HARKER
But that’s preposterous. My business with the Count is urgent.
INNKEEPER
Nothing, young man, is more urgent than preserving your life.
INKEEPER’S WIFE
Must you go? Oh Herr, must you go?
HARKER
Indeed. I must leave at once.
INNKEEPER
Do you know what day it is?
HARKER
It is the fourth of May.
INNKEEPER
Walpurgisnacht!
HARKER
I don’t understand.
INNKEEPER’S WIFE
Walpurgisnacht. The eve of St. George’s Day. Tonight, when the clock strikes midnight, all the evil things in the world will have full sway!
HARKER
My dear lady… Thank you for your concern, but I must go.
INNKEEPER’S WIFE
(On her knees.)
Please! Delay your trip for a few days!
(A horse approaches the main doorstep of the inn. It is pulling an open coach)
INNKEEPER
(To the Coachman.)
You are early tonight, my friend.
COACHMAN
We must make haste. Night will soon fall, and midnight brings,… No, I shan’t say.
INNKEEPER
(To the Coachman.)
Just as well. Our English Herr seems in a hurry.
COACHMAN
(To Harker.)
Fear not Sir. My horses are swift.
INNKEEPER
As in Burger’s ballad, Lenore, I trust. “Den die todten reiten schnell!”
COACHMAN
For the Dead travel Fast!
HARKER
I beg your pardon?
INNKEEPER’S WIFE
Here, Mine Herr. Take this. Wear it about your neck always. The crucifix of our savior. “For your mother’s sake”.
(The old woman places a crucifix on a rosary around Harker’s neck.)
INNKEEPER
It shall protect you in your travels. But, Mine Herr Harker, whatever you do,… Do not take it off.
HARKER
Thank you.
COACHMAN
Give me the Herr’s baggage. We must make haste if we are to arrive at the Borgo Pass in good time. We must travel, we must travel, we must travel!
(Music in. Coachman and Harker exit.)
[END OF SCENE]
Scene 2
“A Garden Cemetery”
[Whitby, England]
(New, fresher music of delight and springtime eases in. Sunlight spilling in through trees warms the area; a garden alongside a cemetery at Whitby Cottage, a retreat for holiday owned by the Westenras. Enter Mina, Lucy, and Mrs. Westenra behind. Swales An old groundskeeper and gravedigger, enters carrying a valise belonging to Mina, in each hand. The young ladies, excited and holding hands, twirl about for a bit like a whirling dervish. Mrs. Westenra is happy to see the friends reunited once again. Swales sets the suitcases down, sits upon a bench for a moment, dabs his forehead with a cloth, then exits.)
MINA
We must travel together soon, Lucy!
LUCY
Mina, you must tell us all about your train ride through the moors.
MINA
There’s nothing to tell, really. Just that I miss my Jonathan and so wish he could come spend this glorious holiday with us here at your cottage in Whitby. And, I have been looking forward to my time with you both.
LUCY
Trouble yourself not, Mina. Jonathan will be here soon enough.
MINA
I trust you will forgive my delays in writing but I have been simply overwhelmed with work. The life of an assistant schoolmistress is sometimes trying.
MRS. WESTENRA
Mina, Dear. Let me have a look at you. Yes, as beautiful as always! And how is that handsome solicitor of yours?
(Mina pulls out a few letters. She opens one and peruses it as she speaks.)
MINA
I have just a few hurried lines from Jonathan in Transylvania. But his words seem somehow removed and distant. Not like him at all. He says he is well. Or at least he was when he wrote a fortnight ago. He should be returning in a week or so.
LUCY
A fortnight gone? And no clandestine displays of indiscretion? You can tell me, Mina… Have you been kissing your pillow?
MINA
Ah! Lucy! That is private!
(Both giggle.)
MRS. WESTENRA
Privileged information, daughter mine.
MINA
Thank you, Mrs. Westenra. (To Lucy.) You must’ve failed to attend the basic classes in charm school.
MRS. WESTENRA
Well, have you, Miss Mina?
MINA
I beg your pardon. Failed to attend charm school?
MRS. WESTENRA
No, silly girl, have you been kissing your pillow?
(Mrs. Westenra and Lucy laugh.)
MINA
Mrs. Westenra! I thought we agreed that is privileged information.
MRS. WESTENRA
Of course, my dear. But, I’m certain you’ll agree. I’m as privileged as they come.
MINA
What about you, Lucy? I hear you’ve been receiving letters from all sorts of gentlemen. I suppose responding to them has left you no time to answer mine.
LUCY
I must say, you tax me very unfairly with being a bad correspondent.
MRS. WESTENRA
Indeed, it is unfair Mina. When Lucille was away at boarding school, she always made it a practice to write letters to me. Hundreds of them, she tells me. Pity she never took them down to the postman’s box.
LUCY
Most times I had nothing suitable to wear on the walk to the post. A young lady must always look her best. And the weather wouldn’t cooperate. Too much sun, it would tarnish my fair skin. Too cloudy, then I can’t be seen at all. And what’s the point of that?
MINA
Some girls are so vain.
(Lucy and Mina laugh.)
MRS. WESTENRA
Well, men like the women they share a bed with to be fair. They prefer their wives to be naive.
LUCY
Mother, please. Practice what you preach. Your irreverence is scandalous.
MRS. WESTENRA
Not a whit. In fact, I was always faithful to my husband. Both of them.
MINA
Mrs. Westenra, you know that Jonathan and I are engaged to be married. I would love some of your matronly counsel.
MRS. WESTENRA
Well, Dear girl, my advice has always been… Find a man with whom you can share your thoughts. A man with whom you can be intimate. And a man with whom his money will be shared. And when you find him, whatever you do,… Don’t tell your husband.
(All laugh.)
LUCY
Mina, don’t listen to a word. Mother, you’re incorrigible.
MINA
Don’t chide your mother, Lucy. I find her point of view refreshing. I think more ladies should voice their thoughts and feelings about men openly. We’re closing in on the turn of the century, after all. Mark my words. Women will find themselves their husband’s equal and wind up in the House of Commons!
MRS. WESTENRA
On the contrary, Miss Mina. A wife’s place is in the kitchen. It’s the best location for poisoning his cup of tea.
MINA
Mrs. Westenra! You didn’t!
MRS. WESTENRA
No, of course I didn’t, Dear!… Hemlock was out of season.
LUCY
Mother!
MRS. WESTENRA
; And Arsenic was too expensive.
MINA
Oh! Thank God, you didn’t!
MRS. WESTENRA
At least that’s the story I gave to Scotland Yard.
(She stands up too quickly. Becomes momentarily dizzy. The girls rush to her aid.)
LUCY
Mother, careful!
(The girls rush to her aid. Swales re-enters having heard Lucy’s exclamation.)
Remember the doctor says you need to stand more slowly. And do nothing to over-excite yourself.
MRS. WESTENRA
Over excite myself? Please dear. I’m all right, now, girls. I’m fine.
LUCY
Mr. Swales, would you be so kind as to escort Mother to her bedchamber to rest? Mina and I should like to be alone for a moment. I’ve something I’d like to ask of her.
MRS. WESTENRA
Very well, I know when I’m not wanted. But always know this,… You are a beautiful young lady with qualities befitting the royals. A girl who can have any man in the world. You are educated, lovely, prim and proper; the epitome of the modern-day Victorian woman. It has been my pleasure to stand as your example. When you are married, I shall shed tears of joy for him, tears of loss for myself. My love for you, dear child, will remain forever constant.
(Swales grabs the valises.)
LUCY
Why, thank you, Mother. That was beautiful.
(Mrs. Westenra turns back.)
MRS. WESTENRA
I was talking to Mina.
(She exits. Both girls laugh.)
LUCY
That’s my Mum.
MINA
I love her so! She’s absolutely splendid!
LUCY
Isn’t she though.
MINA
I can see where you’ve refined your rapier wit. Is she all right? Does she have those spells often?
LUCY
Sadly, yes. And lately increasing in severity. Her physician says she has an anomaly of the heart.
MINA
Oh, Dear.
LUCY
She must be careful, is all. No over-exertion. Avoid all possible shock to the system.
MINA
I pray for her recovery.
LUCY
As do I.
MINA
Now, what is it you wanted to ask me?
LUCY
I have three suitors at once! All vying for my affections. A physician, an aristocrat, and a rancher. If you were me, who would you choose?
MINA
Difficult for me to speak on this, Lucy. I’ve only one,…. Jonathan Harker. And unfortunately, though I’m awfully happy for you, I’m rather preoccupied with his well-being at present. You can see from his letters how strange he sounds.
LUCY
My! Are those little niceties, scribbled at his signature?
MINA
No, it’s not what you think, he’s just…
LUCY
Little hearts? Exes? And Ohs? My word, Mina. What have you two been writing about?
MINA
I told you, nothing. He probably just smeared droplets of ink.
LUCY
Oh, I’m sure!
(Lucy reaches for the letters.)
MINA
Keep away now, Luce!
LUCY
Let’s see them.
(Lucy grabs the letters from Mina’s hand and runs. Mina chases her.)
MINA
No, Lucy!
LUCY
Why, just look what he’s written! You naughty little thing!
(Mina attempts to snatch them back.)
MINA
Lucy! Give them back! They’re private!
(They begin circling the stage as a game of “cat and mouse”.)
LUCY
After I’ve read them all.
MINA
Come back here, you ninny!
(Lucy begins her exit from the scene.)
LUCY
Catch me first!
MINA
Oh, I will, you Strumpet!
(Mina cuts her off and is able to grab the love letter away from Lucy. She then tucks it into her bodice.)
LUCY
Ah! Mina, that’s not very nice. Won’t you read a little something to me?
MINA
Very well. I can share this one with you.
(She pulls out a different letter.)
This is the first I received upon his arrival at the Count’s home. He describes his steps to the great doors, then the letter ends somewhat abruptly. (She opens and begins reading. Harker and Coachman enter on opposite side.) “In the gloom the castle looked of considerable size, and as several dark ways led from it under great, round arches it perhaps seemed bigger than it really is. As I approached two great doors, old and studded with large iron nails, and set in a projecting portcullis of massive stone. I stood in silence where I was, for I did not know what to do. What sort of place had I come to? I heard a heavy step approaching behind the great doors; and saw through the…
(Mina’s voice trails off as the two exit. Harker picks up…)
[END OF SCENE]
Scene 3
“The Castle Dracula”
[Carpathians, Transylvania]
(As darker music leads in, lights gradually rise on the castle wherein ambient glow warms the areas of the outer doors and the upper door at the top of the grand staircase. The set is designed in such a way that the audience can view the two large medieval exterior doors and the interior of the domicile simultaneously. A haze of fog comes rolling in as we see a carriage approach and then come to a complete halt. Harker steps off of the carriage as he continues writing his letter with quill and parchment. The Coachman carries both Harker’s suitcase and his valise, one in each hand. Throughout suspenseful music,…
HARKER
(The moment just before Mina and Lucy exit and are out of sight, Mina continues to move her lips but without sound as Harker writes on a piece of parchment. He speaks aloud, picking up where Mina left off in a “shared line”. We are to believe he is speaking the very words he is writing in his letter to Mina. The transition should be smooth and flawless and the audience should intuit that we’ve now bumped back in time about a month in order to experience Jonathan’s arrival at the castle.)
…chinks the gleam of a coming light. Then there was the sound of rattling chains and the clanking of massive bolts drawn back. A key was turned with the loud grating noise of a long disuse, and the great doors swung back. Till I write again. Yours. Jonathan.”
(Harker quickly folds the letter, stuffs it into a previously addressed envelope to Mina at her home near London. Then he hands the post to the Coachman, presumably for the driver to deliver the letter at the appropriate postal point. The Coachman, with great nervousness snatches the letter as the Count comes into view. He hops back onto the carriage and drives away briskly into the night.
Harker tentatively steps up to the doors. He looks about him from time to time. He pulls his coat collar upward as he gets a sudden chill. He reaches to one of the over-sized door knockers on the portal and gives three solid raps to alert the inhabitant to his arrival. He waits. The interior, gothic-arched door at the uppermost level opens ever so slowly. An almost supernatural light bleeds from within. An old man in full black enters, holding a lit candelabra. Once he leaves the door, he waves his bony hand and magically the wooden door closes behind him. He descends what appears to be an endless series of stone steps until he arrives at the large castle doors. They open slowly, pulling inward, and the Count is seen standing center, not having actually touched either door with his hands.)
DRACULA
Good evening.
HARKER
Good ev
ening, Sir. I am Jonathan Harker, Solicitor from England. My apologies if I have arrived sooner than expected. My driver flew like a ghost in the night.
DRACULA
‘Denn die todten reiten schnell’. For the dead travel fast.
HARKER
Yes, so I’ve heard.
DRACULA
Welcome to my home. Enter freely and of your own will. Careful where you step. It is an old castle. Its floors and thresholds are… enigmatic. Come freely, go safely, and leave something of the happiness you bring.
HARKER
Thank you, Count. You are a most gracious host.
DRACULA
I am Dracula and I bid you welcome, Mr. Harker, to this castle. You may come and go as you wish.
(Dracula waves a hand at the double doors behind his guest. The two grand medieval locks turn by his dark wizardry and bolt into place with an echoing thunder. Harker, oblivious to what just happened, hears the sound and turns to see the doors now closed. He is nonplussed.)
HARKER
It is certainly a secure dwelling.
DRACULA
Make yourself to home. The night air is chill and you must eat, rest, and warm yourself by the fire.
(Dracula sets the candelabra upon the dining table.)
HARKER
Surely, you don’t mean to wait upon me hand and foot yourself. Have you no servants?
(As Jonathan removes his scarf, overcoat, and hat, the Count receives them and hangs each personal effect respectfully on a coat rack throughout the following dialogue.)
DRACULA
Sir, you are my guest. It is late and my people are not… available. Let me see to your comforts myself.
HARKER
Thank you, Good Count.
DRACULA
You will need, after your journey, to refresh yourself by cloth and basin upstairs. I trust you will find all you wish. For now, I pray you, be seated and sup how you please. You will find your repast prepared. Behold…
(The Count removes the silver lid of a hot dish. Beneath is a beautifully prepared meal.)
DRACULA
Excellent roast Chicken Paprika, aged cheese, a blend of fresh vegetables, Mamaliga, and a sweet wine. A vintage bottle of Tokay.
HARKER
Only one chalice, Count? Will you not join me?
DRACULA
I never drink… wine.
(Dracula opens an ornate little chest on the table. It contains a knife, fork, and spoon resting upon a velveteen cushion. He places each at Harker’s place setting. Harker gracefully tucks a cloth napkin into his collar, takes knife and fork in hand, and begins to eat.)
Dracula of Transylvania: The Epic Play in Three Acts Page 3
