Workshop Wednesday

Now that the ideas are flowing once more I have another good section of the script going. Pieces are finally falling into place and everything is coming together really nicely. As you'll see, the end game is starting to really take shape. This is why it's best, sometimes, to take a little time off from a story since you can come back refreshed and ready to write again. Better than forcing out words that just don't work.

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 7

FADE IN.

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

We see LUCY asleep in her bed in CARFAX ABBEY, stark moonlight cast across her as she's curled up, under a thin sheet, draped in a diaphanous robe. We see her windows open, but not by anyone's hands. A thin fog gently pours into the room from just over the windowsill. It pools along the floor, slowly creeping towards the bed. Eventually the entire floor is covered in fog, but LUCY hardly notices, she simply turns over, her sheet shifting off of her.

The fog condenses and soon a man rises from it, but he's a shadow over LUCY. Her eyes snap open and she turns her head to see the man looming over her. Instead of fear, though, she smiles, a sexy and welcoming smile. The man comes into the frame, leaning on her bed, and it's DRACULA, naked (because clothing doesn't exist in a vampire's mist form) and smiling as well. He runs a hand along her shoulder, pulling her sleeping gown down. She rolls over, leans up from the bed, her garment falling away, and Dracula leans in further. They kiss, hungrily, and then DRACULA stars kissing down her face, her neck, her shoulder.

LUCY:

Please...

She cries out hungrily, then DRACULA rears his head and plunges his fangs into her neck.

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

LUCY sits up in bed, properly dressed once more. She looks around but the window is closed, her sheet is over her, and there's no fog (or a man) anywhere. She reaches for a neck, but her skin is smooth and unblemished there. She shudders, then rises, grabbing a proper robe to throw over her gown before leaving her room.

Instead of following LUCY, though, we go back to the window and, as we see the gardens, there's a faint bit of must lingering along the grounds.

INT: CARFAX ABBEY, KITCHENS, NIGHT.

LUCY comes down the stairs from the guest wing. QUINCEY is in the kitchen, eating a bit of food leftover from dinner. He smiles and stands when she comes into the room, so she comes over to him and sits in the chair next around the table.

QUINCEY:

Couldn't sleep.

LUCY shakes her head.

LUCY:

I had a dream...

QUINCEY:

Nightmare?

LUCY:

Not... exactly... it was... Well, about someone.

QUINCEY:

Oh?

LUCY starts to speak, then stops. Finally, after thinking it over, she shrugs.

LUCY:

It was nothing. Just a dream.

DRACULA comes sweeping into the room at this point, his two dogs following along happily behind. DRACULA is dressed in his torn clothing from earlier, but he doesn't seem the least bit phased.

QUINCEY:

Oh my! What happened?

DRACULA looks over, then down at himself. He laughs.

DRACULA:

Oh this? Just a bit of sport. Nothing to worry about.

LUCY:

You look like you were mauled by a bear.

DRACULA:

Hahaha, no, not a bear. Seriously, it's nothing. I'm fine.

He walks past, throwing his cloak onto a chair, before heading down into the cellars. His dogs curl up by the stairs, watchful.

QUINCEY:

I don't know what to make of that man. He lets us stay in his grand home, he employs MINA, and he seems like a gracious host, but then... things like this... He's so.

LUCY:

(blurts out) Sexy.

QUINCEY looks at her. She blushes.

INT: UNIVERSITY MORGUE, AFTERNOON.

ABRAHAM is working over a body, studying wounds and writing notes, when the DETECTIVE comes in, follow by two additional attendants. They come wheeling in two more bodies, and he directs the over to a free space.

DETECTIVE:

I have two more for you to look at. Both came from a brothel last night.

ABRAHAM:

Two?! We've never seen two at once before.

DETECTIVE:

It does seem to be spreading. I've had the building closed off so the whores can't spread the disease around.

ABRAHAM gives him a look, as if he wants to say more, but then turns to the new bodies instead. As he inspects he starts to really investigate, noticing things which causes him to make thinking noises.

ABRAHAM:

These are curious. The bodies are-

DETECTIVE:

Mangled.

ABRAHAM nods.

ABRAHAM:

This one has had her neck broken, and the other has sever wounds on her inner thighs. Tell me, what even made you think these were connected to the other cases.

The DETECTIVE points to the wounds on one of the women's sides, and then similar wounds on the other's arm.

DETECTIVE:

It's the pockmarks. If not for those we would have just assumed someone got too rough with them. This, though, we thought maybe someone paid for them for the night, saw the disease had already started on these two, and killed them out of anger.

ABRAHAM:

Were there any witnesses?

The DETECTIVE shakes his head.

DETECTIVE:

None.

ABRAHAM:

You said this happened in a brothel?

The DETECTIVE nods.

ABRAHAM:

And no one heard them being killed? No screams? No one coming out of their room after?

DETECTIVE:

None. And when I talked to the madam, she couldn't remember who had even paid for their affections.

ABRAHAM:

That is... most curious.

DETECTIVE:

We're going to need to come up with something soon, professor. My superiors are breathing down my neck over this.

ABRAHAM is lost in thought, and just mumbles in response.

ABRAHAM:

Your neck...

DETECTIVE:

Professor?

ABRAHAM looks up.

ABRAHAM:

Yes. Right. Results.

ABRAHAM looks back at the bodies. Then he leans in close over the face of one of them. He reaches for his tools and pulls over a magnifying glass.

ABRAHAM:

Blood...

DETECTIVE:

This was clearly a violent confrontation.

ABRAHAM:

But the bodies are pale and drained like the others. This is the first blood we've seen. Where did it come from...

INT: LONDON STREETS, BROTHEL BEDROOM, NIGHT.

We're back on the previous night, as we watch, once again, DRACULA and MINA fighting. But instead of seeing their brawl, we pan in towards the two sleeping ladies. As the vampires fight, a splash of blood flies across the room, and a liberal amount crosses the mouth of one woman. Sleepily, she licks her mouth, taking the blood in along her tongue.

INT: UNIVERSITY MORGUE, AFTERNOON.

ABRAHAM looks up, wide eyed.

DETECTIVE:

You have something?

ABRAHAM:

I... yes... but it's crazy. Even I think it's crazy. But...

DETECTIVE:

But what?

ABRAHAM:

I might just be able to prove my crazy theory.

DETECTIVE:

What is it?

ABRAHAM:

I've theorized that a man, not a disease, could be causing these deaths, as you know. These two are different, though, and don't fit their normal pattern...

He moves over to his notes and starts shuffling them around, opening his journal as well.

ABRAHAM:

DETECTIVE, humor me. Instead of burning these bodies as we will eventually do with all the rest, we should lay these two out in a cemetery, like a mausoleum, some place where they can be accessed and moved freely.

DETECTIVE:

Moved... you think the killer will come back to, what, finish these killings somehow?

ABRAHAM:

Or something... yes.

DETECTIVE:

And if he does we'll catch him in the act.

ABRAHAM:

Could be, yes. Or, at the very least, we'll see something happen.

DETECTIVE:

Could be our best shot at catching the bastard.

ABRAHAM nods.

ABRAHAM:

It could be a couple of days or so before anything occurs.

DETECTIVE:

Of course. He'll want to make sure the bodies aren't being watched, that it isn't a trap. I'll put around-the-clock teams on this, acting undercover. Professor, if this works it'll be bloody brilliant!

ABRAHAM:

I do hope we see something. Find an appropriate location and I'll meet you there tonight.

The DETECTIVE nods then immediately hustles out of the room.

INT: CARFAX ABBEY, KITCHENS, EVENING.

QUINCEY and SEWARD and in the room, chatting, when MINA sweeps in. They both stand.

MINA:

Hello, my men.

QUINCEY:

You look exquisite as always, my dear.

MINA:

Flatterer.

She laughs her laugh, then leans in for a kiss. He face changes, though, looking a touch brittle, when DRACULA comes in.

DRACULA:

Ah, MINA, good to see you up. I have big plans.

She gives him a not entirely happy look.

MINA:

Oh?

DRACULA:

It's time we opened up the manor and let the rest of high society see what we're been doing in here. A giant gala like you'd been planning weeks ago.

QUINCEY smiles.

QUINCEY:

Oh, ARTY is gonna be so mad he wasn't here for the announcement. Parties are just his specialty.

DRACULA:

Excellent. Then we should bring him into the fold and let him handle arrangements.

MINA:

I... are you sure this is wise.

DRACULA looks her dead in the face.

DRACULA:

It's time. We shall take over society.

He then leave, grabbing a piece of meat from the table as he goes past.

SEWARD:

"Take over society." Odd choice of words.

QUINCEY:

Probably just because he's unfamiliar with the language. He's foreign, after all.

MINA watches DRACULA leave, then follows.

INT: CARFAX ABBEY, MAIN HALL, EVENING.

DRACULA is throwing on his cloak when MINA comes in. She looks angry.

MINA:

This isn't what we agreed.

DRACULA:

You mean this isn't what you wanted.

MINA:

I had a plan, work my way into society slowly and prepare. Keep prying eyes away until I was already accepted, then open the manor up for guests, a few at a time. But a lavish party draws too much attention. What if someone suspects...

DRACULA laughs.

DRACULA:

Who would suspect? What would they suspect. You are too cautious. We could be royalty in this land, unprepared for our kind.

MINA:

The last thing we need is someone figuring out what we are.

DRACULA:

If they even can, we'll kill them, then wipe them from the memories of everyone else. No one can stop us.

MINA:

It that what you told yourself centuries ago in Romania? That no one could figure out what you were?

DRACULA gives her a nasty look.

MINA:

How long did you live in that castle after the villagers learned your true nature? How many centuries were you stuck feeding on scraps? Watching as your castle crumbles.

DRACULA comes right up to her face, a mask of rage.

DRACULA:

How do you know all this.

MINA smiles.

MINA:

Blood of my blood, master.

DRACULA pulls back, once again a mask of composure.

DRACULA:

Those were different times, with a different people. More religious and prone to believing in fables. I have no doubt about our safety here.

MINA:

Well, you better be right.

DRACULA adjusts his cloak and opens the door. LUCY is standing there, a big smile on her face, dressed for a night out.

MINA:

LUCY? What are you up to.

LUCY:

Oh, MINA! I was saying I wanted to go out into town and the Count gracious offered to take me.

DRACULA:

I might not have been here long but I have found a number of fine establishments to take a lady such as young miss LUCY for an evening of entertainments.

MINA:

No, I don't-

LUCY:

Oh, MINA! I want to go! I spend far too long cooped up in this manor.

DRACULA:

She is in good hands, MINA dear. I will show her all I have to offer.

LUCY turns away as the carriage pulls up. MINA steps forward but DRACULA raises a hand of warning, and points a clawed finger at LUCY's neck.

DRACULA:

Enjoy your evening, MINA.

MINA stand, pale with rage, as the door closes.

INT: CARFAX ABBEY, KITCHENS, EVENING.

MINA comes tearing in, curdled with anger. QUINCEY sees this and comes over to her.

QUINCEY:

My dear, are you all right?

MINA:

I'm so angry!

QUINCEY:

It looks like your blood is positively boiling.

MINA:

Blood... yes...

She looks into QUINCEY's eyes and smiles. Then she grabs his hand and drags him off towards her rooms. Her hands already flying over her corsets.

SEWARD watches this, then looks around. He pulls out his watch, checks the time, then puts it away.

SEWARD:

Perhaps there's a play I can catch...

FADE OUT.

End of Part 7:

Obviously, Van Helsing has to figure out there are vampires around so he can put two and two together and eventually realize the true nature of (at least) Dracula. That's Van Helsing's role in these stories and while I've changed up a few things and rearranged ideas I'm still playing this close to the original story. Parallel, at a minimum.

Still, I do have a few more twists up my sleeve before this is all over...