Writer's Workshop

We get back into Bride of Dracula with the second part of the series. This is going tobe a quieter section as we do some heavy lifting to get the plot in motion, but fear not, bigger things are on the horizon. For now we have to learn about the characters and see how each of the pieces are getting setup for the adventure to come.

But 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 2

CROSSFADE

INT: DANCE HALL, FRANCE, NIGHT, PRESENT.

We watch the dancings whirling around to the swinging music, with Rachel whipping past in the arms of a man she's dancing with, giggling the whole time. Further past we have LUCY and BARRETT dancing in a more restrained manner while BARRETT keeps an eye on his sister.

LUCY:

Since I assume you're not fighting in the war, dear sir, then might I inquire as to why you are in France in the middle of its occupation?

BARRETT sighs.

BARRETT:

We were here to meet a suitor for my sister. Our family had once come from some means but recent years saw, well, a turn of events. It's just the two of us now and with dwindling fortunes I had hoped a good marriage could have protected RACHEL and, in the process, maybe lifted our fortunes in the process.

LUCY:

The suitor wasn't interested in her in the end?

BARRETT:

He died.

LUCY:

That would do it.

BARRETT:

Unfortunately we arrived in the middle of the invasion and have been forced to stay here ever since.

LUCY:

Guests of the Germans?

BARRETT:

I doubt they know we even exist. But travel between here and England is cut off and we have nowhere else to go. So we remain, waiting out the war.

LUCY:

Bad luck, there.

BARRETT:

Who expected France to fall?

LUCY:

Empires rise and fall. I've seen that before.

BARRETT:

Yes, why are you in France in the middle of a war. A lady of your status traveling on her own is unusual.

LUCY:

I go where I like. I have a certain amount of freedom at this point and I cherish it.

BARRETT:

You're not also here looking for a suitor.

LUCY:

God no.

BARRETT laughs.

BARRETT:

That will probably sadden my sister. I could see her making eyes at the two of us.

RACHEL goes whirling past again.

LUCY:

I think she's too busy right now to worry about your marital status.

BARRETT:

Even to a fine noble lady such as yourself?

LUCY:

You say that with some assurance.

BARRETT:

Your demeanor. I'm guessing you're titled.

LUCY nods.

LUCY:

Countess, technically. Inherited from my dead husband. But I don't stand on formality.

RACHEL whirls back past and then settles in with her brother, breathing heavily from exertion. She waves away her dance partner who soon is snatched up by another woman.

RACHEL:

What are we talking about?

BARRETT:

Lucy here was just regaling us with tales of her time in royal court. But don't call her “countess”.

LUCY:

Certainly not, and I have nothing to regale.

RACHEL:

A countess? What on Earth are you doing here?

CROSSFADE

INT: CARRIAGE, ROMANIAN COUNTRYSIDE, NIGHT, PAST.

LUCY and RENFIELD sit in a carriage as it rocks back and forth, the night sky barely visible through the curtains.

LUCY:

I hardly see why I must do this.

RENFIELD:

You are the countess of these lands and it pays to let your people know you are watching.

LUCY:

Stop calling me countess. And they are hardly my people. They didn't even love Dracula. He fled to England, if you recall.

RENFIELD:

Yes, but if you want to avoid his same fate it might be wise to make allies, or at the very least to cow your subjects with fear.

LUCY:

Not my subjects. I'm just a simple girl from the Rhineland.

RENFIELD:

That might just work to your benefit. The Count was feared as an otherworldly creature but you, a fair and beautiful girl, do not instill the same worry. If you don't want to rule with fear then you need to gain the trust of your people.

LUCY looks out into the night longing.

RENFIELD:

LUCY...

LUCY:

Fine.

EXT: BOROVIA VILLAGE SQUARE, NIGHT, PAST.

The carriage pulls up into the square, its driver bringing the vehicle to a rocking start before jumping down to open the door. RENFIELD gets out first before helping out LUCY. She looks around at the small village, a simple place with an inn, a few shops, and houses. RENFIELD then directs her to the inn.

INT: BOROVIA INN, NIGHT, PAST.

The inn is abuzz with people chatting at their tables, drinking ales and wines. As the door opens, with RENFIELD and LUCY enter, the conversation quiets some as the villagers look at these newcomers. A BARMAID comes over to the two.

BARMAID:

Welcome, m'lord. Lady. There's a table in the corner if you want to sit. Can I get you anything?

RENFIELD:

Two glasses of wine. Red. And also some hot sliced beef and gravy.

The BARMAID curtseys and heads off to the kitchen, yelling at the cook.

BARMAID:

EH! TREVOR! Plate of meat with some slop. Make it posh!

RENFIELD and LUCY head over to the indicated table and settle in. The villagers go back to their conversations but keep an obviously wary eye on the new people. LUCY looks around at the inn, more interest than anything else. Soon the BARMAID returns with a tray, two glasses, and a bottle of wine.

BARMAID:

We don't get many newcomers in town. Especially not at night. Can I ask what your business is?

RENFIELD:

Oh, we aren't new. I'm R.M. RENFIELD, attorney and advisor, and this is your countess.

The tray in the BARMAID's hands rattles and then the bottle tips over, rolling across the table. The BARMAID grabs for it, sending the glasses tipping over. They don't break, but she grabs them instead, stumbling, which causes the tray to clatter to the floor. Everyone in the room goes silent as the BARMAID backs up, glasses in hands, obviously afraid. LUCY stands and then picks up the tray, handing it to her.

LUCY:

Here you go.

The BARMAID takes the tray, looking very ashen.

LUCY:

And please, just call me LUCY.

The BARMAID nods. She sets the glasses on the table and then scurries away. LUCY sits back down, keenly aware of the people staring, and then hastily looking away.

LUCY:

That could have gone better.

RENFIELD:

It is, admittedly, a process.

LUCY:

And stop calling me countess. These people are already afraid. Invoking... that title will only make it worst.

RENFIELD:

They have to respect you.

LUCY:

They have to not kill me while I sleep.

RENFIELD:

...touché.

He opens the bottle of wine and the pours a glass. Looking around to see if anyone is watching, he then pulls out a flask and pours a measure of red liquid into a second glass, handing it to LUCY. She takes a sip and makes a face.

LUCY:

This is better warmed.

RENFIELD:

Which is why I also ordered some beef. You can eat the rare bits, sparingly, and maybe drink the juice. But you need blood.

LUCY:

I'd rather drink the wine.

RENFIELD:

You cannot drink wine.

LUCY wrinkles her nose.

LUCY:

Yes, yes. I heard Mina say that plenty of times.

RENFIELD:

Get them to trust you, or respect you, or fear you. Bring them under your heel, and then maybe you can feed upon them without worry.

LUCY takes another sip.

LUCY:

Anything is better than this.

CROSSFADE

EXT: STREET, OUTSIDE DANCE HALL, FRANCE, NIGHT, PRESENT.

LUCY, joined by BARRETT and RACHEL, leave the hall and, chatting together, head down the avenue.

RACHEL:

Ah, the night is young, Let's find somewhere else to eat.

BARRETT:

It is nearly curfew. We don't want to bring any trouble.

RACHEL:

Spoilsport. LUCY, where are you staying? We should walk you.

LUCY:

Oh, that will not be necessary.

BARRETT:

You'd walk home, alone at this time of night?

LUCY:

As I said, I go where I please.

BARRETT:

At least let us walk with you.

LUCY:

No. Take your sister back home.

RACHEL grabs LUCY's hands.

RACHEL:

It was a lovely evening. Do say we'll see each other again.

LUCY:

I would like that. Where are you staying. I'm sure I could arrange to come by in an evening or two, once I handle other business.

RACHEL:

Oh, please do!

PAN OUT

We watch RACHEL hug LUCY and they chat for just a few seconds before RACHEL and BARRETT head off in another direction. Lucy walks by herself into the night, following her own path of streets and allies. At some point she stops and turns, listening. Then she heads down a side-street and vanishes. Eventually we see another figure come into view, shrouded in darkness. They walk down the street for a few steps, look around, then they leap up and land on the roof of a building. They look around again, as if searching for LUCY before heading off, at a clip, into the darkness.

From out of the shadows of a different street we see LUCY emerge, watchful. Then she, too, vanishes into the night.

FADE OUT

End of Part 2:

So yes, a slower chapter here because I have character moments I needed to get through. I need to show the growing back and forth between Refield and Lucy in the past, and I needed to establish why the other Renfields, Barrett and Rachel (presumable R.M.'s grandchildren) are in France during the time of WWII. Plot machinations had to be put in place, as the needs must. But hey, we have a shadowy figure we can exploer in the next chapter in a week or two.

Also, the sturture of the script is nicely taking shape, with our plotlines in the past and the present (for the characters). I like this dual storytelling structure for this tale and it will likely be the form for most of the script (however many chapters it ends up being).