Writer's Workshop

So last time was an episode with a lot of talking... and this one is going to be more of that. Stuff happens, yes, but it's not action yet. We're in drama land right now as all the pieces continue to move into place. Hopefully it doesn't feel boring.

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 5

EXT: BORGRAVIAN WOODS, DAWN.

SFX: Horse clopping

We see the Dracula carriage moving through the night, its driver cautious to keep the ride as smooth as possible so as not to disturb the riders within. The carriage is well loaded, maybe even haphazardly, to get as much stuff from the castle on board as possible.

INT: DRACULA'S CARRIAGE, DAWN.

RENFIELD and LUCY sit on opposite sides of the carriage. He reads from a book while she stares out the window, bored.

LUCY:

Where are we going?

RENFIELD takes his eyes from the book to look at her.

RENFIELD:

To allies that will keep us safe.

LUCY:

Yes, so you've said. But where?

RENFIELD:

To the Romani. They have been servants and protectors of Lord Dracula for centuries. That now, of course, extends to you. They will keep us safe, far from the castle, until the danger has faded.

LUCY:

So we're staying here a few days?

RENFIELD:

Probably weeks or months.

EXT: ROMANI CAMP, BOROGRAVIAN WOODS, DAWN.

The carriage pulls up on the outskirts of a camp of wagons and tents. We see many of the Romani going about their business, largely ignoring the carriage that just pulled up. NICA, a Romani girl, comes to the carriage as the driver gets down. She waits as the door is opened, allowing out its guests.

NICA:

Welcome, honored guests.

As LUCY steps out, NICA curtsies.

NICA:

My lady.

LUCY looks at her, confused.

LUCY:

That's not-

RENFIELD:

We are most grateful to be here.

NICA stands.

NICA:

We received your message just hours ago. We have already prepared wagons for both of you.

As LUCY steps out of the shadow of the carriage, a Romani man, FEN, comes over with a black parasol, opening it to protect her from the sun. NICA leads the way towards too wagons off to one side of the camp. FEN guides LUCY to one wagon, opening the door for her.

INT: LUCY'S WAGON, ROMANI CAMP, DAWN.

The wagon's interior is made of dark wood, polished to gleaming, with heavy curtains across the windows. A coffin sits in the middle, lacquered black with silver highlights.

NICA:

I trust this will be to your liking, my lady.

LUCY nods.

LUCY:

Yes, thank you.

She steps into the wagon and the door is closed behind her, plunging the interior into darkness.

CUT TO BLACK.

FADE IN.

INT: LUCY'S WAGON, ROMANI CAMP, NIGHT.

MUSIC: Faint strains of lively folk music.

The light of the fires outside slowly trickles in under the curtains. We see the coffin lid move, LUCY's hand dipping out, before the lid is pushed wide. LUCY sits up, looking around groggily, before rising.

EXT: ROMANI CAMP, NIGHT.

LUCY steps out of the wagon to find the camp lively and active. People go about their business, preparing for the night's meal. There's cooking, chores, and building going on in a camp that never really dies down throughout the day.

RENFIELD sits near a fire, talking with a couple of other people. LUCY wanders over and the men rise. She smiles, but all but RENFIELD leave. NICA arrives at that moment with a finely carved chair, setting it down for LUCY to use.

NICA:

My lady.

LUCY:

Please, I'm not-

RENFIELD:

In these lands, you are their ruler, LUCY.

LUCY:

Dracula was their ruler. I'm just...

RENFIELD:

His vampire bride.

LUCY:

I'm really not comfortable with that.

RENFIELD:

You're going to have to adjust. You have an immortal life ahead of you so you will need to embrace who you now are.

LUCY sighs and sits down.

LUCY:

My cousin was much better at this.

RENFIELD sits as well.

RENFIELD:

Miss Mina?

LUCY nods.

LUCY:

You should have seen her when she was rebuilding Carfax Abbey into a wondrous manor. She was the lady of her keep, and it suited her so well. I don't feel that same desire or power.

RENFIELD:

I'm not saying you need to be like your cousin, or the Lord Dracula himself, but you will have to learn that as a vampire, and a Countess, you will be treated differently. You have power. A role. Responsibilities. You must become who you now are meant to be.

LUCY looks over and realizes NICA is still there. NICA smiles.

NICA:

Would you care for something to drink?

LUCY:

Oh... I suppose some broth would be nice.

NICA looks confused.

NICA:

Broth?

LUCY looks back.

LUCY:

Or I guess I could go out and find a deer to drink from...

RENFIELD coughs.

RENFIELD:

She was offering her own blood, LUCY.

LUCY looks at NICA, shocked.

LUCY:

You want to give me your blood?

NICA nods.

NICA:

We must sustain your life.

LUCY:

But aren't you afraid I'll kill you?

NICA:

We know you won't.

LUCY tentatively grabs NICA's wrist and bites down, drawing a small trickle of blood. She then begins to feed.

RACHEL (V.O.):

I could use a drink.

INT: DANCE HALL, FRANCE, NIGHT, PRESENT.

LUCY and RACHEL are dancing as the folk music from the past blends into the ballroom music of the present. LUCY seems almost flushed, enjoying herself more than she expected.

MUSIC: Ballroom style.

LUCY:

I'm sorry?

RACHEL:

I could use a drink. Would you like some wine.

LUCY gives a tiny laugh.

LUCY:

I don't drink... wine.

The two curtsy to each other and move from the dance floor.

RACHEL:

Something else instead, then?

LUCY waves her hand.

LUCY:

No, really, I'm fine.

By this point ANITA has managed to squirrel BARRETT away from MILLA, who wanders over to the ladies to speak to them.

MILLA:

That young suitor of yours hardly seems interested in me at all.

LUCY:

Suitor?

RACHEL:

You mean BARRETT? He's my brother!

MILLA shrugs her shoulder.

MILLA:

It's France.

She turns to LUCY and speaks to her conspiratorially.

MILLA:

This young one is quite lovely. Are you planning to turn her?

LUCY replies more loudly than she intended.

LUCY:

What? No!

RACHEL turns.

RACHEL:

Did I miss something juicy?

MILLA:

Oh yes.

LUCY:

NO! She just... I mean...

MILLA:

I insinuated something about your brother and LUCIA here that she found quite shocking.

RACHEL:

Well, I'm sure he would never do such a thing.

MILLA:

Too much of a gentleman?

RACHEL:

No, he just wouldn't know what to do with a woman if he ever married one.

MILLA:

Who said anything about marriage?

RACHEL looks at her, then laughs.

MILLA:

Really, you English need to learn to live a little. Why, I have a party that I've been hosting for years now. You should all-

LUCY:

No.

RACHEL:

Party?

MILLA:

It's really quite the-

LUCY:

No.

MILLA pouts.

MILLA:

Maybe another time.

She looks around.

MILLA:

My, but it's getting early. Or late, depending on how you look at it. LUCIA, I'll see you later. Think about what I said...

Then she floats away, a wave of skirts and perfume.

RACHEL:

She's...

LUCY:

Not to be trusted.

RACHEL:

I was going to say "eccentric." But I take it you know more about her than you're letting on.

LUCY sighs.

LUCY:

Far more, but it's a story best saved for another time.

As we observe, the party slowly starts to break apart as people realize the time of day.

LUCY:

We should get going ourselves.

RACHEL:

Oh, no! But BARRETT and I were going to do breakfast before we went back to our hotel. You should come.

LUCY:

I appreciate the offer.

RACHEL:

I insist.

LUCY:

Another time, maybe.

RACHEL:

Oh, please!

LUCY looks at her, puts her hand on the woman's face, and focuses on her eyes.

LUCY:

I must go. Enjoy your breakfast.

RACHEL:

Yes... okay.

LUCY quickly ducks out herself before she gets trapped by someone else.

EXT: OUTSIDE THE DANCE HALL, STREET, FRANCE, DAWN, PRESENT.

LUCY steps out into the grey light before dawn. Across the street she spots MILLA, who smiles and waves her over. LUCY looks around, then moves across the street.

MILLA:

I thought perhaps we could spend a quiet moment talking.

LUCY:

I thought I made it quite clear I wanted to be left alone. Why do you insist on bothering me.

MILLA:

Oh, now dear. You really need a friend, even if you don't realize it. Someone that knows how this whole game is played. Clearly, despite your power, you're still quite new to all this.

LUCY takes a long pause, then she looks around.

LUCY:

Now hardly seems like the time.

MILLA smiles.

MILLA:

I have personal quarters nearby. You're welcome to stay with me for the day.

LUCY:

No.

MILLA:

I doubt you have time to make it back home, dear.

LUCY sighs.

LUCY:

Fine, but-

MILLA:

Yes, yes, you have nothing to fear today. I give you my word as the Baroness of Paris.

And then the two vanish down an alley.

CROSSFADE.

EXT: ROMANI CAMP, NIGHT.

LUCY finishes feeding and gently gives NICA her arm back. NICA smiles and moves on into the camp.

RENFIELD:

See? She's not dead.

LUCY:

That was quite-

RENFIELD:

Enjoyable?

LUCY:

Uncomfortable. I prefer not risking other's lives with my feeding.

RENFIELD:

You can't subsist only on animals.

LUCY:

If I could live without harming anything at all, I would. Animals are my way of soothing my conscience.

RENFIELD:

I know, from Dracula's journals, that the blood of animals won't sustain your power, not like human an blood.

LUCY:

Perhaps I just need to find the right animal.

RENFIELD sighs.

RENFIELD:

Fine, but while you're here at least you can take what's offered. That shouldn't damage your conscience.

She nods, slightly. Then she looks around at the camp.

LUCY:

They really don't mind us being here?

RENFIELD:

Well, if I'm being honest, you're less of a burden than I am. The amount of blood you drink is a tiny amount considering all that live here, and they can easily heal it without any issue. I, on the other hand, have to eat of their supplies, drink their water, exist at the times when they're awake, make use of their facilities, spend-

LUCY:

I get your point. My needs are few in the grand scheme of humanity.

RENFIELD:

I actually wasn't trying to make a point, but you are correct. You can live in the shadows and feed a little without leaving much of a mark.

LUCY:

Dracula left quite a mark on the places he visited.

RENFIELD:

Yes, well... whether that was wise or not, that was the way he ruled. Clearly you're making yourself into a different kind of ruler.

LUCY:

I don't want to rule at all.

RENFIELD:

Really, must we keep-

LUCY:

Until a few weeks ago I was just a silly little girl who didn't think about much more than who I would marry and what that life would be like. Husband, children, growing old. None of that is part of my life now, so you will have to forgive me if I need some time to adjust. I didn't want this but I'm stuck with this life now.

RENFIELD softens.

RENFIELD:

True, I hadn't thought of it quite that way. How old are you?

LUCY:

Nineteen. Forever.

RENFIELD:

It's a good age, nineteen. I rather liked that time in my life.

LUCY:

Chasing women and drinking at taverns?

RENFIELD:

Actually, most of the time my nose was buried in a book.

LUCY looks over at the stack of books sitting next to him on the ground.

LUCY:

My yes, I can see how you'd long for that very different period in your life.

RENFIELD laughs.

RENFIELD:

Okay, fair enough. But if I could be young an immortal I would take that.

LUCY smiles.

RENFIELD:

I'll just have to settle for the immortality, I guess.

LUCY looks at him. He stares back, as if realizing she wasn't on board with his desires.

LUCY:

You want me to-

RENFIELD:

When you're ready, yes. Although we do need to get you settled in somewhere safe, first. So that will only delay my transformation.

LUCY:

RENFIELD, I don't think I want to make anyone else... like me.

RENFIELD gives her a dark look.

RENFIELD:

That was the one promise your husband made that I will hold you to. I will be a vampire.

LUCY:

No, but-

RENFIELD:

I am owed.

End of Part 5:

I've gone back in forth in my head about when to have Renfield come out and state his intention to be a vampire. I mean, it's Renfield, we all kinda knew this was going to be his ultimate desire, not just because he mentioned early in this script that Dracula was working on turning the man but also because, well, it's Renfield. Gotta keep him consistent to his character.

Still, this will cause much character drama and that's good for the story. My only worry was whether to do it earlier or later so we goose the proceedings at the right time. Once I got to writing this act, this just felt like the natural time to reveal it. Now to see how Mina truly reacts...