Workshop Wednesday

And now we're into the last act of the movie as we see all the parties slowly go after Dracula and bring the whole horror show to close. I think we're still three parts out from the conclusion (counting this part), and we'll then see just how it all ties up and the movie finally ends. I have an idea of where we're going, but so often an ending I have in mind has to change based on the needs of the characters as they're written.

If you haven't already read the previous parts of this series, I'd recommend hitting that first before diving into this section.

Dracula: Part 11

FADE IN.

INT: GOLDAMING ESTATE, PRIVATE DRAWING ROOM, DAWN.

QUINCEY, ABRAHAM, and ARTHUR burst into the room, LUCY still clutched in QUINCEY's arms. ARTHUR motions to a fainting couch and QUINCEY quickly sets her down, making sure she's comfortable.

LUCY:

DRACULA...

The men all look at each other, then ARTHUR heads over and pours a round of scotches for all of them (his glass extra full). He hands them out and they all look back over at LUCY.

ABRAHAM:

His hold over her is growing.

QUINCEY:

But how? How is he connected to her.

ABRAHAM:

A week ago I would have said that my knowledge of vampires was beyond compare. I might have even called myself an expert. But after everything I've seen I have to admit that the myths and legends of vampires are woefully inadequate. If I had to guess, a vampire might have a connection to his victims, some sort of mental bond.

QUINCEY:

But you don't know?

ABRAHAM:

We are in uncharted territory here, QUINCEY.

ARTHUR:

What do we do?

ABRAHAM:

We must find the Count and kill the fiend.

QUINCEY and ARTHUR look at him in shock.

ARTHUR:

You want us to kill a him-

ABRAHAM:

Not a "him". It's a thing, a beast. It's not human, so don't think of it like one. Vampires are undead, vile things that must be destroyed before they kill everyone around them.

QUINCEY:

What about MINA? She wasn't evil.

ABRAHAM sighs, then throws his scotch back.

ABRAHAM:

From what I saw last night, there wasn't any of the MINA we know left in her. She's become a vampire, taken over by the Count's dark powers, and gave up her last shreds of humanity. She burned up with that estate and we should be glad her soul is now free.

EXT: CARFAX ABBEY, RUINS, DUSK.

We slowly pan across the estate, seeing the smoldering rubble and ruins. As we move along, we come to the back corner of the estate, a half-burned out area, charred and smoking, that still managed to stay halfway standing. JONATHAN is curled up in the corner of the ruins, staying hidden under what shadows he can find. One pile of rubble, though, starts moving, getting pushed up from above before a hand emerges. It's revealed in the dawn light, catches fire, and quickly withdraws.

SFX: Female shriek.

With the hand pulled away, the rubble collapses down into a lower pit. Seeing this opening, JONATHAN scrambles into it, only getting signed by the faint light of morning.

INT: CARFAX ABBEY, CELLAR RUINS, DAWN.

MINA, naked and dirty (since she traveled down here via mist form) stares up at the light coming into the cellar with hate in her eyes.

MINA:

I cannot be caged up in here all day.

JONATHAN, huddled in a corner clutching his burnt skin, looks at her.

JONATHAN:

We can't go out there.

MINA:

I can't. You at least have clothing still.

JONATHAN:

You can't make me...

MINA looks over at him and he shuts up instantly.

MINA:

Are the stables still standing?

JONATHAN:

What?

MINA:

The stables, you idiot. Are they still standing or did the fire get to them too?

JONATHAN:

I... they might be...

MINA:

Good. Then we can solve my problem readily enough. I need you to go to the stables, quickly, and fetch my bag and parasol I placed there.

JONATHAN:

Your bag?

MINA:

It has my riding gear in it, including a set of clothes. Fetch it for me.

JONATHAN:

I don't want to go. You go.

MINA gives him a look, then waves at her nakedness.

MINA:

Take your jacket off and drape it over your head. You'll be fine. If I go out there I'll go up like a torch.

JONATHAN:

I could-

MINA:

GO!

The command is instantly obeyed and JONATHAN scurries out, pulling his jacket off and using it as some kind of protection from the sun.

INT: GOLDAMING ESTATE, PRIVATE DRAWING ROOM, DAWN.

The three men plot around a map of the city while LUCY tosses and turns in her sleep.

ABRAHAM:

My hope is that if we can find DRACULA, killing the creature will free LUCY from his curse.

QUINCEY:

But where could he be? He's had hours on us to feel the city.

ABRAHAM:

No, it's already morning. The Count wouldn't be able to travel out in the daylight as the rays of the sun will kill him.

ARTHUR:

And you know this because...?

ABRAHAM:

The tales of vampires state they cannot survive the light of day.

ARTHUR:

The tales that you aren't sure are correct, though, right?

ABRAHAM:

On their own, no, but consider the other evidence we have: all the killings I was investigating, killings I can now, with great assurance, attribute to DRACULA and MINA, happened at night. If the vampire could travel in the daylight we would have seen more grisly scenes during those hours. Instead, we must assume the vampire can only travel at night, that it must sleep during the day.

INT: CARFAX ABBEY, CELLAR RUINS, DAY.

JONATHAN dives back into the cellars, smoking and smoldering, but he has with him the bag and the parasol. MINA looks pleased. She quickly opens the bag and pulls out a set of riding clothes – pants, blouse, jacket, boots – and dresses. She also finds in the bag a pair of sun shades, which she immediately puts on. Grabbing her parasol, and opening it, MINA is once again the properly put together woman she always presents.

MINA:

Excellent. Now, with that settled, we can set about finding DRACULA and eliminating him.

JONATHAN:

Kill him...?

MINA:

Yes, JONATHAN. Kill him and free us of his control. No more master looming over us.

JONATHAN gives her a look to the contrary.

MINA:

Let's get to the stables and set about preparing a carriage. We need to figure out where he's gone.

JONATHAN:

I... might have an idea about that, actually.

INT: GOLDAMING ESTATE, PRIVATE DRAWING ROOM, DAY.

QUINCEY:

So he's hiding out somewhere. Sleeping. If we do find him, how do we kill him?

ABRAHAM:

The vampire I fought recently died after I shot it repeatedly. From what I saw last night, holy items and fire work, too. If we can damage him enough, we might be able to destroy his body.

ARTHUR:

But how do we find him?

LUCY:

Dracula...

The three men turn to her. She shifts in her sleep, wakes up, and looks at them.

LUCY:

Where I am?

ARTHUR goes over to her, a drink in hand. He passes her the glass and has her take a stiff drink of scotch. She blanches at the taste, but drinks it all down.

ARTHUR:

You're in my home, dear LUCY. We had to get you out of the ballroom and away from the Count.

LUCY looks startled.

LUCY:

Why? What happened?

ABRAHAM comes over.

ABRAHAM:

My dearest daughter... DRACULA is... well, a vampire.

LUCY laughs, then she sees the look on his face.

LUCY:

You're serious?

ABRAHAM:

Yes. And I'm afraid he has you under his control.

LUCY:

I feel fine.

ABRAHAM:

Yes, now.

He looks at the clock and notices the sunlight peeking in through the curtains.

ABRAHAM:

The sun is up, which means his power must be waning. But come nightfall I fear you'll fall back under his spell.

LUCY:

How? I mean, he's nice enough but he's never... you know... bitten me.

ABRAHAM:

You're sure about that?

LUCY raises her hair, showing off her neck, revealing skin free of any wounds or scars.

LUCY:

No blemishes, father.

ABRAHAM takes her wrists and looks at them as well, and inspects her arms too.

ABRAHAM:

He could have bitten you elsewhere.

ARTHUR:

You really don't remember anything?

LUCY pauses with her mouth open.

INT: CARFAX ABBEY, LUCY'S BEDROOM, NIGHT, DREAM.

We see again a scene of LUCY and DRACULA in bed, engaging in a rather sexual encounter, before DRACULA rears back and plunges his fangs into her neck.

INT: GOLDAMING ESTATE, PRIVATE DRAWING ROOM, DAWN.

LUCY shakes her head, coming out of the memory.

LUCY:

It was a dream, though.

ABRAHAM:

That dream might have just been an illusion, something he planted to make you docile. If he bit you, it could be anywhere the blood flows. We must check.

LUCY blushes.

LUCY:

Father, you can't mean-

ABRAHAM:

It must be done.

LUCY gives him a look.

LUCY:

Fine, I will check.

ABRAHAM:

The vampire's magic could cause you to lie, or ignore the wounds.

LUCY:

Father, I am not undressing so I can be inspected by you.

ABRAHAM:

I'm a doctor.

LUCY:

I'm your daughter. No.

ARTHUR:

I'd be happy to-

LUCY:

No. Thank you. I will handle this myself. Do you have somewhere private I can attend to this matter?

ARTHUR:

Certainly, I have a bedroom you can use.

LUCY:

Good. Send in a maid or servant girl, too, so she can confirm what I see.

ABRAHAM nods.

ABRAHAM:

A wise choice.

INT: MINA's CARRIAGE, DAY.

The carriage, its interior secluded in darkness via heavy curtains, rolls along with MINA inside, huddled against the day. Eventually it clatters to a stop. MINA opens her parasol, ready against the light of the sun, and the door opens revealing JONATHAN dressed head to toe in dark leather. MINA steps out and the door closes behind her.

INT: JONATHAN'S LAW OFFICES, MAIN ROOM, DAY.

As MINA and JONATHAN step into the cramped offices, JONATHAN sets about closing all the drapes and blocking the sunlight. MINA steps over to an office chair, closes her parasol, and primly sits down. ONCE all the light is blocked, JONATHAN strips off the leather gear, setting it to the side, so he's back in his normal clothes.

MINA:

You handled the paperwork for his ownership of the Carfax estate. Were there any pother properties attached to that deal that I was not made aware of?

JONATHAN:

No. The paperwork was all for that one set of deeds, the land and surrounding areas. The only developed location was the abbey, what became the manor house.

MINA:

The surrounding lands?

JONATHAN:

Yes, the abbey ruins, plus the forests, old farmland, and...

MINA:

And?

JONATHAN goes to the files and searches through his paperwork.

JONATHAN:

There's a cemetery there as well.

MINA:

He could have found a way to bury himself there for the night.

JONATHAN:

Doubtful. That land is consecrated ground. Two bishops were buried there.

MINA:

So?

JONATHAN:

If the ground is holy enough he won't be able to step foot on it. A general cemetery, maybe, if its nondenominational, but a holy burial spot like that wouldn't be suitable.

MINA:

You're awfully sure off that.

JONATHAN:

I've... had some experience recently.

MINA gives him a look but lets it drop.

MINA:

Then where else could he be? Just a regular cemetery?

JONATHAN:

And risk someone finding a freshly dug grave, or him laying out in a disturbed mausoleum. That doesn't sound very safe.

MINA:

You're sure he didn't buy any other land around the city?

JONATHAN:

I didn't arrange that paperwork.

MINA:

But you've been working for him directly for weeks. When was the last time you were here?

JONATHAN:

Not since the trip to Castle Dracula.

MINA:

What about your partner?

JONATHAN:

RENFIELD? Hmm...

JONATHAN goes over to RENFIELD's side of the office and starts sorting through the man's files. He eventually comes across a large folio, pulls it out, and opens it up. MINA comes over at this point.

MINA:

It looks like DRACULA has been busy.

JONATHAN:

Yes...

INT: GOLDAMING ESTATE, BEDROOM, DAWN.

LUCY steps behind a tri-panel dressing screen, a maid sitting in a chair nearby, and begins to disrobe. We see her drape the dress, and other garments, over the screen. We peer behind the screen, although LUCY is a lady so we don't see much of her nudity, and watch as she inspects her arms, shoulders, and neck, using a mirror to check all of her skin. She moves downwards, discretely, and then there's a pause.

LUCY:

No! God no... no no no...

At this, ARTHUR bursts into the room. The maid stands up, started.

ARTHUR:

What is it?

LUCY:

Father was right, I've been bitten.

ARTHUR:

Where?

LUCY:

My inner thigh.

ARTHUR comes over.

ARTHUR:

Let me see.

LUCY:

ARTHUR no, I'm-

ARTHUR ducks behind the screen.

LUCY:

-naked!

ARTHUR quickly pops back out, looking bashful.

ARTHUR:

Yes. Right. My apologies.

INT: GOLDAMING ESTATE, PRIVATE DRAWING ROOM, DAWN.

ARTHUR comes back into the drawing room, looking troubled. ABRAHAM stands up when ARTHUR enters the room.

ABRAHAM:

And?

ARTHUR nods, sadly.

ABRAHAM:

Where?

ARTHUR:

Upper thigh.

ABRAHAM:

Right over the femoral artery. That makes sense. Smart. Discreet enough to not be seen when a person is dressed.

QUINCEY:

So she's under his control.

ABRAHAM:

I'm afraid so.

LUCY then comes into the room, adjusting her clothing while giving ARTHUR a stern look.

LUCY:

We can use this to our advantage.

QUINCEY:

How so?

LUCY:

It didn't want to admit it, not until I saw the bite mark on my leg, but I have sensed something... something off. I think it's DRACULA, gnawing away faintly at the back of my mind. I think I feel him. Can know where he is...

QUINCEY:

We can use you to track him?

LUCY:

Yes.

ABRAHAM:

No. Out of the question! We are not letting you anywhere near that beast!

LUCY:

What other choice do we have?

ARTHUR:

Where is he?

LUCY walks over to a map on the table.

LUCY:

I'll have to get closer to be sure, and if he moves I'll need to be there to follow him. But I think he's-

INT: JONATHAN'S LAW OFFICES, MAIN ROOM, DAY.

JONATHAN is pointing at his own map, a survey of buildings DRACULA purchased.

JONATHAN:

-right here.

MINA looks down at the map and smiles.

MINA:

Perfection. We're coming for you, master, and you won't survive another night.

End of Part 11:

So this was a little more of a table-setting piece after the action of the last episode. That's not necessarily a bad thing as we had to get all the characters back into position and detail where we're going from here. Think of this as a bit more of a cool down until the action of the next two parts. This is our breather and then it will all come to a head after this.

And anyone that has read the original novel might know some of what will be coming next...