(With this, Renfield tosses a handful of coins onto the stone floor in front of him. In addition are Seward’s pocket watch, Simmon’s whistle on a chain, Snelling’s eating utensils, and Hennessey’s pewter container of talcum powder. They all react immediately, down to the floor to recover their personal items, coins included. While they are momentarily distracted, Renfield unlocks his cell with Simmons’ key.)
ALL
Oh my! There’s my talc! What’s all this? Who’s money? How’d he do it?!
(He steps out of the cell.)
RENFIELD
By the way, Mr. Simmons, you may want your jail keys returned!
(Suspense music in. He tosses the keys to the floor and runs off stage, escaping his confines.)
RENFIELD
RENFIELD’S COMING, MASTER! COMING TO DO YOUR BIDDING!
SEWARD
He’s escaped! Hurry, Simmons! Let’s after him. Miss Hennessey, Miss Snelling, alert the asylum staff!
(They split up and run offstage. Exeunt.)
[END OF SCENE]
Scene 9
“Servitude”
[A Forest Between the Asylum and the Cottage]
(A sudden emergence of mysterious music. Dracula appears from the forest, he intercepts Renfield. The music underscores the following dialogue.)
DRACULA
Well, well, well. If it isn’t Mr. Renfield. The poorest excuse for a sniveling coward of pseudo-humanity. You are the lowest order of your fellow mortals. You are a mere lunatic and you wreak with the stench of rotted carp.
RENFIELD
Your kind words flow through me. You have adorned me with a flattery beyond measure.
DRACULA
It is all well-deserved.
RENFIELD
I am here to do your bidding, Master.
DRACULA
You come most carefully upon your hour.
RENFIELD
Aye, but chide Renfield not, please, good paramour. He is present, nonetheless.
DRACULA
So you are.
RENFIELD
Renfield is your slave.
DRACULA
So too you have become.
RENFIELD
You will reward him. For he has been faithful.
DRACULA
Have you?
RENFIELD
Renfield has worshipped you long and from afar. Now that you are near, he awaits your commands.
DRACULA
I have only one at present, Renfield.
RENFIELD
Anything, Lord and conqueror.
DRACULA
Go to the bedchamber of one ‘Lucy Westenra’. You will know the way. Her French windows are locked. The room has been sanctified and without invitation, I can not enter. But you can. Find your way to her upon the hour of her slumber. Unlock the portal from within. Leave without detection. So that I may have access to her. I will cast open the windows and summon her into the garden cemetery… It is time. Go.
RENFIELD
Renfield will. You will not pass him by. Will you, dear Master, in your distribution of good things?
DRACULA
Do this for me, Slave. And I will bestow upon you the greatest of all gifts.
RENFIELD
And what might that be?
DRACULA
Cold, eternal death, amongst a legion of depraved souls.
RENFIELD
Enticing as that sounds, Renfield was hoping for, maybe, something more along the lines of immortality among mountains of gold.
DRACULA
Test me not, Mortal. I will bestow upon you that which you deserve. Now go!
RENFIELD
Aye, Lord of Darkness! Straightaway!
[END OF SCENE]
Scene 10
“The Beast with Two Backs”
[Lucy’s Boudoir, Cottage in Whitby]
(Music of mystery and suspense underscores the entire following scene. Renfield creeps his way through underground crawlspaces. Then, a trap door creaks open in the floor of Lucy’s bedchamber where she and Mina are fast asleep in the same bed. There is a warm, glowing light emanating from the trap door hole. It is a mysterious and supernatural light. A hand comes out of the trap holding a lit lantern. It is Renfield. He crawls out and goes to the bed. Renfield leers over the two girls for a moment, then goes to the French doors, unlocks the latch, and crawls back down into the trap door hole, closing the lid behind him. Dracula appears in the mist outside the glass window panes. With a wave of his hands, the doors miraculously open by themselves. He holds out his hands towards the sleeping Lucy as if to summon her. She rises hypnotically and slowly glides to the open doors. She exits to join the Count. He takes her by the hand and leads her into the deep woods. Mina awakens when she finds Lucy missing from beside her. She throws on a coat over her night dress.)
MINA
Lucy? Lucy?!
(She goes to the French door windows, sees them open, then closes them and latches them securely shut. She takes Lucy’s housecoat in one hand and an oil lamp from beside the bed in the other. She uses it to see her way out the house. She goes out into the night in search of Lucy. It is cold. The wind kicks up and thunder begins to roll.)
MINA
Lucy! Lucy! I know you mustn’t have gotten far without your house coat! Where are you, Dear? Follow my voice, dear-heart! Lucy!
(All of a sudden, Lucy is seen alone appearing in the cemetery garden. Mina is still far enough away that she cannot quite make out that it is her friend. Lucy goes to a gravestone and kneels. Out of the darkness a werewolf appears. It grabs Lucy, hoists her up into his arms as she falls limp. The wolf bites Lucy upon the throat. Mina does not understand exactly what is happening. Only that Lucy’s safety is in peril.)
MINA
OH MY GOD!!!, LUCY!!! NO!!!
(The thing waves a hand as if casting a spell on Mina.)
THE BEAST
You will remember nothing.
(Mina brings her hand to her head and slumps a bit as if feeling faint. After the thing bites, he places Lucy back down on top of the grave. The beast vanishes into the wood. Mina shakes the dizziness from her head and runs to Lucy.)
MINA
Lucy, come to the house this instant! We must go home at once!
(Lucy revives. Mina wraps the house coat about Lucy’s shoulders and uses a large pin to close it ‘round her neck. She leads Lucy back to the cottage and to bed. Mina places the lamp on the nightstand, removes Lucy’s housecoat, takes off her own and helps to guide Lucy back to bed where they both cuddle together off to gradual sleep. Music comes to a gentle close.)
[END OF SCENE]
Scene 11
“A Strange Fever”
[Lucy’s Boudoir, Cottage in Whitby]
(Lighting and gentle morning music rise back up on Lucy’s boudoir to convey a new morning after the storm. Mina is straightening toiletries on a vanity. Mina gently begins to brush Lucy’s hair in an effort to gradually wake her. Lucy stirs, music fades out.)
MINA
Well, good morning, Sleepy Head.
LUCY
How long have I slept?
MINA
I thought it time to awaken you. But I wanted to let you get in a few extra winks this morning.
LUCY
Why? What for?
MINA
You were quite the midnight wanderer.
LUCY
What?
MINA
The adventure of the night seems not to have harmed you.
LUCY
How you speak in riddles. What adventure?
MINA
You don’t remember, do you?
LUCY
Don’t tell me, somnambula
ting? Again?
MINA
I’m afraid so.
LUCY
Is it warm in here to you?
MINA
Oh! My word!
LUCY
What is it?
MINA
Your throat!
LUCY
What about it?
MINA
On your neck, there are,… Oh, my word! I must’ve injured you.
LUCY
You?
MINA
I rapped your shawl about you, then fastened it with a large, safety pin. I must’ve been careless. For you have two small and distinct wounds.
LUCY
Don’t be silly, Mina. I hardly feel it at all.
MINA
I hope it doesn’t leave a scar.
(Lucy checks her neck wounds in a hand-held mirror.)
LUCY
Doubtful. The two holes are so small. I wouldn’t worry.
MINA
Would you like a bandage?
LUCY
No, silly. That’s not necessary. In fact, I fancy them a bit. If nothing else, they may allude to a social life that I have not, yet greatly desire.
MINA
Lucy! You’re spoken for now, you naughty little minx…
LUCY
It really is warm… I’m telling you, I cannot…
(Lucy begins feeling ill.)
MINA
Luce?
LUCY
I’m all right. Just feeling rather faint at the moment.
MINA
Lie back down.
(She does so and Mina feels her forehead.)
LUCY
Oh my! It’s almost,… as if…
MINA
Oh! My Lord! Lucy, your forehead! You’re burning up! You’re hot as fire!
LUCY
I’m so weak all of a sudden… Mina, I think I’m slipping away.
MINA
Oh God! No, Lucy! Stay with me. I’ll ring Dr. Seward!
(Mina grabs a bell from Lucy’s bedside table.)
MINA
He’ll hear the bell from across the lawn at the asylum. Hold tight, my love!
(Mina goes to the French doors, slings them open and furiously rings the bell.)
MINA
He’s always up early. He must’ve heard.
LUCY
Water, please.
MINA
Yes, yes, of course! Here, my love.
(Mina gives Lucy a glass of water.)
LUCY
Bless you, dearest…
(Young Mr. Nigel Billington, a footman of the Westenra cottage, begins knocking on the outside door to Lucy’s boudoir.)
(Knocking)
LUCY
Dreams. I’m dreaming again. The Sandman came. He loves me so. Do let him in, won’t you, Wilhemina?
MINA
Oh, my poor friend. You’ve succumbed to delirium.
(More knocking)
MINA
Who is it?
BILLINGTON
It’s Billington, Mum.
(Mina runs to the door…)
MINA
Oh, Billington. It’s Lucy. She’s taken ill.
BILLINGTON
I heard the bell and wondered if I might be of assistance.
MINA
Yes, please, Billington. Go and fetch Mrs. Westenra.
BILLINGTON
Right away.
(He exits briskly.)
MINA
Dr. Seward! Dr. Seward! Come quickly! It’s Lucy!
(She closes the door and goes back to Lucy.)
MINA
I don’t know if he hears me. I’ll have to run ’cross the lawn. Hold on, Dear. I’ll return presently.
(Mina runs out quickly to fetch Dr. Seward. A mysterious music eases in and lights gradually crossfade to a glowing crimson. Lucy, sweating and pallid brings herself up to a sitting position, she moves to the foot of the bed on her knees. The following speech is delivered upright from her bed. Lucy looks out as if seeing and feeling all that she describes.)
LUCY
Yes,… Yesssss,… I hear you, Master. I see it. All. I reach the summit of East Cliff. Gazing below, I spy waves rise in growing fury, each overtopping its fellow. The mysterious glassy seas are like a roaring and devouring monster. White crested waves beat madly on the craggy rock at the foot of the shelving cliff; The wind roars like thundering masses of sea creatures come drifting inland, white wet clouds which sweep by in ghostly fashion so dank and damp and cold that the spirits of those lost at sea were touching my naked body with their clammy hands of death. I so want to join them! I inch closer to the ledge. Compelled to leap off the cliff and dive down to sweet oblivion. And just at the last, before I leap, crushing skull against the rocks below, I spy the corpses of hundreds of souls taken their own lives. The stench of their rotting flesh wafts upward and excites me. Blood-bloated with sickly hue of algae, the dead begin to move, to swim out to deeper ocean and my mouth waters. I desire, I hunger, I THIRST!
(As music dies and lights restore gradually, Lucy appears to come out from under her odd spell. Mina enters hurriedly.)
MINA
He’s coming, my sweet.
LUCY
Water, please.
MINA
Yes, yes of course!
(Mina pours a glass of water from a nearby pitcher and takes it to Lucy.)
MINA
Here you are, love.
(Seward enters followed by Hennessey and Snelling.)
SEWARD
What is it?
MINA
It’s Lucy, Sir. She’s stricken with some fever, I fear.
SEWARD
Oh, Good Lord! Her skin!
(Seward goes to Lucy’s bedside. He examines her eyes, mouth, and pulse.)
MINA
It’s just come on. She was fine last night.
(Seward notices the two wounds on her neck.)
SEWARD
And these marks? Good God, what’s happened to her?
MINA
She was sleep-walking again. I went out to find her. Closing her shawl, I may have caught her in the neck with a safety pin.
SEWARD
Twice?! And so deep into the flesh. No safety pin did this. You can rest easy, Miss Murray. No fault of your own. No, these appear to be wounds from some animal’s teeth marks. Fangs. A wolf or something.
MINA
A wolf?! But how could that have happened? She was within my sight most of the time.
SEWARD
Miss Murray, quickly! Come ’round to the other side of the bed and talk to her. Keep her awake. She needs to stay conscious.
MINA
All right… Lucy, it’s me, Mina. I’m here. Everything’s going to be all right…
SEWARD
Miss Hennessey, some compresses with a basin of cold water, if you please.
HENNESSEY
Right away, Doctor.
SEWARD
Smollet, you’d better go and fetch her mother. But don’t alarm her. Simply tell her to come to Lucy’s bedchamber.
(Enter Mrs. Westenra at the door with Billington.)
SNELLING
It seems she’s already here, Dr. Seward.
(Seward runs to stop Mrs. Westenra at the door.)
WESTENRA
What in God’s name is happening?! I heard the bell. And some commotion.
SEWARD
Relax, Mrs. Westenra. Everything’s in hand. Lucy appears to be a little dehydrated is all.
WESTENRA
I want to see her.
SEWARD
Stay calm. You may see her so long as you don’t cause alarm in her.
WESTENRA
Let me see my daughter!
SEWARD
All right but for God’s sake, Madam, choose your words carefully. Use diplomacy, Mrs. Westenra. Don’t let on how grave she appears. We don’t want to worry her unnecessarily. Whatever you do, be gentle.
WESTENRA
Out of my way, Doctor Seward. I know how to speak to my own daughter.
SEWARD
Very well. And remember your heart condition. It does you no good to get upset, either.
WESTENRA
(Completely in shock.)
Oh my word, Lucy! You look simply God awful! Why, she’s like a dying invalid in the throws of apoplexy! Dear, you’re colorless as a decaying corpse, rotting in a charnel house!!!
SEWARD
Your sensitivity is eloquent as always, Madam.
WESTENRA
Well, I’m sorry, Dr. Seward, but just look at her!
SEWARD
I SEE her!
WESTENRA
What in God’s name has happened to my baby?!
SEWARD
It appears to be some type of blood poisoning or rather an anemia of sorts that I’ve not witnessed in my years.
WESTENRA
Dr. Seward, haven’t you any smelling salts?
SEWARD
Smelling salts won’t help your daughter maintain consciousness.
WESTENRA
Not for her! For me! I’m feeling a hot flash just now.
(She collapses on a chair, waving her face with a fan.)
SEWARD
Miss Snelling, see to Mrs. Westenra. Get her a glass of water.
SNELLING
Yes, Doctor.
SEWARD
Ladies, help Miss Lucy into the water closet. Prepare a cold bath. Anything to bring her temperature down!
MINA
Dr. Seward, what more can we do? Please, tell me Lucy’s going to be all right.
SEWARD
Miss Murray, this is unfortunately beyond my scope of practice. I have a very dear friend. My mentor and advisor at School of Medicine. Professor Abraham Van Helsing of Holland. He’ll know what to do. I’ll send a telegram straightaway to Amsterdam! Meanwhile, stay by her side. Help Mrs. Westenra to more comfortable accommodation.
MINA
Yes, yes, of course.
(Mina and others help Lucy offstage, presumably to a cold bath.)
SEWARD
(Aside. Music in.)
Dracula of Transylvania: The Epic Play in Three Acts Page 6
