Writer's Workshop

More character development, but also a bit of action and intrigue, this time around. I have a plot worked out in my head but it's all about getting the characters into the right positions to put it together. Plus, as is always the case, things will change from my ideas so we just have to see how these early sections work out so we know the true shape this sequel will take.

Before you dive in make sure you're all caught up on the story up until now (in the script archive) before diving into this chapter.

Bride of Dracula: Part 3

FADE IN.

INT: LIBRARY, CASTLE DRACULA, EVENING, PAST.

We see RENFIELD pouring over books and notes spread across a table, reading from a few volumes at once while working in a ledger. LUCY wanders through the library, looking bored.

LUCY:

I'd like to go out. I want to visit that Inn again.

RENFIELD:

I would not advise that at his juncture.

LUCY:

But it's what I want.

RENFIELD sets his pencil down and then looks over at LUCY.

RENFIELD:

You do not as you have full control over your powers. You aren't able to protect yourself and, right now, we're at a tenuous point with the villagers, moving them to a point where they won't kill you on sight now that they know you are the Countess.

LUCY:

And whose fault was that?

RENFIELD:

A necessary measure, I assure you. Once you are fully able to control your powers any attempts would be ne're-do-wells make will be short, pointed, and end quite messily for them. Until that point, you would be better suited practicing with your abilities.

LUCY:

Like what?

RENFIELD:

Well, that is entirely based on how the powers affect you. As a bride of Dracula you likely share powers with your sire, but the powers will change, new abilities cropping up specifically for you. There's an instinct you have to hone, letting the magic of your vampire side contort your body. Practice and determine what you can do.

LUCY walks to RENFIELD and looks him dead in the face.

LUCY:

I will be going out tonight.

RENFIELD:

You won't, and this is my point. If that was you controlling my thoughts you failed, rather laughably I might add.

LUCY gives him a sour look.

LUCY:

I could rip your throat out for that.

RENFIELD turns back to his paperwork and picks up his pencil.

RENFIELD:

If you do that who would talk to you? All the workers are afraid of you after you ate the foreman.

LUCY looks a little green.

LUCY:

I... I didn't...

RENFIELD:

Yes, well, work on your control. Practice.

LUCY looks curious.

LUCY:

How is it you know so much about vampires?

RENFIELD sets his pencil down again. He takes off his glasses and rubs his eyes.

RENFIELD:

In exchange for my services Lord Dracula promised to make me one of his vassals, a vampire to live forever. He had begun the process when still in England but it was left unfinished. However, I was connected to him-

At this, RENFIELD raises his hand and looks at it as if it were something foreign.

RENFIELD:

I could feel what he felt, sometimes see through his eyes. And I gained knowledge, things I'd never known before, things that could only have come from our master.

LUCY:

You read his mind?

RENFIELD:

I was connected. As he was connected to me. He used his vassals to gain their knowledge. It was how he picked up English so easily and had such a perfect accent.

RENFIELD then waves at the books all throughout the library.

RENFIELD:

And then, whenever I didn't know I read in his journals. He kept meticulous records of his life. A wealth of knowledge sitting right here. I found, because of Lord Dracula, I could read as he did, including the older forms of Romanian.

LUCY:

I never gained that knowledge.

RENFIELD:

As you sure? Look at the books. Really look. You might not even know you have it until it clicks.

LUCY looks over at the books and really studies them. Then she gasps. RENFIELD goes back to his notes.

RENFIELD:

Happy hunting.

CROSSFADE.

EXT: STREET, FRANCE, NIGHT, PRESENT.

We see the shadowy figure walking along the street. He looks around before ducking down an alley. He moves down a ways and then heads through a dim archway. After some time LUCY appears out of the shadows and follows him through the doorway.

INT: COURT OF VAMPIRES, MAIN CHAMBER, FRANCE, NIGHT, PRESENT.

The cloaked figure enters through a short dark chamber before opening the doors into a vividly decorated, and brightly lit, ballroom. We see vampires, some sitting and chatting, others dancing. It's like a party although instead of long tables loaded with food there are obviously human servants walking around, acting like kegs on legs. At the far end of the ballroom sites MILLA in her throne, petting a very relaxed black cat. She laughs at something a courtier says, then her gaze turns to the cloaked figure as he approaches.

MILLA:

Really, FENWICK, it's a party. You should dress for the occasion.

FENWICK removes his hat and scarf.

FENWICK:

Your party hasn't stopped for six decades.

MILLA waves this away.

MILLA:

No, I'm sure it stopped once. When was it?

COURTIER 1:

It was a Tuesday, Your Grace.

MILLA:

Right, yes. So there you have it.

FENWICK remains inpassive.

MILLA:

Oh, you're no fun, FENWICK.

FENWICK:

I'm not here for fun, mistress.

MILLA:

No, you were on an assignment. And how did that go?

FENWICK has the grace to look a little uncomfortable.

MILLA:

I see from your demeanor, not well.

FENWICK:

She spotted me. Somehow.

MILLA laughs.

MILLA:

You? The master of the shadows? You were spotted? When was the last time that happened?

COURTIER 1:

It was a Tuesday, Your Grace.

Milla lets out a full throated laugh that drags like silk.

MILLA:

Oh, that was good. Well done.

FENWICK:

Whoever the woman is, mistress, she has power. She's no simple night creature.

At this moment LUCY emerges from a nearby shadow.

LUCY:

No, I am not.

At this the music stops and the various vampires turn to the throne to see what's going on.

MILLA:

Oh my! Quite an entrance. I love it!

LUCY:

And you would be?

FENWICK:

You should bow before your superior, girl. The Baroness does not answer-

MILLA:

Oh, FENWICK, please. Can't you see the power flowing from her? She's something special. Tell me, what is your name, child?

LUCY:

A better question would be: why was I being followed?

MILLA:

Oh my dear child, you came into the city and didn't greet your Baroness.

LUCY:

You are not my Baroness.

FENWICK:

All vassals in France report to our Baroness Milla. You should grovel before her and beg for forgiveness.

LUCY:

Among the various things of that statement, I take umbrage with being called a "vassal".

FENWICK:

All lesser vampires are vassals to the Baroness in France.

MILLA laughs.

MILLA:

Oh, my dear FENWICK. She is no mere vassal. There is so much power in one this young. You must come from very old stock. And that would make you royalty, if I had to guess.

LUCY:

A countess, although I don't stand for titles.

MILLA:

Well, it's a pleasure to have you in my court. I normally love formality but I will wave it in your case. Please, stay and enjoy the party. If there's anything you desire, simply name it.

LUCY:

All I desire is to be left alone.

FENWICK:

Then don't feed without permission!

LUCY:

Control your dog, Baroness.

FENWICK draws his sword, a fast motion that shows his power and control. Even faster, still, LUCY is standing where he was, her hand thrust out, sending FENWICK flying across the room. FENWICK very quickly rises, pushing off the wall and flying at LUCY. He hits her dress but she puffs out in a cloud of shadows. He lands and looks around and then tendrils of dark smoke rise up around his ankles and grab him dragging him across the floor to slam him, twice more against the wall. He lays in a pile, groaning. LUCY then rises once more, the shadows pulling together, pooling into her dress before it rises with her back inside it.

MILLA applauds and laughs some more.

MILLA:

Oh, wonderful. You really are a treat my dear. Such a wonderful addition to my court.

LUCY:

Consider this me letting you know I'm here, a formal greeting from one noble to another. I don't not want to see your man, or anyone else, following me again.

LUCY storms out, the various vampires getting out of her way. Once LUCY leaves, the music begins again and the conversation rises and everyone simply must talk about what happened.

COURTIER 1:

I'm surprised you let her leave, Your Grace.

MILLA:

She's an interesting one. I want to see where this leads.

COURTIER 1:

She's a challenge to your power.

MILLA:

Yes, well... we'll see. We are far from done with that one.

CROSSFADE.

EXT: RAMPARTS, CASTLE DRACULA, NIGHT, PAST.

The music of the vampire party fades to a jaunty little folk number. We see LUCY standing on the ramparts of the castle, staring off towards the village below. RENFIELD comes up and steps beside her.

RENFIELD:

See anything interesting?

The music fades.

LUCY:

When I concentrate I can hear across great distances.

RENFIELD:

What do you hear?

The music trickles back in as LUCY stares at the village.

LUCY:

"Eyes of fire, burning bright as the sun. Hair like the corn silk of fall."

RENFIELD:

A love song, I'm guessing.

The music fades.

LUCY:

Hearing is hardly the most interesting vampire power.

RENFIELD:

It is useful, though. You will know danger is coming and can react with due haste.

LUCY:

But DRACULA could shift into animals and fly and...

RENFIELD:

I assume that will come with time. His journals state that he didn't realize he could turn into mist for months after his transformation. You must give it time.

RENFIELD looks back over his shoulder to the door into the castle.

RENFIELD:

I was going to have a spot to eat, maybe a bit of wine.

LUCY:

I do not drink... wine.

RENFIELD:

I could arrange a bit of something for your to drink. The chamber maid-

LUCY:

No. I won't just feed on people.

RENFIELD:

I'm sure she could be convinced.

LUCY:

You threatening her does not make her willing.

RENFIELD:

You besmirch me, my lady. I would have at least pai her after.

LUCY:

I'm fine. I'll find a deer or something in the woods.

RENFIELD:

That is hardly sustaining.

LUCY:

It sustains my conscience.

RENFIELD:

Do as you like, then. I hope to see you after your repast.

RENFIELD leave while LUCY goes back to staring out over the ramparts. In the quiet she notices a beam of moonlight that seems to positively glitter. When she places her hand within it the light dances along her skin. She focuses on it, stretching her fingers out and playing in the light and her skin begins to positively glow. She pulls it back out and stares at her hands and the glows slowly begins to fade. She takes a step back, into the shadows of the tower, shocked at this sudden display, and then notices that when she steps into the shadow her skin begins to change, fading from sight. She moves back into the light and her skin returns to its normal look. She then turns and looks at the town and a smile plays across her face.

INT: HALLWAY, CASTLE DRACULA, NIGHT, PAST.

LUCY moves down the corridor, a dark cloak wrapped around her. As she approaches the dining room she spies RENFIELD inside, sitting down to dinner, his seat facing towards the door. She pulls back and lurks in the shadow, her eyes closed. Soon her skin begins to ade, becoming near invisible. Cloak pulled tight she walks through the light, just a shadowy shape, barely seen, before running off down the hall and out into the night.

INT: BOROVIA INN, NIGHT, PAST.

It's another busy night in the tavern with the BARMAID running around, helping customers. In comes LUCY and the noise dies down as people notice the newcomer, but soon things return to normal as LUCY takes a table in the back. She watches for a bit until the BARMAID comes to the table.

BARMAID:

I see you've returned, Countess.

LUCY:

I did, and please don't call me that.

BARMAID:

Yes, m'lady.

LUCY smirks.

LUCY:

LUCY is fine.

BARMAID:

Can I get you something to drink? Some wine, perhaps.

LUCY makes a face for a second, then recovers.

LUCY:

Perhaps just some beef broth.

BARMAID:

Right away.

As the BARMAID moves off LUCY turns back to the room. She sees a few people watching her, and not in a friendly fashion. The BARMAID returns, a bowl of soup in hand, and sets it down. She sees LUCY watching the room and turns back to the countess.

BARMAID:

Don't mind them. They just know the old stories.

LUCY:

Stories?

BARMAID:

About the Count. Some thought him a monster, tales of a demon sneaking into the rooms of children and feasting on them.

LUCY blanches.

LUCY:

Ah... yes...

BARMAID:

But now you're in charge and no one could think you a monster.

LUCY:

You reacted poorly to me last time.

BARMAID gives a nod.

BARMAID:

I was caught off guard. Hard to shake those stories. They're so colorful. Still, all in the past.

LUCY takes a sip of her soup. She doesn't look satisfied. She notices the BARMAID watching her.

BARMAID:

Not to your liking?

LUCY:

I... no. It's fine.

BARMAID:

But you'd like something else.

LUCY:

What? No. I'm good.

BARMAID:

Well, okay. But if you change your mind, just shout for me.

She goes off to work the room. The night fades on, people moving in and out, groups leaving, the candles burning low. Eventually the BARMAID comes back over and sits down. LUCY looks surprised but doesn't say anything.

BARMAID:

Are you really the countess? You don't act like any posh nob I've heard of.

LUCY smiles.

LUCY:

Why do you say that?

BARMAID:

You've sat her for hours, just watching people, drinking cold soup. You haven't ordered people around, you aren't demanding taxes or entertainment. You aren't drinking wine.

LUCY:

It doesn't agree with me. But yes, I'm told I am the countess. Laws of inheritance.

BARMAID:

I wish I was lucky enough to inherit nobility.

LUCY:

It's not something I wanted. There's... consequences.

BARMAID:

Still, it must be nice, living up in that castle. With servants and fancy clothes and all that.

LUCY:

It's very new to me. My family did not come from nobility.

BARMAID:

That makes you extra lucky.

LUCY:

Well, I suppose all you'd have to do is marry a count and you'd have a title and a castle then.

The BARMAID gives her a smile and lays a hand over LUCY's.

BARMAID:

Honestly, that's not entirely my cup of tea.

LUCY blushes faintly.

BARMAID:

Are you sure there isn't something I can tempt you with?

LUCY:

I... I mean...

The BARMAID stands up.

BARMAID:

Let's see if there's something in the back.

She takes LUCY's hand and practically drags her into the back room.

INT: BACKROOM, BOROVIA INN, NIGHT, PAST.

LUCY gets dragged into the room and then the BARMAID turns around and kisses her. The two quickly, and hungrily, fall into each other's arms. The end up against the shelves in the back, knocking a few things over. They both giggle and then go back to kissing. LUCY then runs a hand along the BARMAID's face and the second she does the BARMAID is entrances, staring deeply into LUCY's eyes. She tilts her head and smiles and LUCY finds herself leaning in, biting the girl on the neck, feeding.

Just then the PROPRIETOR comes down the stairs.

PROPRIETOR:

Is everything okay? I heard a noise and I-

HE sees LUCY as the vampire lifts her face, blood running as a trickle from her mouth, and the wounds in the BARMAID's neck.

PROPRIETOR:

Demon! She devil! Witch!

LUCY backs up, wiping the blood from her face, and then flees out the back door into the night.

EXT: REAR OF BOROVIA INN, NIGHT, PAST.

The PROPRIETOR comes out, waving a length of wood, yelling. He stares into the night and then goes back into the Inn, closing and locking the door behind him. LUCY then comes out of the shadow of the building, slowly fading back into view, before running off, back to the castle.

End of Part 3:

I find that I really like writing A- and B- plots that cut back and forth to each other. I do this a lot in my webcomic CVRPG, allowing me to bounce between storylines there as I like, and it adds energy to a story. I can't help but do it here, especially once the Past and Present settings developed. It's fun.