain
himself.)
RENFIELD. (As SEWARDs narration fades:) Oh God. Oh dear God.
HES COMING! HES COMING!
(With this he miraculously thrusts his body between the iron bars of
the window in his cell door and disappears into the darkness,
screaming all the way. Now inmates throughout the asylum pick up
the chant and the inmate montage is heard. During this sequence the
cellblock dissolves and a graveyard appears in its place.)
The Inmate Montage:
(Immediately following Renfields Hes coming! six more VOICES
repeat Hes coming! one after the other in hushed but urgent
tones, building in pace and intensity.)
(Now these VOICES repeat the phrase ad lib at random, underscoring the following dialogue:
Hes very, very near, cant you
Oh, yes, hes near. Oh, I know that. That I know, for
Cant you feel it?

William McNulty

16
Of course I can!)

(Now these two VOICES continue repeating their exchange as the

next VOICE picks up:
Of course I can feel it. Are you mad?)
(Simultaneously, the next two VOICES:
I can feel it in my
Im feeling very
I can feel it in my
Im feeling really quite
I can feel it in my spine. I can feel it in my stomach. In the hairs on
the back o my neck. I CAN FEEL IT! I CAN FEEL IT IN MY
BLOOD!
Well, rather queer really. Very apprehensive. Something awful is
going to happen. I CAN FEEL IT IN MY BLOOD!)
(At about the time the above duet begins, we begin to hear a
WOMAN breathing heavily, as though running for her life; this is
faint at first but soon gets louder as though she is approaching. Simultaneously, the sound of a rapidly beating heart, also growing
louder. At some point RENFIELD is heard screaming in the distance, THE BLOOD IS THE LIFE! THE BLOOD IS THE LIFE!
As the duet culminates with the phrase, I CAN FEEL IT IN MY
BLOOD!, a wolf begins to howl.)
(This cacophony of VOICES, breathing, howling, and heartbeats
crescendos to a frantic peak and culminates in one blood-curdling
scream and a gigantic clap of thunder.)
(By this point the asylum has morphed into the graveyard and we
begin:)
Vignette 1
(A furious storm is in progress. MINA runs in screaming. She is
soaking wet from the storm. She lunges for the gate to secure the bolt
and backs away. There is a lightening strike and a crash of thunder.
The gate flies open and the MONSTER plunges into the space. He is
a combination of man, beast, and rotting corpse, repulsive, terrifying,
evil. As he approaches she dodges one way and then the next. There is
a furious chase around the graveyard. She falls onto a stone bench; he

Dracula

17

leaps at her; she dives to the ground; he leaps at her again as she
clambers to a sepulcher. He pursues her, gains control of her, and
comes to a standing position above her. He then lifts her by the hair
and tosses back to the ground. He howls with delight; its a cat-andmouse game that he relishes. He leaps at her again, again she dodges
and again. In one last effort to escape she makes a mad dash for the
gate. He raises his hand in a magical gesture, we hear:)
DRACULAS VOICE. Be still!
(She freezes, clearly paralyzed, but desperately trying to move. He
makes a slow shuffling approach to her, his hand still raised, mumbling some strange incantation. When he reaches her, he moves
swiftly behind her. He grabs her by the hair and forces her head back
to expose her neck. This excites him to a series of ravenous growls as
he shakes his head violently like an ape about to attack. Finally he
rears back his head and plunges his fangs into her throat. She
screams in pain and terror as blood gushes from her throat. He begins to draw the blood from her in what sound like a series of violent
inhalations. With each draught he nearly lifts her off her feet as she
screams and more blood streams down the front her white nightgown. There are about three of these moments. Finally, as she nears
oblivion she emits one last extended scream, there is a clap of thunder
and a flash of lightning, and we are plunged into a brief moment of
darkness.)
(In the Darkness, music is heard. It is an eerie dissonant waltz which
sounds as though its played on exposed nerves. Another clap of
thunder and flash of lightning and lights snap up. The count is now
behind her, his mouth to her throat in exactly the same position as we
saw the monster a second ago. They are one and the same! He pulls
his mouth away from her throat and, with a disturbing hissing
sound, arches back his head to reveal his sizable fangs. He turns her
to him and her astonished eyes fix on him. He escorts her to center
stage and begins to waltz with her. As they dance the graveyard disappears and the study materializes around them as though he has
magically transported her from one space to the next. At first they
move gently and dreamily but soon they increase to dizzying speed
and intensity. As they whirl about he begins to laugh wildly, and
she, totally in his thrall, does the same. At last he releases her, spinning her gracefully toward the French doors. He stands grandly before, takes her hand and kisses it.)

William McNulty

18

DRACULA. Until tomorrow evening, my Mina.

(He exits. MINA staggers, placing a hand to her head and faints
back into the room, and we are left with that image of her, bathed in
moonlight as we fade to black.)
Scene 1
(VAN HELSING enters accompanied by SULLIVAN.)
SULLIVAN. Right this way, Sir. Dr. Seward should be back directly. I know hes anxious to see you. Make yourself at home.
VAN HELSING. Thank you.
SULLIVAN. Its a great honor to meet you, sir. Doctor Seward
speaks so highly of you. Im the doctors assistant, Margaret Sullivan.
VAN HELSING. My pleasure, Miss Sullivan.
SULLIVAN. (Gesturing to a large portfolio VAN HELSING is carrying:) Can I take that for you?
VAN HELSING. No thank you. Ill keep it with me.
SULLIVAN. Just your coat then?
VAN HELSING. Yes. Very kind.
SULLIVAN. Ill tell the doctor youre here as soon as he arrives.
VAN HELSING. Much obliged.
(She hesitates.)
VAN HELSING. Is there something?
SULLIVAN. I just Theres been a great sadness in this house
lately as Im sure you know.
VAN HELSING. I appreciate your concern. I hope well be shedding light on the matter very soon.
SULLIVAN. That would be grand. Well, Id best be back to my duties. God be with you, Professor.

Dracula

19

VAN HELSING. God be with us all.

SULLIVAN. Amen.
(She exits.)
VAN HELSING. Amen.
(VAN HELSING is momentarily alone. RENFIELD creeps in from
behind drapes. He is clearly in haste. He is momentarily startled by
VAN HELSINGs presence, but then regains his composure.)
RENFIELD. Ah! How do you do?
VAN HELSING. How do you do.
RENFIELD. May I be of some assistance?
VAN HELSING. Im waiting on Dr. Seward.
RENFIELD. Indeed? Well, I am his associate. How may I help you?
VAN HELSING. Forgive me, but I must consult only with Dr. Seward.
RENFIELD. Oh, come, come, my good man. No need for embarrassment. Whatever your symptoms may be, I assure you I am
more than qualified to assess them. Youre looking at a man intimately acquainted with mental disease.
VAN HELSING. Please, sir
RENFIELD. If I may venture a guess. Stab in the dark, as we say?
Fellow of your years? Getting a bit fuddled, are we? A few cobwebs
gathering in the old belfry?
VAN HELSING. Sir, I am seeking no services. I am here at Dr.
Sewards invitation.
RENFIELD. Oh, really? Strange that I was not informed of any such
invitation. Name, please?
VAN HELSING. It is Van Helsing. Abram Van Helsing.
RENFIELD. It is not!
VAN HELSING. It is.

20

William McNulty

RENFIELD. Professor Abram Van Helsing. The Professor Abram

Van Helsing?
VAN HELSING. Quite so.
RENFIELD. Hells Bells! This is indeed a momentous occasion.
How wondrous strange that the Fates should cast together two such
geniuses as we! Your work, Abram, in the realm of the supernatural? Uncanny.
VAN HELSING. You flatter me, Dr.?
RENFIELD. Renfield. Robert Renfield.
VAN HELSING. You have some interest in the Occult?
RENFIELD. I dabble, sir. I dabble. Oh, I could kill that Seward for
not mentioning this. The little sneak. Well, hell get his, let me tell
you. But, no matter, have a seat, Abram. Tell me what brings you all
the way from Holland to our little Bedlam-by-the-sea?
VAN HELSING. Again, that is a matter for myself and Dr. Seward.
RENFIELD. Understood. Understood. (Pause.) Of course, it might
be in your best interests to confide in someone like me. The good
doctor hasnt been himself lately.
VAN HELSING. What are you saying?
RENFIELD. Well, it is my professional opinion, that is, my scientific, clinical, diagnostic analysis that the mans about to pop his
cork. His moods have become increasingly morbid. Its the grief,
you see. Grief at the loss of his beloved.
VAN HELSING. Miss Grant?
RENFIELD. Ah, I see you know something of the case. Yes, the enchanting Miss Mina Grant. A voluptuous specimen she was, Ill be
sworn. Might have had a go at her myself except for my loyalty to
dear old Dr. Thom. And are you also informed that we have in our
midst a certain houseguest, a Miss Lucy Westphal? Another looker,
by the way, every bit the equal of the late Miss Grant, but with the
distinct advantage of being alive. At least temporarily, that is, since
shes been exhibiting the very same appalling symptoms.

Dracula

21

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

well.
RENFIELD. Then Ive found you out. Noted expert in medical exotica that you are, poor desperate Seward must have begged your
assistance. Well, let me tell you something, dear boy, were I you, Id
turn right round and make a bee-line for the land of dykes and
windmills.
VAN HELSING. Why would I want to do that?
RENFIELD. Alas, now it is I who must maintain secrecy. But I assure you, dear Professor, anyone who remains in this asylum has
got to be out of his mind. Go now! In fact, Ill tag along with you.
Its time I was moving on. Are the tulips in bloom this time of year?
VAN HELSING. I have no intention of leaving.
RENFIELD. Sir, as one doctor to another, there is naught that you
can do here, Youd be a downright fool to stay.
VAN HELSING. Sir, I am no fool, and you are no doctor.
RENFIELD. Whatever do you mean?
VAN HELSING. Well, to begin with, youre dressed in rags and
youre covered in filth.
(Slight pause.)
RENFIELD. Oh, that! Been doing a bit of gardening, havent I ?
VAN HELSING. Have you.
RENFIELD. Course I have. Im what you call a Child of Nature.
Quite stimulating to be out there in the greenery, all those creatures
flitting and creeping about. Positively gives one an appetite.
VAN HELSING. Let us drop this charade, shall we, my friend?
Clearly something troubles you. Perhaps I can be of help.
RENFIELD. And perhaps the sun will rise in the West tomorrow.
You want the truth? The truth is every moment you remain here
brings you closer to destruction. Get out, you fool, and take me with
you. Get out before

William McNulty

22
(SEWARD enters.)

SEWARD. Abram, thank God youre (Seeing RENFIELD:) Renfield!

RENFIELD. Evening, Thomas. Have a pleasant stroll?
SEWARD. What the blazes are you doing here?
VAN HELSING. Who is this fellow?
SEWARD. One of the inmates.
VAN HELSING. Hardly surprising.
SEWARD. Mr. Renfield, how did you get out this time?
RENFIELD. Professional secret.
SEWARD. Im terribly sorry, Abram. This is no way to welcome
you to my home.
VAN HELSING. Actually, Mr. Renfield has been quite engaging.
Hes a man of remarkable erudition and intellect.
RENFIELD. (Triumphantly:) Hah!
SEWARD. Hes also a man of delusion and hysteria. And one who
has lately adopted the charming practice of zoophagy.
VAN HELSING. (More than casually interested:) Is that so, Mr. Renfield. You like to feed on living things?
RENFIELD. I confess to certain epicurean weaknesses.
VAN HELSING. And do you favor any particular species.
SEWARD. Hes wild about flies.
RENFIELD. Currently that is my passion. Did you know, Professor,
that they vary in flavor? The green ones, the blue ones, the golden
ones, they all taste distinctly different. But the black ones! Oh, those
big fat black beauties! You nip off the head and that tangy nectar
gushes forth, and then you suck that little fella dry
(BRIGGS enters on the run.)
BRIGGS. Renfield!

Dracula

23

(RENFIELD screams and hides beneath desk. BRIGGS tries to extricate him during the following.)
SEWARD. Mr. Briggs, this is unacceptable!
BRIGGS. Sir, I looked in on im arf an hour ago. E was in is cell
asleep and the door was locked and bolted.
SEWARD. We cant have him running off like this every few days.
BRIGGS. Look, guv, I feeds em; I cleans up after em, and I walks
em about the grounds. But this one ere needs a bleedin zookeeper.
(RENFIELD lunges and sinks his teeth into BRIGGS thigh.
BRIGGS howls in pain, grabs RENFIELD by the throat and begins
to throttle him.)
BRIGGS. You want to play? Lets play
SEWARD. Enough, Briggs. For Gods sake, let him breathe.
(BRIGGS releases RENFIELD who collapses to the floor.)
BRIGGS. Es a piece of filth, sir. Im and is flies. Its revolting to
watch im suckin and gnawin on them dirty little things. Es no
better an they are.
RENFIELD. You would judge me? You who feed on the flesh of the
dead swine, the deceased sheep, the decaying cow, a whole menagerie of cadavers? You let others do your dirty work, do the killing
for you, and devour the dead. I cut out the middle-man and live off
the living.
VAN HELSING. But, why flies, of all things.
RENFIELD. Everybodys got to start somewhere. But even the
lowly fly, dear sir, embodies the great surging energy of the cosmos. You hear them buzzing about your head and find them a nuisance. I hear the rhapsody, the great surging power of the elemental
world.
VAN HELSING. And you crave that energy?
RENFIELD. I thirst for it. Its in the blood, you see.
VAN HELSING. The blood?

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William McNulty

RENFIELD. The blood is the life!

SEWARD. Is he quoting the Bible?
RENFIELD. Yea, verily. Ye that dwelleth in the Valley of the
Shadow of Death, be forewarned. A Shepherd approacheth to lead
thee to slaughter.
SEWARD. Enough of this. Mr. Renfield, youll have to go.
RENFIELD. Capital idea! Be happy to go. Far away as possible.
Other side of the planet, preferably. Chain me up and throw me in a
dungeon in Patagonia
SEWARD. Briggs, remove him.
BRIGGS. My pleasure. (Grabs RENFIELD.)
VAN HELSING. Mr. Renfield, why are you so intent on leaving?
RENFIELD. Oh, you know, change of scenery. Not that the accommodations here arent first rate. And the help? (To BRIGGS:)
Couldnt be lovelier!
VAN HELSING. Tell us what troubles you!
RENFIELD. No! Youd only fail. Just as poor pathetic Seward, here
has failed me, failed me and his dear departed Mina.
SEWARD. How do you know about that?
RENFIELD. A little bat told me. Told me shes left you for another.
SEWARD. What are you?
RENFIELD. (Sings:)
Oh, the Lovely Lady Mina,
Was so charming and so gay,
But shes had a change of heart
Since the night she passed away.
Now she dances with the Devil
By the deep dark water;
Tween the Devil and the Deep Blue Sea.
SEWARD. Stop it! For Gods sake, stop it!

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25

VAN HELSING. Renfield! You see that portfolio on the desk?

Open it. You might be persuaded to speak frankly.
(RENFIELD approaches portfolio suspiciously. Opens it and glances
in. Slams it shut.)
RENFIELD. Ho, ho! Ha, ha! Aint you the clever Devil! And heres
poor me stuck between two clever Devils. Damned if I do and
damned if I dont. Alright then, Herr Professor. You think youre so
bloody smart. Here it is then
(A lone wolf howls in the distance. RENFIELD clutches his head as
if it were about to burst open.)
RENFIELD. (Screaming in pain:) Nooo! Please nooo! (Snaps into intense subservience:) Yes! I hear. I hear and obey. (Recovering a bit:)
Sorry about this, Professor. Under other circumstances we might
have been great friends.
(RENFIELD grabs a letter opener and leaps over the desk onto VAN
HELSING. SEWARD and BRIGGS join in the scuffle until
BRIGGS has RENFIELD firmly in his grasp.)
RENFIELD. (As hes being dragged off:) Its not just me, you know.
Its all of us. We are all damned! We are all damned!
SEWARD. Abram, are you alright?
VAN HELSING. Yes, quite.
SEWARD. My dear friend. Its so good to see you. I cant apologize
enough for this poor lunatics behavior.
VAN HELSING. No need for apologies. And its wonderful to see
you.
SEWARD. I honestly dont know whats gotten into Renfield these
past couple of months. Hes never been prone to these morbid appetites or any sort of violence. What did he see that enraged him?
VAN HELSING. Well discuss that in good time. First I must know
more about your current situation. I wept when I read your letter.
SEWARD. Yes, Im afraid wayward lunatics are the least of my
problems.

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William McNulty

VAN HELSING. Tell me about your Mina.

SEWARD. Theillness came upon her literally over night. She and
Lucy, they were the best of friends, were visiting with me. One
morning she awakened frighteningly pale and with barely the
strength to get out of bed. I examined her thoroughly, searched
through every medical text I could find, and could arrive at only
one diagnosis.
VAN HELSING. Loss of blood.
SEWARD. Precisely.
VAN HELSING. Just as you wrote me. Then began the transfusions?
SEWARD. Yes. The first was miraculously successful. She was up
and about in no time. But, a few days later she was stricken again.
This began a downward spiral. There were five more transfusions
each one less effective than the last until finally weIlost her.
VAN HELSING. I am deeply sorry.
SEWARD. I tell you frankly, Abram, I sincerely wonder if I can go
on. Im sometimes literally paralyzed with grief. I visit her tomb
daily. It seems to help. I actually feel that some essence of her lingers there and it provides a degree of solace. But (He begins to break
down:) oh, God, dear God. Im sorry. Im
VAN HELSING. Listen to me, Thomas. You are a doctor. As am I.
It is our duty to continue. When my dear wife died I felt much as
you do now, but I came to realize that my work was my salvation.
There were great discoveries to be made, lives to be saved.
SEWARD. Such adventures youve had since then, Abram. Traveling the world
VAN HELSING. Hah, the term adventure is most often used in
hindsight. An adventure while experienced is usually referred to
as trouble.
SEWARD. Still, Ive always envied
VAN HELSING. My friend, I believe that before our work here is
done you and I will have many many troubles.

Dracula

27

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

SEWARD. Theres that damned animal again. Hes got every dog
in the county singing along.
VAN HELSING. Sounds like a wolf.
SEWARD. No, not a wolf, precisely. Rather an enormous hound.
Hes been in the neighborhood since Mina fell ill. I must tell you
more about that.
(SEWARD looks up at the abbey through a large window. VAN
HELSING follows his gaze, but his attention is drawn in another direction.)
VAN HELSING. Look there, down on the beach. That horse and
rider. Hes pushing that animal awfully hard.
SEWARD. That would be the Count. Hes the new resident at Carfax. Weve seen him riding frequently at night. Always unsaddled,
unbridled and at full gallop.
VAN HELSING. What a magnificent mount. Looks to be a European breed.
SEWARD. Yes, he had it imported from his part of the world.
VAN HELSING. Which part of the world is that?
SEWARD. The Carpathians. Apparently the family name, Dracula,
has some historical significance over there.
VAN HELSING. Dracula? My God. Anyone whos traveled Eastern
Europe knows that name. Sounds like an interesting fellow.
SEWARD. Well, chances are youll get to meet him. He has a habit
of inviting himself over every other night or so. Personally, Im not
that fond of the chap. But Lucy seems to enjoy his company, so
there you have it.
VAN HELSING. Yes, lets discuss Miss Lucy. Her symptoms are
the same as Minas?
SEWARD. Yes. She seems to be fighting it slightly better, but
theres no telling how long shell last.
VAN HELSING. She grew ill after Minas death?

William McNulty

28

SEWARD. Three days after the funeral. She stayed on with me,
each of us consoling the other. I think she actually feared Id put a
bullet through my brain. Then two weeks ago
LUCY. (At doorway:) Two weeks ago my dear friend became my
doctor and I his dilemma.
SEWARD. Lucy.
LUCY. I heard a commotion.
SEWARD. Yes, No need to worry. All taken care of. This is the man
Ive told you about. Abram Van Helsing.
LUCY. I guessed as much. So pleased to meet you, Doctor. Im Lucy
Westphal.
VAN HELSING. My pleasure. Dr. Seward wrote me of your intelligence and grace, but neglected to mention your beauty.
LUCY. You are kind to say so.
VAN HELSING. You must be beset with suitors.
(Pause.)
LUCY. Beset with sorrows, rather. You havent told him, Thomas?
SEWARD. I wrote only of your symptoms, Lucy. Nothing of Jon.
VAN HELSING. Jon?
SEWARD. Jonathan Harker. Lucys fianc. As if we havent enough
shadows looming over us, Jons gone missing, you see.
VAN HELSING. Missing? But how?
SEWARD. He wasis a solicitor for the firm that handled the sale
of Carfax Abbey. He traveled to Transylvania to finalize things with
the Count, and spent two weeks there, as the Counts guest, but
somehow on the way back to Bucharest he disappeared entirely.
LUCY. That was two months ago.
VAN HELSING. And the Count could be of no help?
SEWARD. He was already in transit when we tried to reach him
and knew nothing of it til he arrived here six weeks ago. Since then

Dracula

29

hes enquired through agents of his own about Jons whereabouts,

but to no avail.
LUCY. Quite a jolly pair youve got yourself mixed up with, eh,
Professor? Not exactly your fun-filled holiday abroad.
VAN HELSING. I am not one for holidays. I go where I am needed.
LUCY. Like a knight errant. Well, youve found your maiden in
distress. Although I sometimes think Id welcome death if I am to
live my life without Jon.
VAN HELSING. Have I come all this way to wage a war only to
find my allies on the brink of surrender? Do you think those two
whom you miss so terribly would have you succumb to despair?
SEWARD. Whats to be done, Abram?
VAN HELSING. Let us begin to unravel this mystery. Miss Lucy, a
few questions. Now, Dr. Seward informs me that the onset of these
symptoms and the subsequent relapses are always noticed upon
waking. Is this so?
LUCY. It is so.
VAN HELSING. And this was true in Minas case as well?
LUCY. True.
VAN HELSING. What else is true?
LUCY. Pardon?
VAN HELSING. What other experiences do you have in common
with her?
LUCY. I dont know what you mean.
VAN HELSING. Dr. Seward, concerned that this might be some
contagious phenomenon, wrote that you and she shared a bed. Yes?
LUCY. Yes, weve always done on visits. Since we were girls.
VAN HELSING. Then you must have some memory of what transpired on those evenings before the symptoms arose?
LUCY. Well, I suppose

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William McNulty

VAN HELSING. Something unique. Something that set those evenings apart?
LUCY. Well, she Shed begun sleepwalking.
SEWARD. Sleepwalking! Lucy, why didnt you tell me?
LUCY. She begged me not to. She said you had enough to worry
about. Oh, Im sorry, I know I should have said something, but everything happened so fast, and once she was gone, there didnt seem
any point in mentioning it.
VAN HELSING. So youd awake in the middle of the night, and
shed be gone?
LUCY. Yes.
VAN HELSING. And then?
LUCY. Well, naturally I went looking for her. I usually found her
out on the grounds somewhere. Each time Id wake her gently and
take her to bed. But once Once I caught sight of her heading up
the path to the cemetery. When I got there she was sitting on the old
stone bench outside her family crypt (Her eyes widen as she struggles
to maintain her composure:), and, well, I was at some distance and
there was a good deal of fog, but there appeared to be a figure
hunched over her.
SEWARD. Some piece of statuary, you mean.
LUCY. No. No, it was animated. Dressed in black, tall and thin. But
the face. It was the face of some wild beast. And the eyes!
VAN HELSING. What about the eyes, Miss?
LUCY. They were red. Red like coals glowing in the dark. I called
out to her and that thing, whatever it was, just vanished in the fog. I
ran to her and brought her back to the house again, and the next
morning she was worse than ever. Two days later she was gone.
VAN HELSING. And you have not seen that face, those eyes
again?
LUCY. Ive not been sleepwalking, if thats what you mean.
VAN HELSING. That is not what I asked.

Dracula

31

LUCY. Very well, yes, Ive seen that face again in a manner of
speaking. Ive had, well who wouldnt, Ive had a few nightmares
since Mina passed.
VAN HELSING. Thats when you see again this thing as you put
it?
LUCY. Yes, thats when. Oh, dear. You must think me quite insane.
VAN HELSING. Not a bit. Although, I have just met a lunatic who
has a similar difficulty telling the truth.
LUCY. But Ive told you no lies.
VAN HELSING. None. But you have also not told me all the truth.
LUCY. What more can I tell
VAN HELSING. Would you mind removing your scarf?
LUCY. But why?
VAN HELSING. Im a physician. I wish to examine your throat.
(She stares at him.)
VAN HELSING. Please. Its for the best. I promise.
(She removes the scarf, revealing two puncture wounds on her
throat.)
VAN HELSING. It is as I thought. Thomas, come and see. (SEWARD approaches.) Look familiar?
SEWARD. Yes, Mina had the same two wounds. Lucy, why have
you kept this from me as well.
LUCY. I dont know. I dont know! Bugs! I thought they were insect
bites. Living out here in the country. Lord knows, they could be
anything.
SEWARD. Abram, what does it all mean?
VAN HELSING. Trouble, my boy. It means trouble.
(There is a tapping on the glass of the French doors.)
SEWARD. If thats Renfield again, Ill throttle him myself this time.

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

DRACULA. I am welcome?
SEWARD. Uh, yes, of course as always. Do come in, Count.
(DRACULA enters, removes hood.)
DRACULA. Good evening. Miss Lucy, you are looking ravishing as
ever.
LUCY. Thank you, Count.
DRACULA. Ah, but I see you have already a guest. I intrude?
SEWARD. No, its quite alright. Count Dracula. Professor Abram
Van Helsing.
VAN HELSING. My pleasure, Count.
DRACULA. Van Helsing! The writer! Science and the Supernatural.
Secrets of the Warlocks.
VAN HELSING. Youve read them?
DRACULA. Among many others. Including those dealing with my
own homeland. Most entertaining.
VAN HELSING. Thank you.
DRACULA. I have a few tales of my own that I could share with
you.
VAN HELSING. Perhaps well get together for a glass of sherry.
DRACULA. I never drinkwine. Nonetheless, we will have our
time together, I assure you.
VAN HELSING. Thats an impressive steed youre riding. We saw
you from the window.
DRACULA. That is Lilith. She runs like a demon from Hell, does
she not?
VAN HELSING. Indeed. Clearly an extraordinary bloodline.
DRACULA. Yes. She has a lineage that goes back as far as my own.

Dracula

33

VAN HELSING. Was not one of your ancestors the legendary

Vlad?
DRACULA. Vlad the Impaler. Quite the hero in his day.
VAN HELSING. Quite the monster to the Turks.
DRACULA. True. Sometimes good and evil are just a matter of perception.
VAN HELSING. Sometimes a matter of which end of the stake
youre on.
DRACULA. Well said, my friend. Well said. But we must discuss
these dark subjects when not in the company of so lovely a young
woman as this. It is good to see you up and about, Miss Lucy. Has
there been improvement?
LUCY. Im sure there will be now that the Professor has joined the
fray.
DRACULA. Ah, I see. This is no mere social visit. You come as a
man of medicine, a man of science. A formidable adversary to any
malady. What an exhilarating turn of events.
LUCY. Yes, but the best remedy would be Jonathans safe return.
Any news, Count?
DRACULA. Alas, still no word. I have a legion of gypsies searching, but the forests are dense and the cliffs are perilous, so it is slow
going. If this continues much longer I shall return to Castle Dracula
and lead the hunt myself.
LUCY. You are so kind, Count.
DRACULA. I think you know, sweet lady, that from the moment
we met I have been your devotee. I see in you a kindred spirit.
LUCY. Your visits have meant so much to me.
DRACULA. He does not bore you? This wearisome old remnant of
a dark bygone age.
LUCY. Listen to you! Talking like an antique again. No, I quite love
your old folk tales. Theyre really rather enchanting. And those peculiar songs you sing.

William McNulty

34

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

land.
DRACULA. In this land as well. Ghost Lover, do you know it? They
sing it in those inns down by the wharves. A young woman stands
on the beach, mourning her lover who was lost at sea. So strong is
her love that his ghost rises up from the waves and they embrace in
the moonlight. When he tells her he must go, she will not be left behind. She takes him by the hand, and, together they descend into
the cold dark water.
(A pause.)
SEWARD. (Breaking the spell:) Yes, even we English enjoy the occasional melancholic tale of the supernatural.
DRACULA. Again, perception makes all the difference. To the
ghost the supernatural is the natural.
(MISS SULLIVAN enters.)
SULLIVAN. Excuse me, Dr. Seward.
SEWARD. Yes, Miss Sullivan?
SULLIVAN. Its time for Miss Westphals medication.
LUCY. Oh, but Thomas, how can I leave such enchanting company?
Two exotic continentals in one evening.
DRACULA. Please do not neglect your health on my account. Ill be
visiting again before long.
VAN HELSING. And youll be seeing plenty of me.
LUCY. Well, then, Ill be a good girl and run along. Au revoir,
Count.
DRACULA. Au revoir, mademoiselle Pleasant dreams.
(Everyone is momentarily chilled by this sentiment then LUCY and
SULLIVAN exit.)
DRACULA. Youll be staying on for a bit, then, Professor?
VAN HELSING. Until weve put the roses back in that young
womans cheeks.

Dracula

35

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

VAN HELSING. None that I can speak of as yet.
DRACULA. I would be most interested to hear your diagnosis. I
am so new to this country and her warmth and hospitality has
meant a great deal to me.
VAN HELSING. And what brings you all this way from the somber peaks of Transylvania?
DRACULA. Well, I do miss my Castle Dracula. In its shadows I
found the solitude I so often require.
SEWARD. Well, the abbey is hardly without its own shadows.
DRACULA. Yes, Carfax quite suits me. But I am not entirely a recluse. I sometimes have an absolute hunger for people, you see, and
in my land they are so few and so lacking in variety. Here, I can be
near the crowded streets of your mighty London; here I can sate
myself amidst the teeming thousands.
SEWARD. I must say I had no idea you were so fond of people.
DRACULA. Humans? I thrive on them. I love all shapes and sizes,
every color and temperament, but the young ones most of all.
SEWARD. Why the young.
DRACULA. They are so fresh.
SEWARD. Yes, I see what you
DRACULA. (Getting quite close to SEWARD:) The innocence in their
eyes. The blush in their cheeks. The purity of emotion.
SEWARD. Um, hm. Well, youre quite thequite theconnoisseur. Actually, you know, Van Helsing and I do need to get cracking
(Again there are howls in the distance.)
DRACULA. (With a hand on SEWARDs shoulder.) Listen to them!
The Children of the Night! (Approaching the window:) What sweet
music they make! (To their astonishment he howls. He turns to see them
staring incredulously and laughs heartily.) Ah, gentlemen, you who

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William McNulty

have dwelled so long in the cities cannot know the heart of the
hunter. I will leave you to get cracking, as you say. The darkness
beckons and my mount grows restless. Lilith, too, is a hunter. When
the chase is on, and her nostrils fill with the scent of blood none can
escape her. (He is at the French doors and whistles loudly into the darkness. He pulls up his hood and turns to them.) Farewell for now, my
friends. (He exits. VAN HELSING stares after him for a bit.)
SEWARD. Yes, goodnight, Count. (Closing French doors:) And good
riddance, if you ask me. The arrogance of the man, barging in unannounced, prancing about, howling and so forth, when weve important work to do.
VAN HELSING. Uh. Yes. Important and more challenging than
you can imagine.
SEWARD. You mean Lucy? Have you already reached a diagnosis?
Do you know what disease this is?
VAN HELSING. My diagnosis is that there is no disease!
SEWARD. Im sorry, Abram, I think youve lost me. Do you
mean to say that this illness is hysterical or imaginary in some way.
VAN HELSING. Nothing of the kind. The symptoms are real. But
the cause is not internal.
SEWARD. But I know of no external phenomenon that can make
blood simply disappear from a persons body.
VAN HELSING. You dont, but I do.
SEWARD. But what could possibly
VAN HELSING. Thomas, you studied medicine with me, but you
know I have interests outside the realm of conventional science.
SEWARD. Alright, now wait just a minute! Are you saying you
think were dealing with the occult?
VAN HELSING. Dr. Seward
SEWARD. Abram, a young woman whom I loved more than life itself died in this house three weeks ago, and Im very close to losing
a dear friend in the same way, and you talk to me of fairy tales?

Dracula

37

VAN HELSING. I am well aware of the seriousness of your circumstances.

SEWARD. Then why do you mock me with this superstitious nonsense?
VAN HELSING. Thomas, you saw the marks on the throat. You
heard her describe the thing with the face of a beast. The red
eyes
SEWARD. That had to have been some kind of hallucination.
VAN HELSING. You think so?
SEWARD. Yes, of course. And that prompted her nightmares later
on.
VAN HELSING. All in her mind then?
SEWARD. Couldnt be anything else.
(VAN HELSING goes to his portfolio and removes a parchment. It
is a rendering of a creature much like the Monster. Shows it to
SEWARD.)
VAN HELSING. Have a look.
(A pause as SEWARD stares in disbelief.)
SEWARD. This cant be.
VAN HELSING. That is a sixteenth century rendering that I found
in a monastery in Montenegro.
SEWARD. But what the blazes is it?
VAN HELSING. In the Counts part of the world it is called nosferatu, the undead. Here we say vampire.
SEWARD. A vampire?
VAN HELSING. That is correct.
SEWARD. So, you think those puncture wounds?
VAN HELSING. From fangs, yes, from sharp fangs.

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William McNulty

SEWARD. But if these women were attacked by such a demon,

why wouldnt they have said anything.
VAN HELSING. These creatures can be very powerful. My guess is
they can induce at least partial amnesia in their victims. Useful particularly with those they intend to revisit.
SEWARD. Youre saying they can control peoples minds.
VAN HELSING. In some cases control; in some cases enslave. Your
star patient seems well on his way to slavery.
SEWARD. Renfield?
VAN HELSING. Well need to keep an eye on him. Hes a spy, but
a reluctant one and may prove useful.
SEWARD. My dear friend, assuming that I believe all this, what
chance do we have against such a creature?
VAN HELSING. Ja, the strengths are formidable, but there are,
thank God some vulnerabilities. The vampire can only function by
night; the sunlight is unbearable to them. Before dawn they must
return to the soil in which they were buried where they lie immobilized throughout the day. If that grave or tomb can be purified with
holy water the vampire cannot enter. The Cross is also a powerful
weapon. But the surest way to destroy him is the stake through the
heart.
SEWARD. Abram, I feel as if Ive passed through the looking glass.
VAN HELSING. I know, my friend, I know. But humor me yet
awhile and youll have proof aplenty.
SEWARD. Well, all my remedies have failed. I seem to have no
choice but to follow your lead. How shall we begin?
VAN HELSING. I want to examine Miss Lucys quarters to see if
this monster left any trace behind.
SEWARD. Miss Sullivan just gave her a sedative. Shell be needing
a lie-down.

Dracula

39

VAN HELSING. Let her rest here on the chaise for the time being.
It might be best if she did not use her room until weve checked it
over.
SEWARD. Very well, Ill go fetch her.
VAN HELSING. Good. And, Thomas, please tell her nothing of
what Ive said.
SEWARD. Be right back.
(SEWARD exits. Now that he is alone VAN HELSING drops his
guard a bit and we see how deeply troubled he is. He paces about the
room stopping to stare up at Carfax. He replaces his visual aids in
the portfolio. He spies the sherry bottle on the side table, goes to it,
pours himself a small glass and downs it. He decides to pour another,
but before he can bring it to his lips the drapes snap open loudly and
BRIGGS runs in. Both men gasp with momentary fright.)
VAN HELSING. Mein Gott!
BRIGGS. Sorry, sir. Its that bloody Renfield. Es makin a fearful
ruckus. Screamin is brains out e is. Says somethins comin after
im. E got the ole ward in an uproar. We need Dr. Seward over
there before things get out of hand.
VAN HELSING. No, no. Dont disturb him now. Ill send him directly.
BRIGGS. Alright. But it better be quick or Ill be forced to take
measures.
VAN HELSING. Yes. Dont worry.
BRIGGS. Right then. (Exits.)
(Enter SEWARD, LUCY clinging to his arm.)
VAN HELSING. Hello, again, my dear. Sorry to inconvenience
you.
LUCY. Its alright, Dr.Ill be quite comfortable here.
VAN HELSING. Thomas, your attendant was here a moment ago.
He says Renfields causing quite a disturbance, and youre needed
over there.

40

William McNulty

SEWARD. Good grief. Well Ill go over once Ive shown you Lucys
room. Meanwhile Ill find Sullivan and put her on the case.
VAN HELSING. You go ahead. Ill turn out the lights.
SEWARD. Very well. Sleep well, Lucy.
LUCY. Thanks, Thom. (SEWARD exits.) Hes a good one, that Seward.
VAN HELSING. I couldnt agree more.
LUCY. We were all so close. He and Mina, Jon and I. You know, we
were planning to take our vows together, a double-ring ceremony.
Isnt that sad?
VAN HELSING. Please try not to upset yourself. Its important that
you rest.
LUCY. Do you think theres any chance Ill see my Jon again?
VAN HELSING. By all means. There is always hope in such cases.
Now, please lie down. Close the eyes.
(He moves about the room, turning off lights.)
LUCY. Im so glad youre here, Professor.
VAN HELSING. As am I, my child, as am I. Now, sleep. Sleep. Shh.
Shh. (Exits.)
(Once the door closes, we hear two more shhs from outside the
French doors, followed by a fiendish chuckle. LUCY is already in a
deep sleep, but she begins to writhe and moan with greater and
greater urgency throughout the following. The doors open slowly and
the room fills with fog. The MONSTER enters. He walks slowly, almost staggering, his body rigid with anticipation. Halfway into the
room he lunges to the floor and slithers to the side of the chaise. He
rises to his feet and gestures powerfully toward LUCYs prone body.
She begins to levitate. As she rises we hear:)
DRACULAs VOICE. Lucy! Lucy! Come to me my Queen!
(LUCY opens her eyes and screams. The MONSTER dashes out the
French doors. SEWARD and VAN HELSING come charging in.)
SEWARD. Lucy! What is it?

Dracula

41

VAN HELSING. (Pointing into the garden:) Look there, Thomas. Do

you see it?
SEWARD. My, God, yes!
VAN HELSING. Nosferatu! Nosferatu!
(A MAN, bearded, shaggy unkempt hair, dressed as a common seaman enters through the study door, brandishing a gun.)
MAN. Stand back! Stand back, dammit!
(SEWARD and VAN HELSING quickly step away from the French
doors. The MAN lunges forward and fires three times.)
MAN. (Turning back to face them:) Missed. Sorry. (He passes out.)
SEWARD. Great Heavens! Lucy, do you see?
LUCY. Jon! Jon, youve come back! (She goes to him and cradles his
head in her arms, sobbing:) Oh, thank God. Thank God.
VAN HELSING. Extraordinary!
(Lights Out!)
Scene 2
(The study door slowly swings open. A large ominous shadow is cast
into the room.
(BRIGGS enters, switching on a flashlight.)
BRIGGS. (Whispering:) Renfield? (Casting beam about the room:) You
in ere? Got somethin tasty for ya. (Producing a rat from a box; holding it up:) Ere oo wants a bi o this? Might just eat it myself. Shall
I? (Bringing it near his mouth:) Shall I munch it up myself? Damn!
(Relents; puts the rat away; scans room again and fixes on table with
cloth extending to floor. He gets to his knees and carefully lifts the
cloth and ducks under. As he does so SULLIVAN enters and sees
him.)
SULLIVAN. Norbert!

William McNulty

42

(BRIGGS is startled and bumps his head on the underside of the table with a loud thud.)
BRIGGS. Ow! Bloody ell. (Coming out from under:) You gave me a
fright.
SULLIVAN. Ill give you more than that if I catch you nosin
around in here again.
BRIGGS. Im just doin my job. Its that bleedin bug-biter. Es on
the loose again.
SULLIVAN. Dear Lord. I thought you had him in restraints.
BRIGGS. Course I did. But that makes no difference to im. Es the
bloody Oudini of the loony-bin.
SULLIVAN. Well, you best find him before he stirs up more trouble around here.
BRIGGS. Wha? Trouble round our quiet little cottage by the sea?
Oh, we cant ave that, now, can we? Not when things is going so
lovely. What with one dead and one dyin of God knows what,
shots bein fired in the night and young Mr. Arker turnin up
lookin like Robinson Crusoe. What could be more restful?
SULLIVAN. Thank God Mr. Harkers returned. It might lift that
dear girls spirits.
BRIGGS. Well, last I saw of im when I came over to investigate
them shots, e dint look none too good imself.
SULLIVAN. Hes been through a great deal.
BRIGGS. Like wha?
SULLIVAN. Well, I dont know all of it. For that matter, neither
does he. Hes lost part of his memory.
BRIGGS. That so? Which part?
SULLIVAN. Most of the time he spent with the Count.
BRIGGS. Cant blame im. Id like to forget that geezer meself. Its
just since e moved into that creepy ol ruin up there on the ill that
things have gone queer around ere.

Dracula

43

SULLIVAN. Dont be superstitious.

BRIGGS. Superstitious am I? Look out that window. Look at them
dark clouds gatherin. Pitch black clouds against a sky the color of
tombstone.
SULLIVAN. Theres a storm brewin, is all.
BRIGGS. An look at that fog bank rollin in off the water. Pretty
soon well all be wrapped up in it like a damned windin sheet.
SULLIVAN. We live by the sea. We have weather.
BRIGGS. Same weather we had last night and the night before.
And almost every night since the Demeter came aground. Member
that? The ghost ship? No one on board, but the Captain. An im
at least three days dead and lashed to the wheel. Im and some
great black ound that leaps off the deck and eads for the ills. An
whats in the old o that ship but some packing cases an oo was
those cases delivered to? Why, your friend and mine, jolly ol Count
Dracula.
SULLIVAN. I read the papers, Norbert.
BRIGGS. Do ya now? She keeps up with current events, does she?
Then maybe youve seen this ere in the Evenin Chronicle. (Producing a paper from his jacket pocket, and tossing on the table:) The little
item titled, Ampstead Orror?
SULLIVAN. I noticed it.
BRIGGS. Some lady in a nightgown luring kids off into the woods
for a bit of frolic, an them turnin up later on with little red marks
on their little white throats. Ever seen anything like that before?
SULLIVAN. I get your point.
BRIGGS. My point is, in my opinion, this neighboroods going
rapidly downhill. I think its time for sophisticates like you an me
to seek employment elsewhere.
SULLIVAN. I cant go now. Im needed. Dr. Seward needs me.
BRIGGS. Maggie, listen to me
SULLIVAN. Dont call me that.

William McNulty

44

BRIGGS. Margaret, then.

SULLIVAN. Im Miss Sullivan in this house.
BRIGGS. Right then, Miss Bleedin Sullivan, I needs ya. Lets you
an me take off together and put all this strangeness behind us an
get jobs someplace a bit more cheerful-like, like a nice mortuary
somewhere.
SULLIVAN. I cant do that to Dr. Seward. He took me on when I
was right off the boat from Dublin, trained me as his assistant. Hes
the kindest man I know.
BRIGGS. I can be kind. Aint I been kind to ya? Wasnt I kind last
night?
(He takes her in his arms.)
SULLIVAN. We have to stop this.
BRIGGS. Come away with me before whatevers appenin round
ere appens to us.
(He tries to kiss her. She struggles a bit, but then complies. Finally,
she pushes him away.)
SULLIVAN. No. This is where I belong. This is my job. Why dont
you go do yours.
BRIGGS. (Picking up box:) Alright, Miss Sullivan. But, for Gods
sake, think about what Ive said.
SULLIVAN. Whats in there?
BRIGGS. Little gift for my favorite zany. Token of my appreciation
for all the lovely exercise hes givin me.
SULLIVAN. Well?
BRIGGS. Well what?
SULLIVAN. Well, what the devil is in your little box.
BRIGGS. Sorry, dear. Not for your eyes, really. Im afraid youve
too delicate a nature.
SULLIVAN. Dont be an eejit. Ive worked in this place much
longer than you. Ive seen plenty.

Dracula

45

BRIGGS. Well, if you insist (He lifts the rat out of the box and dangles it in front of her face. SULLIVAN momentarily loses her composure
and screams at the top of her lungs.)
SULLIVAN. Oh, youre just as sick as Renfield. Get out of here,
now.
BRIGGS. You asked to see it. Curiosity got the rat. (Exits.)
(Alone she contemplates her situation. She picks up the paper from
the table and looks at it for a moment. She decides to investigate further, and goes to the portfolio. After some reluctance she folds back
the cover and is first shocked, then mesmerized by what she sees. She
lifts the parchment out of the portfolio. She crosses slowly into the
room as she examines the picture. DRACULA, meantime, has
floated into the room. With her back to him, she senses his presence
and slowly turns to face him. When they are face to face she gasps.)
DRACULA. I frighten you.
SULLIVAN. Its alright, sir. I didnt hear
DRACULA. Shh! Shh.
(He walks slowly to her and extends his hand. She slowly hands him
the parchment. He stares at it for a moment, then glances sharply at
her as we hear a distant peal of thunder. He smiles and walks toward
the desk.)
DRACULA. You are a very wicked girl.
SULLIVAN. Pardon?
DRACULA. You have been wicked with that loutish imbecile who
just left you.
SULLIVAN. Im sorry, sir, but thats none of your business.
DRACULA. You dare to use such tone of voice with me?
SULLIVAN. I dont answer to you, sir.
DRACULA. Ah, that Celtic defiance. You are typical of your race.
Proud. But stupid.
SULLIVAN. Well, much as Im enjoying the company, sir, I think
Ill run along.

William McNulty

46

DRACULA. If only you could.

SULLIVAN. What?
DRACULA. Run along. But you dont move. Whats wrong with
your legs?
SULLIVAN. Whats wrong with my legs?
DRACULA. You must want to stay. Your wickedness keeps you
here.
SULLIVAN. Im not
DRACULA. I can teach you about wickedness.
SULLIVAN. Im not
(DRACULA gestures toward portfolio. It slowly, magically, closes.)
SULLIVAN. Dear God.
DRACULA. Shall we begin our lesson?
(He approaches her.)
SULLIVAN. Oh, Sweet Jesus. Dont come near me, dont come near
me, dont come near me. (Trying to scream, but barely managing a
whisper:) Help!
DRACULA. Youll have to be louder than that for them to hear. Try
again.
SULLIVAN. (Still no volume:) Help!
DRACULA. Whats wrong with your voice?
SULLIVAN. Whats wrong with my voice?
DRACULA. You must want to stay.
SULLIVAN. I must want to stay.
DRACULA. To stay and to learn.
SULLIVAN. And to learn.
DRACULA. You are a serving girl. You must learn to obey.
SULLIVAN. (Momentarily breaking the spell:) No.

Dracula

47

DRACULA. No?
SULLIVAN. (Desperately forcing the words out:) Imnot aserving
girl. Im a Im adoctorsassistant.
DRACULA. With the Doctor, you assist. With the Master you (He
gestures powerfully in her direction:) SERVE!
(She convulses as if she has taken a blow to the solar plexus.)
DRACULA. Do you hear me?
SULLIVAN. Yes.
DRACULA. Yes?
SULLIVAN. MmMaster.
DRACULA. Do you know that I have enemies?
SULLIVAN. (Alarmed:) Enemies?
DRACULA. They think to hunt me down. But they are the hunted.
They are the prey.
(They begin to speak in chorus as if she is channeling him.)
DRACULA & SULLIVAN.
Into the Darkness shall they be cast.
Into the Abyss for Eternity.
Death unto them.
SULLIVAN. Death unto them! Death unto them!
DRACULA & SULLIVAN. Together we vanquish them.
SULLIVAN. Death unto them! Death unto them!
DRACULA & SULLIVAN. You are now my creature. I see with
your eyes; hear with your ears. My will be your will. My will be
done.
SULLIVAN. Thy will be done! Thy will be done.
DRACULA & SULLIVAN. Very good. What say you?
SULLIVAN. I obey.
(With a mesmeric pass he releases her from the spell.)

48

William McNulty

DRACULA. They approach. Forget, until you receive my command. (Exits.)

(She drifts toward the French doors, still a bit stupefied, and stares
into the distance.)
(VAN HELSING and HARKER enter.)
VAN HELSING. Had you ever worked as a seaman before?
HARKER. Id never been to sea at all. I was sick as a dog for a
week.
VAN HELSING. Oh. hello, Miss Sullivan. (She doesnt respond.)
Miss Sullivan?
SULLIVAN. What ? Oh, Professor Van Helsing.
VAN HELSING. What were you staring at so intently?
SULLIVAN. There was a girl out there on the path to the beach. She
reminded me so much of myself. I wanted to call out to her; tell her
to come back, but she just disappeared into the fog. I felt for a moment as if Id lost my best friend. Isnt that silly?
VAN HELSING. No, indeed. Besides you Irish women are so
beautiful when youre sad.
SULLIVAN. (Suddenly quite cold and suspicious.) Arent you the sly
old devil. Id best be careful round you.
VAN HELSING. I assure you Im no threat.
SULLIVAN. Thats what all you bastall you men say. Would you
excuse me?
VAN HELSING. Yes, of course. Would you ask Dr. Seward to join
us?
SULLIVAN. (With attitude:) Yes, sir.
(She begins to laugh as she turns away.)
VAN HELSING. Something funny?
SULLIVAN. Oh, just something I read in the paper. Ill send Dr.
Seward. (Exits.)

Dracula

49

VAN HELSING. Thank you.

HARKER. She seems in an odd mood.
VAN HELSING. Yes. Understandable, I suppose, in such circumstances. Have you had any further recollections?
HARKER. Nothing of my stay at Castle Dracula. Though at first I
couldnt remember anything at all. I woke up on a river bank without money or identification, begged my way to the coast and got
work on a London-bound steamer. Ten days out of port I suddenly
knew who I was and who I loved.
VAN HELSING. And you came immediately here?
HARKER. Yes. As fast as I could, but something about the place felt
wrong. I waited and watched for a bit from the woods. When I
heard the screams, I crashed in.
VAN HELSING. And you saw?
HARKER. I saw what you saw. A monster. Thomas says its a
vampire. I dont know if I believe that, but it did seem to vanish
into thin air as I fired at it.
VAN HELSING. Fascinating.
(SEWARD enters.)
SEWARD. Evening, gentlemen. How are we getting on?
HARKER. Hello, Tom.
VAN HELSING. Thomas, did you bring the tincture?
SEWARD. Right here.
VAN HELSING. Jon, it is crucial that we know more of this Dracula. We have made up this ancient Chinese formula. It can bring
back even the most unwanted memories. But, I must warn you, you
will re-experience them fully. Are you willing?
HARKER. The prospect terrifies me, but if it will help save Lucy
VAN HELSING. It may. That is all I can tell you.

William McNulty

50

HARKER. (Sitting on chaise:) Hand it over. (VAN HELSING does so.

HARKER downs the contents of the vial in one gulp. Immediately he gags
and wretches.) Oh, my God, thats foul. What is that stuff?
VAN HELSING. You dont want to know.
HARKER. Thats worst thing Ive everever (Hes already very relaxed, lying back:) tasted.
VAN HELSING. Now, Jon, listen to me. We havent much time before this wears off, and it only works once, so listen very carefully.
You must remember how you left Castle Dracula.
HARKER. No, please!
VAN HELSING. For Lucy, Jon. For all of us.
HARKER. I cant I cant Im, oh God, Im his prisoner.
VAN HELSING. His prisoner?
HARKER. Hes kept me locked in this room for weeks. I dont
know what he plans to do, but I know its not good. Ive decided I
have to escape. He has gypsies guarding the place by day, and a vicious wolf pack surrounds the place at night, but just before dawn
there seem to be neither wolves nor gypsies aboutand thats
when I make my move.
(During the following he rises up and moves out of one reality into
another. The two men and the study fade into silhouette, and some
semblance of Castle Dracula emerges.)
I knot some sheets together and lash them to the bed and lower myself out the window. But the sheets arent long enough, and so,
about fifteen feet from the courtyard below I let go and fall to the
ground. (In the style of Story Theatre, he relives these experiences as he
describes them.) I hit pretty hard and it takes awhile to regain my
senses when suddenly Im surrounded by these swirling golden
particles, glittering in the moonlight. Then, out of nowhere
(Here a Womans arm appears from out of the wall behind him, another from beneath him on his left, and another from his right.
Gradually the BRIDES fully emerge and begin caressing him and
cooing to him. He struggles at first but soon succumbs to the overwhelming eroticism of it. They open his shirt; they greedily inhale his

Dracula

51

scent. Two of them have his arms spread wide and begin to lick his
wrists. The third is licking his throat. They build to a frenzy, but before they can go in for the kill DRACULA appears. He looks much,
much older, stooped and with long white hair, but still very powerful. He carries a large burlap sack. There is a small body in the sack,
squirming and moaning. It is clearly a child.)
DRACULA. Leave him! (The BRIDES look up and snarl defiantly.)
Leave him I say, or Ill starve you for a year. (They back away grudgingly.) The man is mine. But the boy is yours.
(He tosses the sack to the ground and removes a very large hunting
knife from his belt. He plunges the knife into the sack. The squirming
stops and the sack is soaked in crimson. He removes the knife, licks it
clean of blood and puts it back in its sheath. He tosses the bag to the
women who fall upon it like vultures, fighting over it and sucking
the blood out of it. He turns to HARKER.)
DRACULA. So, Mr. Harker, you no longer care for my hospitality.
HARKER. Im getting out of here, Count!
I climb on to one of the old broken walls. Far below I can see a river
shimmering in the pre-dawn light.
DRACULA. Its a long drop to that river, Mr. Harker. And even if
you survive the fall, the water is cold as ice and the current is fierce.
HARKER. Im not staying here.
DRACULA. Dont be a fool. Let me help you.
HARKER. He lunges toward me, but, just as he does, the first shaft
of sunlight strikes the courtyard. (Indeed a shaft of light strikes
DRACULA. He shrieks.) It seems to blind him and drives him back.
He gathers himself and moves toward me once again. (DRACULA
behaves as described.) I know I have only one chance. (Now hes moving back to the chaise. As he falls DRACULA and the BRIDES disappear, howling, into the shadows.) I turn and dive head first into the
valley. Now Im falling and falling and, oh, God! (Now prone again,
writhing in agony:) Help me! Help me!
(The study is restored by this point.)

52

William McNulty

VAN HELSING. Its alright Jon. Were here. Wake up. Youre
home.
HARKER. (Clinging to VAN HELSINGs arm, trying to regain composure:) Is that it? Is that what you need to know.
VAN HELSING. Yes, yes, Jon, well done.
SEWARD. There it is then. Its the Count. Its got to be.
VAN HELSING. It would seem so.
SEWARD. Youre not convinced?
VAN HELSING. The vampire must return to the soil in which it
was buried every morning before dawn. How could a vampire from
Transylvania survive in England?
HARKER. The gypsies.
VAN HELSING. What of them?
HARKER. For several days before I escaped they were helping him
prepare for his departure. From my window I watched them loading their wagons with his possessions. But one day I saw them at a
chore that I didnt understand til now. There were six long and
narrow packing cases scattered about and they were tossing bucketfuls of dirt into them.
VAN HELSING. Where did that dirt come from?
HARKER. Somewhere in the lower reaches of the castle itself.
VAN HELSING. Where, no doubt the family crypt is located! You
have solved it, my friend. This Count is indeed the creature who
plagues us. He is the monster you fired at last night.
SEWARD. The hound!
VAN HELSING. Yet another manifestation of the same being. Hes
a shape-changer. My friends our task is clear. If we can deprive him
of his resting places, he is doomed. We must begin to search the
Abbey for those six boxes tomorrow.
HARKER. Why not now?

Dracula

53

VAN HELSING. By day he is powerless. But if he finds us in his

lair at night hell rend us limb from limb. For now we must protect
Miss Lucy from any further attacks. Go to her, Jon. And tell her
nothing of
LUCY. (In the doorway.) Too late for that professor. Ive been standing outside since I heard Jon cry out. I heard. I know.
VAN HELSING. Who do you know?
LUCY. (Pointing to Carfax:) Its him. He killed my best friend. And
Im next on the list, arent I, Professor?
VAN HELSING. Not if I can help it. Thomas, you say your life has
lacked adventure? What do you say to a day of vampire hunting?
SEWARD. Im with you all the way.
HARKER. And I.
LUCY. And I.
VAN HELSING. How can such a team fail. As hunters do, we begin at daybreak. But we must arm ourselves. Thomas, take me to
your tool shed. Miss Lucy, please remain here with Jon standing
guard. Wear this crucifix around your neck; it is repellent to him. I
will seal the door with holy water. (He does so.) Now he cannot
touch it. Come, Thomas. (They exit.)
HARKER. Lucy, I cant lose you. I wouldnt want life without you.
I dont know how Thomas is managing.
LUCY. If the Professor says theres hope, I believe him. I just want
to be doing something. I feel so helpless. For now I guess the only
thing to do is wait.
HARKER. Well, there is something we can do.
(She smiles and comes to him. They kiss. SULLIVAN enters.)
SULLIVAN. Well, look at this! Look at the sly little love birds. This
is what goes on behind my back, is it.
(They separate awkwardly.)
LUCY. Oh, hello, Margaret.

William McNulty

54

SULLIVAN. What kind of a nasty business is this. And you a sick

woman to boot.
HARKER. Miss Sullivan, we were just kissing. Were engaged to be
married, for heavens sake.
SULLIVAN. Just kissing, is it? Just kissing, he says, innocent as
the day is long. Well, we know where just kissing leads dont we?
(Her tone manages to be both censorious and somehow lewd.)
LUCY. Margaret. I dont know whats got into you
SULLIVAN. Dont you Margaret me. Sit down!
LUCY. Youve no right to
(SULLIVAN turns swiftly to the door and gestures. It slams shut.
She wheels around on them.)
SULLIVAN. (In a very different voice, possibly DRACULAs:) SIT
DOWN!
(Each of them is thrown down by an unseen force, LUCY to the
chaise, JON to a chair, and held in place. As they struggle to get up
SULLIVAN takes over the room.)
SULLIVAN. Now well see whos who and whats what around
here. (To JON:) Oh, will you stop squirming, you little pest, and go
to sleep. SLEEP! (JON slumps over.) Whats that around your neck,
you dirty girl. What right have you to wear that. Take that off immediately.
LUCY. No.
SULLIVAN. I SAID (She gestures to her own neck as if she is ripping
off a necklace. LUCYs hand involuntarily follows her movements as she is
forced to toss aside the crucifix.)
SULLIVAN. Oh, but you must be overheated after all your activity.
Why dont we let in the breeze.
(SULLIVAN throws open the French doors. The opening strains of
an ungodly wedding processional are heard. LUCY is thrown back
on the chaise as if a great wind has entered the room. SULLIVAN
leads a processional into the room. MINA marches in and dances
wildly about the room, finally focusing on LUCY, looking like she

Dracula

55

may be about to bite LUCY when her attention turns back to the
doors. DRACULA enters in all his grandeur and comes to a halt
just as the music is about to end. He glances sharply at LUCY and
everyone onstage screams.)
DRACULA. SILENCE! (Screaming stops.) So you, like the others,
would play your wits against mine. You would help these fools to
hunt me and frustrate me in my designs. Now you must be punished for what you have done. You must learn as they have learned
in part what it is to cross my path. You, their best beloved are to be
made flesh of my flesh, blood of my blood. Now you shall come to
my call. When my mind summons you, you shall cross land and sea
to do my bidding, and to that end
(He tears open his shirt and scratches a deep cut across his chest.)
DRACULA. This!
(He gestures to her. She rises up, but turns away. MINA blocks her
way and snarls.)
DRACULA. Do this or he dies.
(He gestures to HARKER, who falls to his knees and moans.)
LUCY. Jon!
(She runs to JON, giving DRACULA the opportunity to grab her
by the neck and control her. Slowly he forces her to her knees as he
kneels with her. As she struggles against him, he forces her to his
chest and makes her drink. He howls three times, then pulls back her
head, exposing her throat. He throws his head back, opens his mouth
widely and slowly lowers his fangs to her throat as lights fade and a
huge clap of thunder resonates through the house.)
End of Act I

ACT II
Prologue
Vignette 2
(As Act II begins we hear the strains of London Bridge is Falling
Down played very slowly and quite distorted. When lights are at
half, the vignette begins. From some part of the auditorium we hear a
CHILD screaming. Her scream is followed by delighted laughter as
she appears from the darkness. Soon after MINA appears, also
laughing, but with something more like fiendish glee. They are engaged in a kind of game of tag with each of them at turns pretending
to be a vicious beast or the terrified prey. At one moment MINA is in
pursuit, growling and snarling as the CHILD flees, laughing and
screaming; then the CHILD turns to snarl and claw at MINA who
recoils in mock terror. At some point they begin to circle one another,
both now snarling and clawing. The CHILD makes a sudden break
to get away, MINA grabs her and lifts her high in the air eliciting
more screams and laughter. Slowly MINA lowers the CHILD to her
breast, and cradles her in her arms. She rears back her head and
opens her mouth to reveal her fangs. As she lowers her mouth to the
CHILDs throat, the CHILD screams one last time and we blackout.)
Scene 1
(At rise, HARKER is slumped over the chaise. VAN HELSING enters.)
HARKER. How is she?
VAN HELSING. Alright, I think. What about you.
HARKER. Im a failure. I failed her. I failed all of you.
VAN HELSING. You were weak from the drug and caught off
guard.
HARKER. I want him dead. I want to be the one to do it.
VAN HELSING. We must wait til dawn. (SEWARD enters.) Has
she said anything more?
57

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William McNulty

SEWARD. Nothing. Only that he was here again. But she was still
highly agitated. I gave her a sedative. Shes sound asleep. Abram, I
dont know how many more of these attacks she can withstand.
HARKER. Do you hear? Lets get him. Lets hunt him down now!
VAN HELSING. Patience, my friends, patience. The sun is on the
way.
HARKER. Meanwhile, God knows what he could be up to
(From the doorway a white flag appears dangling from the end of a
stick. We hear RENFIELD singing.)
RENFIELD.
The bells of Hell go dingalingaling
For you but not for me.
(He enters the room. He looks a bit banged up, and he is quite nervous.)
RENFIELD. Greetings. I come in peace, brethren. Pax. Under the
white flag. Dont shoot the messenger.
SEWARD. I suppose theres no point in asking how you got out
this time.
RENFIELD. If I told you Id have to kill you. Joke! Only a joke. No
intention whatever of doing anyone any harm. Sorry about all that
nasty business earlier, mien gute Professor. Dont know what got
into me. Must have been out of my Yes, well that goes without
saying, doesnt it. Mr. Harker! It cant be you. Youre dead.
HARKER. You dont know me.
RENFIELD. Weve not met formally. But Ive admired you from
afar. Peering out my little cell window. Watching you and Miss
Lucy cavorting about the grounds sallying off into the woods to do
God knows what. Lovely, young carefree couple. Those were the
days, eh? Crying shame. (He starts to cry.) But youre alive again.
Congratulations on that. Seems like people are rising from the dead
all over the place. Times we live in, eh? But youre looking very
maritime, matey. Very Yo ho ho and so forth. Been out on the
briny?

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SEWARD. Mr. Renfield what do you want.

RENFIELD. Thing is, you see, theres certain types, certainpersonality types, that, when they get a bit angry, when they fly into a
blind rage, they can do a good deal of harm, physical, mental, emotional, but mostly physical harm to certain parties of their acquaintance, and there can come a time when these certain abused parties
can begin to think, well, perhaps, this is not a healthy relationship
after all; time to move on, start afresh, find a whole new social milieu, but, of course that can be a complicated matter, especially
when certain threats, certain bone-chilling, mind-numbing threats
have been made toward them by the aforementioned personality
types, who can be, well, lets say rather possessive, and what you
might call VINDICTIVE if they feel theyve been disrespected in
any way, shape or form, which, as Im sure you can appreciate, begs
the question, both metaphysical and logistical, Whats a body to
do?
VAN HELSING. What do you want from us?
RENFIELD. Well, if a person were in the sort of pickle Im talking
about, a person like me, for instance, not actually me, you understand, but like me, a metaphorical me, if the metaphorical me were in
the hypothetical pickle, then what hed propose as the best solution
for all parties involved, including, incidentally, yourselves, would
be for you gents to pack a few personal belongings, throw on your
traveling clothes and RUN LIKE HELL as far and as fast as you can!
Because the kettles on the fire and its coming to a boil, you see!
The wrath of the Great One will soon be visited upon this house!
VAN HELSING. The great one? Whom do you mean?
RENFIELD. Never mind whom. You are whom it may concern. Get
yourselves gone! And take me along for the ride. Least you can do
after all the sound advice Ive given. Youll have to bind me and
drag me off kicking and screaming, of course, but a few sharp
blows to the head should quiet me down. Only thing is, and Im terribly sorry about this, truly, truly sorry. Its about the girl.
HARKER. Lucy?

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RENFIELD. Thats the one. Afraid well have to leave her behind.
Spoils of war, you see. Only conditions the Other Side might accept.
He wont let her go.
HARKER. Who are you talking about? Are you talking about
Dracula?
RENFIELD. I didnt say anything like that. Did I? I most certainly
did not say anything remotely like that.
HARKER. (Taking hold of RENFIELD:) What has he done to her?
What has he done? Tell me or Ill kill you.
RENFIELD. (Gasping:) Claimed her! Marked her for his own.
HARKER. (Releasing him roughly:) What are you talking about?
RENFIELD. (Seeing the newspaper:) Try reading the paper once in a
while. You might just learn something. Dont you know what
youre dealing with? You are dealing (Out of nowhere: a loud clap of
thunder. RENFIELD is profoundly affected.) Ohhh! Oh no! Here he
comes! Oh nooo! (Runs out the French doors screaming.)
VAN HELSING. We cant let him get away.
SEWARD. Well get him. Come on Jon.
(They run off. VAN HELSING stares after them for a moment, then
picks up the newspaper and reads for a moment.)
VAN HELSING. (Throwing the paper back down:) Damn! (Turning to
look up at Carfax Abbey:) Ill get you, you devil. Ill hunt you down if
it kills me.
DRACULA. (Appearing in the chair behind the desk:) That can be arranged.
VAN HELSING. (Shaken:) Count!
DRACULA. I told you we would have our special time together.
VAN HELSING. I have looked forward to it.
DRACULA. Have you really? I am touched. Let us make certain we
are not disturbed. (He gestures and all windows and door slam shut.)
So. You have found me out.

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61

VAN HELSING. I had my suspicions from the very first. Id read

about your infamous ancestor and thought his traits might have
been carried down through the generations.
DRACULA. That is not my ancestor.
VAN HELSING. How do you mean?
DRACULA. Him that you speak of stands before you.
VAN HELSING. You? You are Vlad Dracula, himself?
DRACULA. At your service.
VAN HELSING. Five hundred years, then since your human life
terminated?
DRACULA. That is correct. Five hundred years of accumulated
wisdom and powers.
VAN HELSING. Five hundred years of savagery.
DRACULA. Are you trying to anger me? Do you wish to hasten
your death.
VAN HELSING. What angers you most is that I do not fear death
and you do. Which is why you bargained with Satan to become this
walking corpse, this insane, soulless murderer
DRACULA. Enough, old man, your time has come!
(He lunges powerfully toward VAN HELSING, who amazingly
stands his ground.)
VAN HELSING. Oel. Amema ilasa!
(DRACULA is immediately thrown back on his heels. He shakes his
head as though hes just heard some horrid noise.)
DRACULA. What did you say to me?
VAN HELSING. Do oaipe lehevohe!
(He now removes a small book, not a Bible, more like a missal, from
his coat pocket. During the following he reads aloud from it, overlapping with DRACULA.)

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William McNulty

DRACULA. You dont say such words to me! No one speaks to me

such words.
(He becomes more and more agitated, stalking about the room,
lunging at VAN HELSING, but each time being repelled by the
words.)
DRACULA. Where did you find that book? Where did you get that.
You have no right. You have no right. Put that down. Put that down
I say.
VAN HELSING. Christeos lukifitas od tofajilo pire peripesol
amema ilasa, pujo ialaperigi dasa apila od pujo mire adapehaheta!
(At some point along the way the lights begin to flicker and the furniture begins to vibrate.)
DRACULA. You old fool! Look how old and feeble you are. You
are weak and bent. You dont have the strength of a child. Your
eyes are failing. Your mind is clouded.
VAN HELSING. Od do oainu od emetajisa, dasa oali do vaunala
faorejita faboanau, tarianu do mire notahoa toltoregi salaberotza
(DRACULA is beginning to get inside VAN HELSINGs head.
VAN HELSING starts to hunch over and weaken, but he redoubles
his efforts and continues to read forcefully. This whole process is
taking a tremendous toll on each of them.)
DRACULA. (In agony:) Ahhh! Shut your mouth. Shut your filthy
mouth! Put that down. Put that down. (He points to VAN
HELSING.) Come to me! Come I say!
VAN HELSING. Od jirasrobe, olpiret do pereje caosajo, do oaipe
lehevohe od elannusahe do vaunala do oainudau
(VAN HELSING is nearly lifted off his feet, but he continues to
read relentlessly. But now DRACULA hits upon a new tactic.)
DRACULA. Can you read in the dark!? Can you read in the dark,
old fool? Shall we find out?
VAN HELSING. TETRAGRAMMATON, ANAPHAXETON, od
PRIMEUMATON

Dracula

63

(With two powerful gestures DRACULA blows up both lamps that

have been illuminating the room, and they are plunged into absolute
darkness. We now hear a cacophony of demonic screeches and howls,
among them, the voice we have come to know belongs to the MONSTER, howling and cackling.)
VAN HELSING. (Somewhere in the blackness.) Where are you? Show
yourself!
(A ball of flame explodes in mid-air. We see VAN HELSING briefly
as he recoils from it. Almost immediately, another explodes in whatever part of the room hes gotten to. Finally, he locates a flashlight,
left behind by Briggs earlier, and switches it on. He searches franticly
about the room.)
VAN HELSING. Show yourself! Come out you devil!
(The beam finally falls upon the MONSTER, who leaps at VAN
HELSINGs throat. They struggle momentarily, the flashlight illuminating both their faces. The MONSTER viciously claws his arm.
VAN HELSING staggers back, but produces a cross from his pocket
and presents it to the MONSTER, who howls with pain and horror
and runs screaming from the room. Three shots are heard in the dark
and the lights come up immediately. HARKER and SEWARD dash
into the room.)
SEWARD. Abram! Are you alright?
VAN HELSING. I think so.
HARKER. We saw that thing run out. I fired at close range, but it
didnt even flinch.
VAN HELSING. Guns are useless against such as him. But he is
not without his weaknesses. Ive learned much.
SEWARD. How do you mean?
VAN HELSING. The cross repels him. And the words of this sacred text made him frantic. But, my friends, this Dracula is an extremely powerful and dangerous creature.
SEWARD. Good grief! Look at your arm. Let me take care of that.

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William McNulty

VAN HELSING. Not now. Not now. Both of you. Theres more you
need to know. Jon, Renfield mentioned the newspaper to you. Have
you read it?
HARKER. Yes, as a matter of fact, I read it in Lucys room while she
was sleeping.
VAN HELSING. Has she read it.
HARKER. I dont know. I left it with her.
VAN HELSING. And you, Thomas, have you seen it?
SEWARD. Not yet. Why?
VAN HELSING. Jon, did you read of the Hampstead Horror?
HARKER. Yes, the mysterious woman in white and the children
with scratch marks on their throat.
SEWARD. What! Let me see that. (Rushes to table and snatches up paper, scanning the article franticly.) Dear Lord.
VAN HELSING. Its Mina, Thomas. It could be no one else.
SEWARD. She could never
VAN HELSING. Face it. She has become as him.
SEWARD. It cant be. (Staring blankly at newspaper.)
VAN HELSING. There is hope. I cannot restore your Minas life.
But her soul can be released.
HARKER. And what of Lucy?
VAN HELSING. I intend to do much more for her. Go to her now,
Jon, and see that she continues to rest. The doctor and I have a mission.
HARKER. Then Ill come too.
VAN HELSING. No. She needs you. Go now.
HARKER. Very well. Im sorry, Thom. (SEWARD nods. HARKER
exits.)

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65

VAN HELSING. (Gently:) Thomas, daylight is near, and you and I

have a dreadful task to perform. We must prepare to go.
SEWARD. (Still somewhat distracted:) To Carfax?
VAN HELSING. Not yet.
SEWARD. Where then?
VAN HELSING. Show me the crypt that you visit daily.
SEWARD. Abram, please
VAN HELSING. This must be done, my dear friend.
(Pause.)
SEWARD. Give me a moment.
VAN HELSING. Ill wait outside.
(VAN HELSING exits. SEWARD kneels and begins to pray. Music. A wash of blue light envelopes the stage. The study disappears.
Minas crypt materializes around him. When the crypt is fully established, SEWARD is kneeling before a coffin. VAN HELSING enters with lantern and bag.)
SEWARD. I cant, Abram. I simply cant be a part of this; she was
my love.
VAN HELSING. This is the greatest act of love we can perform.
SEWARD. I cant. I have to get out of here. (Starts to go.)
VAN HELSING. One moment, my friend. (Undoing lid of coffin:)
Tell me, now. (Opening lid:) Is this the woman you loved?
SEWARD. (Staring down at MINAs body:) Good god!
VAN HELSING. What you see there is not your beloved Mina but
the fiend that has possessed her. Note the blood, caked around the
mouth, Thomas. Note the fangs. With those she feeds on children.
And with each successive feeding
SEWARD. Alright. I am convinced.
VAN HELSING. (Removing hammer and stake from bag, presenting it
to SEWARD:) My friend.

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William McNulty

SEWARD. Abram! No, you cannot ask this!

VAN HELSING. I am injured, Thomas. That monsters claws went
deep. You will release her soul more quickly.
(In agony, SEWARD accepts the terrible task. He takes the hammer
and stake from VAN HELSING and approaches the coffin. VAN
HELSING removes a Bible from his bag.)
VAN HELSING. There may be some struggle, but once you begin,
you must not relent until she rests. It is the most merciful way. Let
us proceed.
(VAN HELSING begins reading the Prayer for the Dead. SEWARD sets the point of the stake on MINAs chest and tries to gather
himself.)
VAN HELSING.
Dies irae,
Dies illa,
Solvet saeculum in favilla.
Lacrimosa
(SEWARD strikes the first blow and to his horror MINA emits a
bloodcurdling scream, rises up and throws him aside with great
force. As he tries to regain his balance, she, still screaming, struggles
desperately to remove the stake, a fountain of blood spewing from her
chest. SEWARD forces her back to prone position and strikes another
blow; she screams even louder and tries to sink her fangs into his
throat. He forces her back down and strikes again. Another horrendous scream, though her strength is clearly ebbing. Three more
strikes in rapid succession; three more screams, the last one more extended. Finally, after several choking gasps and a long expiration of
breath, she is still. SEWARD throws down the hammer and retreats,
sobbing, to the shadows. VAN HELSING closes the coffin and removes holy water from medical bag. He douses the coffin latches with
holy water.)
VAN HELSING. Finally she rests. Her soul is free. It is done, Thomas. Youve saved her. Thomas?
(He places a hand on SEWARDs shoulder. SEWARD shrugs him
off roughly.)

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67

SEWARD. Leave me alone. (Exiting:) For Gods sake, leave me

alone!
VAN HELSING. Thomas, please
(He stares after him for a moment then turns and gathers up the
hammer and the medical bag and begins to exit. He stops momentarily, looking down at the coffin.)
VAN HELSING. May God have mercy on us. (Exits.)
(We hear the sound of the vault door closing; then, after a beat, from
somewhere there is growling like that of a small animal. The growling intensifies. Suddenly, from a hiding place beneath the coffin, the
CHILD emerges. Clearly well on her way to vampirism, she vents
her fury, snarling and clawing the air in the direction of her now absent enemies. She grabs at the coffin latch, but screams and recoils as
if shes touched a hot stove. She tries again with the same result.
Now, still snarling and howling, she clambers up on top of the coffin
and, once there, stamps her feet and again claws the air. Now she
falls to her knees and begins to pound on the coffin lid with her fists
and then to claw at it in a vain attempt to get in. Gradually she exhausts herself and her growls become moans and sobs until, finally,
with one long sigh, she lies face down, her arms spread wide, embracing the coffin as it disappears into blackness.)
(Blackout.)
Scene 2
(The lab, somewhere in the bowels of the Asylum. About an hour before dawn. SEWARD enters, not bothering to turn on the light. He
is clearly exhausted. He is jacketless. He rolls up a shirt sleeve. From
a small leather case he produces a syringe and a vial full of golden
fluid. He fills the syringe and holds it up to the moonlight streaming
in the window. He taps it. The light snaps on. VAN HELSING
stands at the door. He, too is equipped with a syringe, but his is larger.)
VAN HELSING. Thomas. no, I beg you.
SEWARD. Im finished, Abram. This thing has me beat. I just want
to fade away.

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68

VAN HELSING. It will be dawn soon. We can renew our efforts.

SEWARD. Its too bloody late, Abram. Admit it. We ransacked Carfax, searched every square inch of it, tore open all the packing cases,
and came up empty.
VAN HELSING. Hes got another hiding place. It cant be far off.
SEWARD. We havent time to search the entire county. You see
whats happening to Lucy. Shes changing rapidly. I dont know
what went on during last nights attack, but its had a dreadful effect.
VAN HELSING. I think, perhaps another transfusion will help
SEWARD. This is futile, Abram.
VAN HELSING. Its convenient you have your sleeve rolled up.
Now put down that needle and let me take some blood. Youre the
best donor available. (SEWARD stares at him defiantly.) We are trying to save a life, man. Youre a doctor.
SEWARD. You saw what I did to Mina. Im no longer a doctor; Im
a butcher!
VAN HELSING. We still have a chance. While we live, while we
breathe, we have a chance. We need you Thomas. You cannot desert us. And we need you in your right mind. (Pointing to SEWARDs syringe:) Give that to me.
(Pause.)
SEWARD. (Handing it over:) Ah, my dear Dutch Uncle. Ever the
wise counselor. Im sorry, my friend. Will you forgive me?
VAN HELSING. Give me your arm and Ill forgive you.
(He begins taking blood from SEWARDs arm.)
SEWARD. So, whats to be done? We purified all his packing cases,
so he knows were on his trail. Hes probably preparing some sort
of counter attack even as we speak.
VAN HELSING. Ive asked your man Briggs to fetch Mr. Renfield
to us. It might be worth trying once more to pry some information
out of him. Hes clearly a confederate.

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69

SEWARD. Yes. And now it seems the Count has yet another confederate.
VAN HELSING. Your poor Miss Sullivan.
SEWARD. I cant believe she could be capable of the behavior Jon
and Lucy described. Shes always been so good-hearted and loyal.
VAN HELSING. He has enslaved her mind. He has perverted that
great loyalty you speak of. If we could find her and somehow bring
her back to her senses we could take advantage of that psychic
bond he has created, and she could lead us to him.
SEWARD. Theres been no sign of her all day. Its not likely well
be seeing her again.
(BRIGGS appears at door with a crumpled, badly bruised RENFIELD.)
BRIGGS. Ere e is, sir. Whats left of im anyways.
RENFIELD. Well, arent I just the most popular chappie. Tripping
merrily, from one engagement to the next. Entertaining the aristocracy one moment then on to distinguished men of science. Much
more of this and I shall have to engage a social secretary.
SEWARD. Whats happened to him? Briggs?
BRIGGS. I aint done nothin. I found im like this, all crumpled up
in the corner of his cell, lookin like ed been run over by the
bleedin fire wagon.
SEWARD. Alright. Thank you, Briggs. Well take over from here.
BRIGGS. Yes, sir. Er, if I might inquire, sir
SEWARD. What is it?
BRIGGS. That Miss Sullivan, sir. I noticed she wasnt around all
day. She seems a decent sort. I just wondered if everything was alright.
SEWARD. Yes. Leave of absence. Sick mother, I believe.
BRIGGS. Thats funny. She never
SEWARD. Never what?

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70

BRIGGS. Nothin, sir. Shall I wait down the all, then?

SEWARD. Yes, thats fine.
(BRIGGS exits.)
SEWARD. Mr. Renfield, whats happened to you?
RENFIELD. A mutual acquaintance of ours came calling earlier.
VAN HELSING. To your cell? He came to your cell? Do you hear
Seward?
RENFIELD. When I expressed a certain discomfort with the notion
of eternal damnation he set into a lively game of Kick the Renfield.
Hes an impressive athlete. Oh, if only youd listened and gotten us
all out while the getting was good. Now, its too late. Hes on the
rampage.
VAN HELSING. Mr. Renfield, help us and well help you.
RENFIELD. You help me? Oh, thats rich. Big help youve been
thus far. Ive a better idea. Why dont I just take this straight to
Scotland Yard. Pardon me, Lieutenant, Im just your average garden variety raving lunatic, who is currently being pummeled on a
regular basis by an enormously powerful supernatural being from
the Alps. Yes, Ive all sorts of options in the area of help.
VAN HELSING. Think of your soul.
RENFIELD. My soul is lost! Forget my soul! Whats my little soul
compared to all that hes offered. Immortality! And blood! Rivers of
it! Torrents! He showed me a vision, you know. Just like the saints
were shown angels and heavenly vistas. Only my vision was rats,
hundreds, thousands of rats; thousands of tiny red eyes gleaming
up at me, awaiting my command. Thousands of tiny hearts thrumming the glorious rhythms of life, and theyre mine. All mine!
(He leaps at the syringe full of blood on the lab table, and begins to
squirt it into his mouth. VAN HELSING wrenches it from him.)
VAN HELSING. Renfield, no. No, for Gods sake, man.
RENFIELD. He shall raise me up. Ill be his second in command.
His right hand man. And ye shall be my minions, my lackies, my

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71

slaves (He breaks down in sobs.) Oh, Heaven help me. Where is
mercy? Where is salvation?
VAN HELSING. Where does he sleep? Tell us where he sleeps.
RENFIELD. He sleeps He sleepsat the Devils bosom in the pit
of Hell.
(There is a commotion in the hall. Wild laughter and screaming. It is
LUCY. She whirls into the room followed by HARKER.)
LUCY. (Focusing immediately on RENFIELD:) What is this thing doing in my house? Where did it come from? The gutter? The sewer?
RENFIELD. Oh, no shesshes This is not my fault! I had nothing to do with this. Not my idea. Youre done for. Youre his creature now. Youre in the power of
LUCY. (Simultaneous with the above.) You dare speak in my presence? I forbid it! I forbid you to speak. Swine! Filth! Go back to your
hole. Crawl back under your rock. I said be quiet!
(She smacks him viciously across the face before he can speak Draculas name. It is clear that she is now preternaturally strong because
the blow sends him sprawling across the room.)
RENFIELD. Youre no better than me! Youre no better now! Witch!
Bloodless wench. Ha ha ha ha ha!
LUCY. (Again simultaneous with RENFIELD.) Take that thing out of
here. Remove it! It stinks worse than a pig. Take it away. Ha ha ha
ha ha!
(VAN HELSING and SEWARD escort RENFIELD from the room
as RENFIELD and LUCY laugh and point mockingly at one another.)
VAN HELSING. (Possibly simultaneous with the above.) Come, Thomas. Watch her Harker. Watch her.
LUCY. Ha ha! Did you see that? Did you see how that creature ran
from me? How dare he say such things to me.
HARKER. Oh, Lucy, you mustnt pay him any mind. Hes just a
poor madman.

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William McNulty

LUCY. Just whose side are you on? Are you taking up for him?
HARKER. No, of course not. I just hate seeing you so upset.
LUCY. I HAVE A TEMPER! Is there something wrong with that?
HARKER. Not at all.
LUCY. Are you sure? You dont think its a tad unladylike?
HARKER. Lucy please
LUCY. Perhaps even a little vulgar? Hey, Jonny? Hey, Handsome
Jonny? My fine English gent? You miss her, dont you, Jon? Your
little Lucy. Your prim and proper little limp-wristed milksop, Lucy.
The very model of the modern English ninny. Well, those days are
gone, sir. Theres a new girl in town, like it or not.
HARKER. I love you, Lucy. I love you now, and I always will.
LUCY. And do you think I dont love you?
HARKER. I think youre under the influence of
LUCY. Under of the influence of the night. The moon. Can you feel
the moonlight on your skin, Jon? (She climbs up on the lab table and
basks in the light from the window.) I can. It thrills me; intoxicates me.
Can you hear the night calling to us, Jon? It sings to us. Come
away, it sings,
Come away ye young and eager,
Come swiftly in your darkling reverie,
Quench your thirst and cool your fever,
Hear my call, come, come to me!
Of course I love you, my darling. Im positively wild about you.
(Still on the table she clasps him to her, nuzzling his throat with her nose
and lips.) Umm, such lovely muscles. You know what I think? I
think theres a little animal lurking underneath that proper British
solicitor exterior.
HARKER. (Breaking away angrily:) Enough, Lucy. Thats enough!
Youre not yourself. Dont you feel it? Somethings taken over your
mind. Oh, God help us!
LUCY. No, Jon, thats not it at all. Im frightened, dont you see?
Were in grave danger.

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HARKER. Were going to hunt him down. Well stop him somehow.
LUCY. Who are you talking about?
HARKER. Dracula, of course.
LUCY. Dracula! You poor fool. Dracula? That stodgy old Transylvanian relic whos been nothing but kind and considerate to me
throughout my illness?
HARKER. Lucy, he is your illness.
LUCY. No, Jon. Now, listen to me, we havent much time. Theres a
conspiracy going on here. You dont see it, but I do. I havent said
anything up til now because I didnt believe it myself, but they are
definitely out to get us.
HARKER. Who are you talking about?
LUCY. Those two! (She points to the corridor.)
HARKER. Thomas and the Professor? Why would they
LUCY. They hate us. They hate us for this great love, this great passion we have for each other. Theyre trying to kill us, Jon.
HARKER. This is insane.
LUCY. You see? Thats what they want you to think. They want to
put me away in a cage like that horrible wretch they just dragged
out of here. They want to keep us apart forever.
HARKER. You just said they wanted to kill us.
LUCY. Listen to me! (She charges at him pounding on his chest.) Why
wont you listen to me, you fool. You damn fool. Damn you. Damn
you. Damn you. (She appears to exhaust herself and swoons.) Oh, Jon.
(She starts to collapse. He catches her in his arms and brings her to
the table.)
HARKER. Lucy, are you alright? Speak to me.
LUCY. (Groggily, her head buried in his shoulder:) Oh, Jonny, my
Jonny. Jonny theres something I have to show you.

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74

HARKER. Shhh. Not now, darling. Not now.

LUCY. (Wrenching herself away from him:) Yes, now. (She gestures toward his forehead, and he goes into a trance state, still conscious, but utterly helpless. She smiles and opens her mouth to display the fangs she has
now, magically, acquired.)
LUCY. How do you like your lover now?
(She begins to force him to his back.)
HARKER. Lucy, no, please, no.
LUCY. She wants you. She yearns for you.
HARKER. No.
LUCY. Now feel her dark kiss.
(She rears back her head. Her fangs gleam in the light. She slowly descends to his throat.)
VAN HELSING. (Rushing in with SEWARD, holding a cross before
him.) In the name of God release him!
(HARKER leaps from the table. LUCY turns to confront VAN
HELSING and the cross.)
VAN HELSING. The power of God compels you!
(He approaches her confronting her with the cross. She snarls, claws
and kicks at it.)
LUCY. Get that filthy thing away from me!
VAN HELSING. The power of God compels you!
LUCY. You old fool! (She spits at the cross.) You impotent old fool!
VAN HELSING. The power of God compels you Hold her,
Thomas, hold her!
(SEWARD holds her firmly by the shoulders as VAN HELSING,
repeating the incantation lowers the cross to her forehead.)
LUCY. No, no, no, no!

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75

(VAN HELSING touches the cross to her forehead; she screams and
convulses, her body arching upward and lingering in that position
for a moment then collapsing into SEWARDs arms.)
SEWARD. Lucy? Lucy?
LUCY. Thomas, is that you?
SEWARD. Shes back.
LUCY. Oh, God, my God, what have I become?
VAN HELSING. You are still yourself. The process is not yet complete.
LUCY. How long? How much longer?
VAN HELSING. I do not know.
LUCY. Ah, me.
HARKER. Lucy, my darling
LUCY. (Backing away:) Stand away, Jon. Stand away all of you and
let me speak. My dear friends, my true love, I know how deeply
you care for me, but there can be no more coddling. I want to know
what you gentlemen did to Mina this morning. Jons already told
me shes been put to rest. But he would not say how. How, Thomas?
SEWARD. Lucy theres no need
LUCY. Enough, Thomas, please. Its my life, my soul, thats in jeopardy. Im entitled to the truth. Tell me what youve done to her.
SEWARD. With a hammer and a stake we
VAN HELSING. We struck to the heart. Screams. Convulsions. But
then such a look of peace came over her.
LUCY. Such grim mercy.
SEWARD. We will save you, Lucy.
LUCY. I know that you will try. But if we fail, and I should die, you
must, without hesitation grant me that same mercy. Do you swear
it?

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William McNulty

SEWARD. I swear, my dear friend.

VAN HELSING. And I.
HARKER. (Running to embrace her:) Yes. Yes, my dearest, dearest
love.
LUCY. (Stepping away:) You may not want to hold me, Jon, when all
is known. I must tell you that the vampires last attack was different.
VAN HELSING. How do you mean?
LUCY. It was some sort of ritual. Like some ghastly wedding.
Hehe opened a vein in his chest and forced meforced my
mouth down to it.
HARKER. Oh, god!
LUCY. I tell you this because it may give us some small advantage.
I seem now to be psychically connected to him. I can feel when he is
near. And he is quite near now.
VAN HELSING. Miss Lucy. We need to know where he rests by
day. Can you help us find his lair?
LUCY. My visions are clouded, indistinct. Its like trying to bring
back some distant memory.
SEWARD. Abram. The drug! The drug you gave Jon. Might that
work?
VAN HELSING. Brilliant, Thomas. Its worth a try. What do you
say, Miss Lucy?
LUCY. By all means.
VAN HELSING. (To LUCY and HARKER:) You two come with me.
Thomas, wed best keep Renfield protected. Hell be safer in here
than in his cell.
SEWARD. Ill take care of it.
VAN HELSING. Join us once you do.
SEWARD. (Shouting into corridor:) Mr. Briggs? Mr. Briggs, bring
him back in here.

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BRIGGS. (From offstage:) Right, sir.

VAN HELSING. Come my friends, theres no time to waste.
(Exits with LUCY and HARKER.)
BRIGGS. Come on you. Off we go.
(BRIGGS appears with RENFIELD over his shoulder.)
RENFIELD. Put me down. Put me down you oaf. Let me be.
(BRIGGS deposits him roughly on the table.)
SEWARD. Keep a close watch over him. If anything at all unusual
occurs shout me out.
BRIGGS. Yes, sir.
(SEWARD exits.)
RENFIELD. (To BRIGGS:) Youre the biggest fool of all.
BRIGGS. Shut your mouth.
RENFIELD. You have no idea whats going on around here, and if
you did youd run screaming back to the chimpanzee that mothered
you
(DRACULA has appeared in the room, and is moving in behind
BRIGGS back.)
BRIGGS. (Swatting RENFIELD in the mouth:) I said shut up!
DRACULA. (Swatting BRIGGS across the back of the head:) No, you
shut up.
(BRIGGS collapses to the floor.)
RENFIELD. Well done, Master. You saved me from that ruffian.
Really, very decent of you
DRACULA. (Grabbing him by the throat:) Every time I turn my back
you run to them.
RENFIELD. No, Master, they come to me. I do not seek their company, not my sort of people at all, these humans, I cant bear them
DRACULA. You are an ingrate.

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William McNulty

RENFIELD. No, Master. Very grateful, really. Thank you so much.

All the beatings? A profound lesson, every one. Character building.
DRACULA. You make jokes with me?
RENFIELD. No, Master why would I do that? I know you have no
sense of humor. Oh, there Ive done it again. Another joke. So sorry.
Truly sorry. Some sort reflex. Part of my pathology
DRACULA. (Raising him to his knees:) Confess that you are a traitor.
RENFIELD. I confess! Mea culpa, mea culpa, mea maxima culpa!
DRACULA. And now you shall be executed. (Throws him to floor.)
RENFIELD. (As DRACULA is dragging him around by his heels:) No,
Master. Please have mercy. Mercy, Please
(DRACULA lifts him high in the air by his throat.)
RENFIELD. I dont want to die!
SEWARD. (Running in:) Dracula!
(DRACULA drops RENFIELD and turns to confront SEWARD
who is on him immediately.)
SEWARD. (As he wrestles desperately with DRACULA:) Jon! Abram!
Hes here! Hes here! Ive got him!
(HARKER and VAN HELSING come dashing in, each with a cross
in hand, but DRACULA already has SEWARD well in control.
Standing behind him he holds him firmly by the throat with one arm.
In the other hand he holds an enormous knife to SEWARDs chest.)
DRACULA. Stay back or I gut him like a wild pig.
VAN HELSING. The dawn approaches, Dracula.
DRACULA. Put down those things and let me pass or the swine
dies.
SEWARD. Dont do it. Keep him here. Kill him!
DRACULA. Put them down and stand aside now or Ill show you
his entrails.
VAN HELSING. (Looking to HARKER:) We have no choice.

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79

(They begin to lower the crosses.)

SEWARD. NO!
(SEWARD grabs the knife before DRACULA can react and plunges
it into his own chest. He sinks from DRACULAs grasp.)
DRACULA. (Laughing:) The fool! I wanted him alive. I want you all
alive. Yes, gentlemen, I wish you life and good health. (Removing
knife from SEWARDs chest and licking it:) I drink to your health!
HARKER. Monster!
(HARKER charges him, cross in one hand, hammer and stake in the
other. DRACULA deftly takes control of him holding by both
wrists.)
DRACULA. Ah, now comes another hero, come to destroy me.
What use are these toys against me?
(The cross bursts into flame and falls from HARKERs hand.
DRACULA forces the hammer and stake from HARKERs grip and
throws him viciously to the ground.)
DRACULA. You think to thwart me? You with your pale faces all
in a row like sheep at a butchers? Hear me now. (He leaps atop the
table.) The wench is mine. When I call shell come to me.
HARKER. We will stop her.
DRACULA. Nothing will stop her. But you to whom she is so dear,
you shall be witness to her transformation. That is my revenge. That
is why I grant you life. Every day youll watch her worsen, youll
see the hunger grow in her, youll see the alteration in her mind.
Youll want to kill her, but your God forbids it. Then one night before she comes to me shell visit each of you and pass to you my
dark gift and you too shall be minemy creatures to do my bidding and to be my jackals when I want to feed.
VAN HELSING. God will stop you.
DRACULA. God? Your God is doddering old fool; he sits on his
throne, drooling and babbling while his loyal subjects lead lives of
despair and die in agony and horror. He is a pathetic weakling as
are you and all who worship him. But soon you will know what it

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80

means to serve a strong master. Ah, but, my dear friends, the lightening sky tells me I must take my leave of you. Until we meet again,
I leave you with my laughter as remembrance. Adieu, mes amis!
(He bows grandly. Whirling about and laughing wildly, his cape
flailing in the air, he charges at HARKER who gives way. BRIGGS
is now finally coming to and trying to make sense of what hes seeing. VAN HELSING stands between DRACULA and his apparent
exit.)
VAN HELSING. The stake Jon, the stake! Briggs, hold him!
(HARKER delivers the hammer and stake to VAN HELSING.
HARKER and BRIGGS hold DRACULA by the shoulders as he arrives in front of VAN HELSING. VAN HELSING raises the
hammer and stake to strike. The lab lamp, which has been throbbing
wildly now explodes, and lights dim momentarily. When lights restore, DRACULA has disappeared. HARKER and BRIGGS are left
holding only his cape.)
HARKER. Weve lost him.
BRIGGS. What the bloody ell just appened?
HARKER. What can we do?
VAN HELSING. I dont know, Jon. Im afraid our friend has died
in vain.
LUCY. He has not.
HARKER. Lucy! Darling I dont think you should see this.
LUCY. I have seen it. Thoms idea worked. The drug worked. Just
as you two left it took effect. I fell into a deep trance and suddenly I
was seeing through his eyes, even sensing his emotions.
HARKER. You mean the Count?
LUCY. Yes. Its terrible, the elation he feels at the pain of others. I
saw it all, everything that just happened.
VAN HELSING. And when he disappeared?
LUCY. Exactly! I saw where he goes. I know where he rests.
HARKER. Thank God! Is it near?

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81

LUCY. Just next door. There are secret catacombs beneath the Abbey. Theres a hidden entrance in the side of the hill. I think I can
find it, but the vision is already fading; we must act fast.
VAN HELSING. By all means, dear lady. Lead on. (As they exit.)
Mr. Briggs, keep an eye on Renfield.
BRIGGS. Right, sir. (They are gone. To RENFIELD, who lies in a heap
where Dracula dropped him:) Alright, lets go, you. Im for getting out
of ere. The Doctor was a good man; I cant stand lookin at im like
this. Come on then. (Nudging him with his foot:) I know your alive, I
can see you breathin.
(RENFIELD rises to his knees. He affects a squeaky voice and a
phony Irish accent.)
RENFIELD. Beggin yer pardon, Mister, but might you be needin
the services of a guide for a wee excursion into a certain precinct of
the underworld?
BRIGGS. What are you on about?
RENFIELD. Im on about the whereabouts of a certain Gaelic lass,
that youve been keepin company with of late.
BRIGGS. How do you know anything about that?
RENFIELD. Oh, we little people have a vast knowledge of things.
BRIGGS. Tell me where she is.
RENFIELD. Ill take ye there, but first ye must grant me three
wishes.
BRIGGS. Tell me, or youll wish you never lived.
RENFIELD. Too late for that threat, sir. (Looking behind BRIGGS:)
Oh, Sweet Jaysus looka that bat!
BRIGGS. Wha?
(BRIGGS turns to look and RENFIELD is out the door. BRIGGS
turns back and immediately gives chase.)
BRIGGS. (Exiting:) Renfield!
(Blackout.)

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William McNulty
(In the darkness we hear a sound montage of BRIGGS repeatedly
shouting, Renfield!, and RENFIELD shouting, The Blood is the
Life, and cackling maniacally. These come from all over the theatre
and are underscored with music appropriate of a chase.)
Scene 3
(Lights up on a portion of DRACULAs lair. From offstage, segueing out of the sound montage, BRIGGSs live voice.)

BRIGGS. Renfield! Renfield! (Enters with flashlight.) Bloody ell.

Wha kind o place is this? (More quietly:) Renfield?
(His light falls upon SULLIVANs body. She lies sprawled on a pile
of debris.)
BRIGGS. Margaret? (He goes to her.) Margaret? (He turns her head
toward him and sees that a large portion of her face has been ripped off.)
Oh, Great Christ, no! Es killed her. Es killed my Maggie!
(He takes out a revolver, and steps further into the area, casting
about with his flashlight. Once his back is to her, SULLIVAN rises
up and begins to stalk him.)
BRIGGS. Renfield. Where are you? Ill get you for this. Come out.
Come out you devil!
(Now SULLIVAN is directly behind him and with a clawed hand,
she takes a swipe at him, screaming as she does. He turns just in time
to duck out of the way and backs off emptying his revolver into her.
She recoils, screaming, howling, convulsing with each shot and finally falls in a heap.)
BRIGGS. Let me out of here! (He starts to make his way out.)
(Now RENFIELDs voice is heard from somewhere in the audience,
The blood is the life!)
BRIGGS. (Shining flashlight in the direction of voice:) Renfield!
(Now the voice comes from another section of the audience, then another and another and two or three times more. Each time BRIGGS
shouts Renfield and points his flashlight so that hes spinning as
he tries to leave. When he gets to the far corner of the playing area,

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83

RENFIELDs voice becomes DRACULAs voice and is now coming

from everywhere at once. Too late to get out of the way, BRIGGS
looks up to see the MONSTER descending on him from the ceiling.
They fight for a moment, but the MONSTER is too much for him
and soon gets his teeth onto his throat. The MONSTER shakes him
furiously like an animal with its prey until he is completely still and
limp. The MONSTER lays him down where he, and we, can see the
results of the attack. He picks up BRIGGSs flashlight and shines the
light on a huge gaping wound on BRIGGs neck. Lights fade down to
just the circle of the flashlight beam.)
(The beam snaps off.)

Scene 4
(In an aisle elsewhere in the theatre another flashlight immediately
snaps on, simultaneous with:)
HARKER. (With LUCY beside him:) Abram!
VAN HELSING. (From somewhere nearby.) What is it?
HARKER. Weve found a passage.
VAN HELSING. (Joining them.) Does it seem familiar, Lucy?
LUCY. Yes, I think so. Anyway, I feel his presence so I know were
near.
(They begin descending into the fog-blanketed lair.)
LUCY. I sense another presence as well. Something not undead, but
connected in some way.
VAN HELSING. Perhaps some animal left as a guard.
LUCY. Perhaps. We must be very careful.
HARKER. My God. What is this place.
VAN HELSING. As Renfield said The pit of Hell.
HARKER. Look theres a corridor over here.
LUCY. (Excitedly:) Yes! Yes! Thats the one. Im sure of it.

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William McNulty
(HARKER shines his light down the corridor, and RENFIELD
leaps out of the shadows and scampers away.)

VAN HELSING. Renfield!

RENFIELD. (Having climbed up to a ledge somewhere, cowering in the
flashlight beams.) Go way! Go way! You dont belong here.
VAN HELSING. Where is he? Speak, man, speak!
RENFIELD. (Loudly:) No! No! Im not talking. Youll get nothing
out of me. (Quietly, pointing:) Look over there.
(He is pointing to a large coffin in the center of the room. They have
found DRACULA.)
VAN HELSING. Thats it!
(Their beams fall upon the bodies of BRIGGS and SULLIVAN.)
HARKER. Briggs? Miss Sullivan?
VAN HELSING. Too late, Jon. They are beyond our help. (Noticing
chain hanging from ceiling:) Look, that chain. It must lead to a door
high above where he comes and goes. And outside is the sun.
HARKER. Then lets open it.
VAN HELSING. No, he might sense the light and burrow deep
into the earth below where we cannot get to him. First the stake.
(HARKER, hammer and stake in hand sets down his light and readies himself. VAN HELSING slides back the lid to reveal DRACULA.)
VAN HELSING. Thank God, weve got him. Quickly, Jon, set it just
above the heart. (HARKER does so.) Now, Jon! NOW!
(Now all hell breaks loose. HARKER raises the hammer to strike, but
DRACULAs hand comes up to his throat. DRACULA throws
HARKER aside; HARKER falls, dropping the hammer and stake,
which LUCY falls upon and retrieves. DRACULA comes out of the
coffin and begins to pursue LUCY who is swinging wildly at him
with the hammer. Meantime, BRIGGS and SULLIVAN have reanimated. SULLIVAN has charged at VAN HELSING, who is now
dousing her with holy water in one of the aisles; she screams and

THIS PLAY IS NOT OVER!

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