Monstrosity: A Play About Monsters
Character List
The Count Dracula (He/Him), the vampire of the play.
Emil (He/Him), the Count’s assistant.
Agnes Van Helsing (She/Her), the vampire hunter hellbent on revenge.
Victor (He/Him), Agnes’ childhood friend.
Hilda (She/Her), the barmaid.
Abraham Van Helsing (He/Him), the ghost of the Count’s castle.
ACT ONE
Scene One
The stage has a fireplace UCS that has a dwindling fire burning in it. A portrait hangs above the fireplace that, using a projector, displays a picture of ABRAHAM VAN HELSING. There’s a staircase SR that leads to nowhere. A grand window that shows a snow storm outside is placed against the back of the stage, above the stage. A grand chandelier hangs SL. Two velvet armchairs rest on either side of the fireplace. The lighting is a WARM ORANGE. When the curtains rise ABRAHAM and THE COUNT are already on the stage (CS). ABRAHAM lies on the floor and THE COUNT stands over him, holding a sword covered in blood. The blade is pointed downwards at ABRAHAM’s chest, and both men are breathing heavily and covered in blood. ABRAHAM holds the blade of the sword with one hand.
ABRAHAM
Please… (coughs) Please, my… old friend.
THE COUNT
I have never been someone to pray but (pause) may God have mercy on your soul.
THE COUNT drives his sword into ABRAHAM’s chest. His hand falls away and he becomes still. THE COUNT, still breathing heavily, steps back from the body and looks up towards the sky. He closes his eyes and sighs when suddenly there’s footsteps from SR. AGNES VAN HELSING walks down the stairs and stops halfway.
AGNES
Papa…?
THE COUNT whips his head around and steps back from the stairs. AGNES screams. THE COUNT flees from the stage and even when the lights go black, AGNES continues to scream.
ACT ONE
Scene Two
When the lights come back up on the stage, they’re a COOL GRAY. ABRAHAM’s body is no longer on stage and the portrait above the fireplace now shows THE COUNT. The fireplace is unlit. A door creaks off stage and EMIL enters SL in a coat covered in snow, a book tucked under his arm. He removes his coat and shakes off the snow, hanging it on a coat rack. He shivers and moves to the fireplace, rubbing his hands. He notices the fireplace is unlit and he sighs.
EMIL
Count? Count!
The stage remains silent.
EMIL
Count! The fireplace, please!
The fireplace immediately roars to life. EMIL smiles and sticks his hands out towards the flame.
EMIL
Thank you!
EMIL stands in front of the fireplace and THE COUNT enters SR, unnoticed by EMIL. THE COUNT waits a minute and when EMIL does not look at him, he speaks.
THE COUNT
Well?
EMIL jumps and moves away from the fire to stand CS, looking at THE COUNT. He straightens and fixes his hair.
THE COUNT
What news do you bring?
EMIL
I’m afraid not much, Count. The town is the same as always. Hilda sends her regards.
THE COUNT
Did you deliver my letter to the Victor boy as well?
EMIL
Yes! In fact…
EMIL reaches into his vest pocket and pulls out a letter. He holds it out for THE COUNT to see.
THE COUNT
Open it. Read it aloud.
EMIL
Right.
EMIL tears open the envelope and pulls out the letter. He clears his throat before beginning.
EMIL
(reading) To the most gracious Count who lives on the high hill–I hope this letter finds you in good health and company. I shall be brief. It has happened to pass across my desk that a hunter, a skilled one at that, is making haste to our small town. I thought you should be informed considering your (EMIL pauses) condition. Let me know if you require any assistance in preparing for the hunter’s arrival. I am your humble servant, Victor. By the way, I’ve sent a novel from my collection back with Emil. I do hope you find it your liking.
THE COUNT scoffs as EMIL folds the letter back up and returns it to his pocket.
THE COUNT
A blasted hunter… I’ll need to double the protection spells, possibly thicken the fog…
THE COUNT grows silent as he thinks and EMIL waits patiently. Eventually, THE COUNT notices.
THE COUNT
Is there something else…?
EMIL removes the book from under his arm and shows THE COUNT.
EMIL
What should I do with–?
THE COUNT
(waves dismissively) Put it somewhere. I haven’t got the time to read. There’s so much to prepare.
THE COUNT turns to leave.
EMIL
Wait!
THE COUNT stops and looks over his shoulder at EMIL.
THE COUNT
Is there something else?
EMIL
Um, not exactly…
THE COUNT
Did you need something, then?
EMIL
Kind of, well, not really, um–.
THE COUNT
Please, speak up, Emil.
EMIL
Wouldyoucaretodinewithme?
THE COUNT pauses. He looks slowly out to the audience then back to EMIL.
THE COUNT
Um… could you possibly speak a bit slower…?
EMIL
Would you care to dine with me?
THE COUNT
Dine?
EMIL
Yes.
THE COUNT
With you?
EMIL
Yes.
THE COUNT
I will not.
He turns to leave but stops, and faces EMIL slowly again.
THE COUNT
Let me ask you something, Emil. Do you think there’s a difference between you and I?
EMIL
I’m not quite sure what you mean.
THE COUNT
Allow me to rephrase: do you see me as the same as you?
EMIL
If I may speak honestly, Count, then yes. I see you as no different than I.
THE COUNT
(laughs) Then you are indeed a fool. I have matters to attend to. If you are so lonely that you require company, perhaps Abraham will dine with you. Though dead, he is closer to you than I will ever be.
THE COUNT exits. EMIL stands alone on stage. He takes a minute before walking to the sairs and placing the book down on the first step. Then he returns to CS. He moves around the stage as he speaks.
EMIL
A fool, he calls me. A fool. Am I truly no more to him than a meddling fool who beckons at his every call, who follows him in hopes of being more? But ‘more’ is unattainable, as the Count has so eloquently put it. It does not matter how I see him, he will never see himself in the same way as I. He will forever shroud his image in darkness and push me towards the light. But I prefer a life of darkness with him than a lonely life in the light. …Perhaps I am a fool. For if he asked me to pluck the sun from the sky for him, I would burn my hands bringing him the brightest star. And I would worship the scars it would give me. Yet time after time he pushes me away. Time after time he refutes me, citing our difference of light and dark as a reason he cannot…
EMIL stops moving. He turns directly to the audience as he speaks his next line.
EMIL
Is it me?
ABRAHAM
(from off-stage) Come now, Emil! What’s gotten you in such a gloomy mood?
ABRAHAM enters from SR in confident strides. He walks over to EMIL, who backs away slightly, and gives EMIL a hard slap on the back.
ABRAHAM
Cheer up, my boy! How about a round or two to get the blood flowing, eh?
ABRAHAM mimes throwing punches around as EMIL backs away more.
EMIL
I’m quite alright, Abraham.
ABRAHAM
Well, let me know if you ever need a sparring partner. I’m stuck hanging around here for eternity. Being dead and all, you know.
EMIL
(clears his throat) Yes, well, ahem. If you’ll excuse me, I must be off. Us living folk still have to eat.
ABRAHAM
(longingly) What I wouldn’t do for a bite of steak right now?
EMIL
Yes… well… goodbye then!
EMIL rushes off SL. After he leaves, THE COUNT returns SR. ABRAHAM turns when he enters.
THE COUNT
You’re still here?
ABRAHAM
You of all beings should know the meaning of the word ‘eternity’.
ABRAHAM places his hand on THE COUNT’s shoulder. He speaks softly.
ABRAHAM
Why not have dinner with him once? What’s holding you back?
THE COUNT
What’s it to you?
ABRAHAM
You considered me a friend when I was still alive. Why does that have to change now that I’m dead?
THE COUNT pauses. He turns his back to ABRAHAM, shaking ABRAHAM’s hand off of his shoulder. ABRAHAM takes a step back.
THE COUNT
Society has already deemed me a monster. He does not deserve the same treatment.
He exits SR. ABRAHAM runs a hand over his face and sighs as the lights fade slightly.
ACT ONE
Scene Three
The lights come back up and ABRAHAM and THE COUNT reenter from where they just exited. They cross CS and ABRAHAM grabs THE COUNT’s arm.
ABRAHAM
Lend me your ear, my friend.
THE COUNT yanks his arm away and puts distance between himself and ABRAHAM. ABRAHAM turns slowly to face THE COUNT.
ABRAHAM
You seem afraid.
THE COUNT
I…
He takes another step back.
ABRAHAM
Are you afraid of me, Count?
ABRAHAM takes a step forward, to close the distance between him and THE COUNT. THE COUNT remains rooted in place but it’s obvious he’s on his guard.
ABRAHAM
What’s there to fear? I’m dead.
THE COUNT
Old habits die hard, I guess.
He shakes himself off and clears his throat.
THE COUNT
You wished to speak to me. What’s on your mind?
ABRAHAM
I worry for Emil.
ABRAHAM
I worry for Emil.
THE COUNT
This again? I told you, Abraham, I will not–.
ABRAHAM takes another step forward. THE COUNT immediately goes quiet and takes a step back in response.
ABRAHAM
You are afraid of me.
THE COUNT
…What’s with this?
ABRAHAM
It’s hard for friends to listen to each other, have a true heart to heart, if one is afraid of the other. We must rid you of the fear if you’re ever going to truly listen to what I have to say about Emil.
THE COUNT
Emil has nothing to do with this. Just drop it. I’m asking you to drop it.
ABRAHAM
Why should I?
THE COUNT
As a favor for a friend.
ABRAHAM
Interesting word choice.
THE COUNT
Please, Abraham. Please.
ABRAHAM
I’m not going to tell him. I’m not going to tell Emil how you truly feel about him, as much as I think he deserves to know the truth.
THE COUNT
Why are you obsessing over this?
ABRAHAM
I once lived my life in fear as well. Look where that got me.
THE COUNT
(pause) I don’t need you to save me.
ABRAHAM
(shouting) You’re not doing anything to save yourself!
THE COUNT flinches back at ABRAHAM’s sudden outburst. He sighs and runs a hand through his hair.
ABRAHAM
I’m… I’m sorry. I didn’t mean to shout at you. I’m just (pause) worried for you.
THE COUNT
For the longest time, we were the only two constants in each other’s life. I get that you’re worried but there’s no reason to be. It’s… fine, I’m fine!
ABRAHAM
We’ve been “constants” for a very long time and you think I can’t tell when you’re lying. Be honest with me.
THE COUNT
I… What do you suggest I do?
ABRAHAM
(surprised) Asking for my advice, are we?
THE COUNT lowers his head, not in shame, but rather as if he’s bowing to ABRAHAM, pleading with him.
THE COUNT
(quietly) I don’t know what to do.
ABRAHAM
Be kind to him. Show him you care, at least. If he makes you happy, then let yourself be happy around him. It’s ok. It’s ok for you to be happy.
THE COUNT
I’ll try. I’ll try for you.
ABRAHAM steps forward and places a hand on THE COUNT’s shoulder.
ABRAHAM
Not for me. For you, Count. For you.
The lights fade slightly and they exit together.
ACT ONE
Scene Four
EMIL enters SR and picks up the book from the stairs. He then sits in the chair right of the lit fireplace and begins reading. The lights return. A moment later THE COUNT enters SR. He walks briskly but stops when he notices EMIL reading. He takes a few steps back and stares at EMIL, who is so engrossed in his book he doesn’t notice. THE COUNT visibly debates for a minute before clearing his throat softly. EMIL looks up and, upon noticing THE COUNT, begins to stand.
THE COUNT
(quickly) There’s no need. Please. Sit.
EMIL uncertaintly returns to his chair. The two stare awkwardly at each other for a few seconds. THE COUNT then nods his head towards the book.
THE COUNT
Is that the one Victor lent?
EMIL
Oh, yes! It’s a fascinating read. The main character is a young woman who travels to Paris for schooling. She’s got quite a tongue on her which provides for some interesting dialogue between her and the other character’s. And the way the city is described simply takes my breath away, I–.
EMIL stops mid sentence and lowers his head.
EMIL
Forgive me, I got overly excited. I talk too much.
THE COUNT
Not at all.
THE COUNT hesitates. Then he approaches EMIL, kneeling down in front of EMIL and resting his head on EMIL’s lap.
THE COUNT
I enjoy listening to you ramble. Tell me more.
EMIL is uncertain of what to do next. It’s an ‘is this real?’ moment for the young servant. After soaking the moment in, he clears his throat.
EMIL
Certainly, Count. It’s a, um, love story. A requited love that gives the illusion of being unrequited. The main character has fallen for another lady in her class, but our love interest pretends not to return her feelings, out of fear for how that would change her path in life.
THE COUNT
Ah, yes. The classic issue of two diverging paths. This main character, how does she deal with being rebuffed.
EMIL
Well, she keeps trying. Her determination in showing that love and dreams can coexist is what wins her lady lover over in the end.
THE COUNT
Reminds me of my sister. Have I ever told you about her?
EMIL
I believe not.
THE COUNT
Carmilla is her name. She’s older, not by a long time, though she loves to hold that over my head. She and her lover have recently retired to the States where I believe they have begun writing a novel together.
EMIL
Oh, how romantic.
THE COUNT
You would think so, although the process of writing is a tedious and draining one. It is not my first idea when I think of a romantic way to share my life with someone.
EMIL
You write?
THE COUNT
For my sake, and yours, let’s pretend I don’t.
EMIL
Such a shame. I would have loved to have read one of your novels someday. I can only imagine how thought provoking they must be.
THE COUNT
Oh, you flatter me.
There’s silence here. Eventually, THE COUNT speaks again.
THE COUNT
The book. If it isn’t too much trouble, would you (pause) read it to me?
EMIL
It would be no trouble but (pause) I must warn you I am not the best when it comes to pronunciation.
THE COUNT
That won’t bother me. I quite like the sound of your voice.
THE COUNT and EMIL both freeze at the realization of what THE COUNT has just admitted. THE COUNT stands up and looks around, as if looking for an escape route. Noticing this, EMIL quickly begins to read.
EMIL
It was the summer before college that the news came that I would be studying in Paris. I can’t describe the emotion I felt in that moment: joy, fear, overwhelming emotions all at once.
THE COUNT slowly relaxes, returning to rest his head in EMIL’s lap, watching EMIL read as the lights fade slightly. They stay for a moment then both THE COUNT and EMIL exit.
ACT ONE
Scene Five
THE COUNT enters from SR and sits in the chair left of the unlit fireplace. He picks up the book EMIL had been reading and begins reading. The lights come up fully and after ABRAHAM enters SL.
ABRAHAM
Well now, old friend. It’s a strange sight to see you resting.
THE COUNT doesn’t respond, doesn’t even look up. ABRAHAM clears his throat.
ABRAHAM
Uh, Count? Are you listening?
Again, ABRAHAM goes ignored. He looks around, as if to confirm this is actually happening. He steps forward, snapping his fingers in front of THE COUNT’s face.
ABRAHAM
Hellooooo?
THE COUNT blinks and looks up, closing his book.
THE COUNT
Abraham? How long have you been there?
ABRAHAM
For quite a bit, Count. I’m a little worried, actually. You must always be on guard. Someone could very easily sneak up on you and end your life.
THE COUNT
You and I both know that it’s not so easy to end my life.
ABRAHAM
Too true, old friend. But it is strange to see you not, well, working. What are you doing?
THE COUNT
Reading.
ABRAHAM
I never understood people who read for fun.
THE COUNT
Forgive me, but… weren’t you a professor in your human life?
ABRAHAM
I was a medical professor. I taught science and math. If you asked me to discuss philosophy or literature, I’m embarrassed to admit I didn’t know much more than the students who first began learning the subject.
ABRAHAM leans over to look at the title of the book.
ABRAHAM
Isn’t this the book Emil was reading earlier?
THE COUNT quickly shuts the book and puts it aside.
THE COUNT
No.
ABRAHAM
It is!
THE COUNT
It is not.
ABRAHAM
Could it be that the Count Dracula, lord of shadows, master of the dark arts, and slayer of a thousand men (he turns back to look at THE COUNT) has gone soft?
THE COUNT stands quickly, trying to act intimidating.
THE COUNT
I beg your pardon–.
ABRAHAM
Then beg.
Beat.
THE COUNT
You should watch your mouth–.
ABRAHAM
Or what? You’ll kill me?
THE COUNT takes a step back. He physically puts distance between himself and ABRAHAM.
ABRAHAM
My friend…
THE COUNT
I know what you’re going to say.
He turns to look back at ABRAHAM.
THE COUNT
I can’t.
ABRAHAM
Why not? What are you so afraid of?
THE COUNT
Emil is a kind man. But…
ABRAHAM
My friend, you deserve kindness in your life. I know you think you don’t–.
THE COUNT
It’s not that.
ABRAHAM
Then what holds you back?
THE COUNT
Perhaps it is fear. I fear losing him, but more than that, I fear turning him into a monster.
ABRAHAM
You’re not a monster.
THE COUNT
I went into town once. A long time ago, a time before you and I met, Abraham. I was young and the world was not as kind as I made it out to be. I smiled at someone, an older lady who was walking the opposite direction as I. When she saw my fangs, she shouted. ‘Monster! Monster!’ I froze, unsure of who she was talking about. I foolishly looked over my shoulder, thinking she saw someone behind me. No one was there. The entire town soon came to life. There were wooden stakes and crosses, swords and shotguns. I ran as fast as I could but I could still hear them behind me. ‘Monster!’ Their cruel words followed me closely as I fled. They shouted about taking my head, shouted about carving out my heart. I don’t know how long I ran for but eventually I collapsed. And I laid there, in the dirt of the road until I was certain I was still alive.
THE COUNT is visibly upset. ABRAHAM moves towards him, and places his hand on THE COUNT’s shoulder. He smiles at ABRAHAM.
THE COUNT
It was a long time ago.
ABRAHAM
Times have changed.
THE COUNT
So you say. But a part of me is still fearful. A part of me still wonders that if Emil were to turn, would he be subject to the same treatment as I? And I can’t, with good conscious, put the man I love through that.
Pause.
THE COUNT
Does that make me selfish?
ABRAHAM
I don’t know. I think at least it makes you human.
Blackout. They exit.
ACT ONE
Scene Six
Lights up on THE COUNT’s castle. THE COUNT enters from SR with a coat. He crosses the stage to SL and begins putting on his coat as ABRAHAM enters from SR. He crosses the stage quickly without THE COUNT noticing him.
ABRAHAM
Are you going out?
THE COUNT screams. He turns to ABRAHAM.
THE COUNT
Don’t do that!
ABRAHAM
I didn’t do anything except ask a question.
THE COUNT
We need to get you a bell.
ABRAHAM
I’m a ghost, not a cat.
THE COUNT
Yes, I’m going out.
ABRAHAM
Are you feeling well? Do you have a fever?
THE COUNT
Oh, ha ha, very funny. I’m fine.
ABRAHAM
Then why are you going out?
THE COUNT
What? Are you my mother or something?
THE COUNT turns to leave and ABRAHAM steps in front of him, holding his arms out to block THE COUNT’s path.
THE COUNT
You know I can just walk through you, right?
ABRAHAM
Well, that would be rather rude of you to do.
ABRAHAM drops his arms.
THE COUNT
I’m going out.
ABRAHAM
Isn’t that a little dangerous with the hunter running around?
THE COUNT
I’ll be careful. Besides, I’ve lived here for almost twenty years and have yet to see the area surrounding my castle.
ABRAHAM
May I ask something?
THE COUNT
No, I will not buy a deer head to hang over the fireplace. That’s tacky.
ABRAHAM
No, not that. But I’ll debate you on the tacky thing. What I want to know is why you moved here if you were just going to spend your days locked up inside? It’s a beautiful area. Friendly people.
THE COUNT
To be quite honest, I moved here because you lived here.
ABRAHAM
Ah. You came to seek your revenge, then?
THE COUNT
No. I was too tired for revenge. I came to keep an eye on you.
ABRAHAM
Then you knew.
THE COUNT
About your condition? Yes, I knew.
ABRAHAM
…Does Emil know?
THE COUNT
It’s not my story to tell.
ABRAHAM shuffles his weight awkwardly. Neither know what to say. Eventually, THE COUNT speaks up.
THE COUNT
I should be on my way if I wish to be back before sunrise.
ABRAHAM
Of course.
He steps to the side to let THE COUNT pass. Before THE COUNT exits, ABRAHAM calls out.
ABRAHAM
Be careful, my friend.
THE COUNT
Watch the castle until I get back.
THE COUNT exits SL. The lights fade completely and ABRAHAM exits.
ACT ONE
Scene Seven
The lights come back up. VICTOR enters SL and THE COUNT enters SR. Both hold letters in their hand.
VICTOR
To the Count who lives secluded on the high hill.
THE COUNT
Must you always start your letters like that? It makes me feel old.
VICTOR
Forgive me, that wasn’t my intention. I wanted to make my letters more… relatable to you.
THE COUNT
You have a brilliant mind, Victor. A brilliant mind, you could do brilliant things.
VICTOR
Well, I am attending school to become a doctor. Is that not brilliant enough for you?
THE COUNT
You know what I mean.
VICTOR
You want me to be kind like you?
THE COUNT
I want you to sympathize. Sympathize with the people in town, sympathize with others your age. Try and learn about the people around you.
VICTOR
I am–.
THE COUNT
You and I both know what I’m referring to and the way you’re currently learning about others is very different.
VICTOR
The entire world is to be experimented with, to see what makes people thrive and what makes them break.
THE COUNT
People aren’t experiments. They’re not something you can play with then toss away when you grow bored. These things… they have impacts that last lifetimes.
VICTOR
Yes, I’m sure you would know all about that, wouldn’t you?
A beat of silence.
THE COUNT
I’m afraid this will be my last letter for a while. Enclosed you will find the money for this semester. …Consider what I’ve suggested. You might find that sympathizing with your peers will be more rewarding than… attempting to break them.
VICTOR
If it makes you happy, then I will try. Take care of yourself, Count.
THE COUNT
You as well. Enjoy your winter back home.
They both exit the way they came. Lights fade slowly to black.
ACT ONE
Scene Eight
When the lights come up, they are a WARM ORANGE. The set is mostly unchanged except the velvet chairs have been replaced with a wooden table and barrels for seats. The fire roars brightly and a portrait of ABRAHAM hangs above the fireplace. HILDA wipes the table with an old rag and a door opens and closes off stage. AGNES enters SL with a shotgun on her shoulder. HILDA moves away from the table, placing the rag on the stairs, as AGNES sits on the right barrel. HILDA returns to take AGNES’ order.
HILDA
Ain’t you going to put the shotgun away? Makes me a little uneasy.
AGNES removes the shotgun and sets it next to her on the floor.
HILDA
Well?
AGNES
Whiskey, if you have it. Vodka, if you don’t.
HILDA laughs.
HILDA
You even old enough to be drinking?
AGNES
I don’t recall there being any law against drinking young.
HILDA
Depends on where you’re from. So, where do you call home?
AGNES
This isn’t an interrogation. Whiskey, if you have it. Vodka, if you don’t.
HILDA rolls her eyes and exits SR to go prepare the drink order. After she leaves the stage, AGNES turns in her seat to look at the picture of ABRAHAM hanging on the wall. She grabs the cross on her necklace in her first and lowers her head. She closes her eyes and prays silently. HILDA returns from SR and AGNES opens her eyes and raises her head, releasing her necklace. HILDA places a shot of whiskey down on the table.
HILDA
Whiskey. Now, then.
HILDA sits across from AGNES as AGNES takes a sip from her shot. She makes a face.
HILDA
Can’t handle your alcohol?
AGNES
Not that. (sets the glass down) Tastes different from when I lived here.
HILDA
Oh, so you’re from these parts? Don’t recall a face like yours ever living ‘round here.
AGNES
If you’re referring to this, (she traces the scar on her face with her finger) then I got it after I left.
HILDA
You got out and decided to come back? Not sure whether you’re crazy or stupid.
AGNES
Neither. I’m here for work.
HILDA slowly leans to the side to look at AGNES’ shotgun. Then she sits back up, equally as slow.
AGNES
I’m a hunter.
HILDA
Not much game here.
HILDA begins to walk away when she gets a bit halfway. Then she stops, and turns slowly to look back at AGNES. HILDA approaches AGNES cautiously. AGNES doesn’t raise her head to acknowledge HILDA.
HILDA
…What did you say your name was again?
AGNES
Agnes.
HILDA
Oh, god.
HILDA stands and moves away from the table.
HILDA
You’re that infamous vampire hunter.
AGNES
I’m a Van Helsing, love.
She takes a sip of her whiskey.
AGNES
A Van Helsing.
The lights fade slightly. HILDA exits SR.
ACT ONE
Scene Nine
AGNES moves to the left barrel and sits back down. The lights come back up and HILDA enters SR with a plate of food. She sets the food down then begins to move away when AGNES grabs her sleeve.
HILDA
Something wrong with your dinner?
AGNES
I have a question. Sit with me?
HILDA sits down on the right barrel with a sigh.
HILDA
Can’t tell you how grateful I am to sit down. Long hours on your feet should be outlawed.
AGNES
How come you’re the only one who works here?
HILDA
My ma owns the place. She says she doesn’t want to pay for labor which means I get stuck working here for free.
AGNES
I’m sorry.
HILDA
Oh, it’s not all bad. My other ma helps out sometimes but she’s away on business so it’s just been me for about a week.
AGNES
What kind of business?
HILDA
Nothing too exciting. Didn’t you say you had a question for me?
AGNES
Tell me about the Count.
HILDA immediately becomes defensive and suspicious.
HILDA
I ain’t.
AGNES
Afraid you’re going to scare me?
HILDA
You’re a hunter. I’m afraid of what you’ll do if I tell you.
AGNES
Of what I’m going to do? To the vampire?
HILDA
I know why you’re here. The Count killed your father. But the Count, he’s not the same as you once knew him. Keeps to himself mostly, stays up in his castle. He doesn’t bother anyone here, no one minds him being here. I can’t even remember the last time I saw someone even wearing…
HILDA gestures to AGNES’ necklace. AGNES takes it in her fist and squeezes it.
HILDA
Things are different now, Van Helsing. We didn’t send for you, did we?
AGNES
…No. You didn’t.
HILDA
The only reason for killing the Count would be out of revenge. But…
She places a hand on AGNES’ shoulder.
AGNES
You’ve heard the story, then?
HILDA
There isn’t a person alive who hasn’t. You spread the story quite well across the continent. Of how the vicious Count Dracula murdered the great vampire hero Abraham Van Helsing in cold blood.
AGNES
It’s not a lie. The stench of the blood spilled that night is still burned into my memory. I know what I saw.
HILDA
I’m not doubting you. It’s just… the Count doesn’t seem the vicious type.
AGNES
So?
HILDA
So maybe there’s more to the story.
HILDA walks off SR. AGNES watches her go as the lights fade slightly.
ACT ONE
Scene Ten
AGNES exits SR as HILDA comes back on SR. The lights come up and HILDA is wiping the table when a door opens and closes off-stage. EMIL enters SL with a grand gesture. He carries a pouch of coins and a stack of letters. HILDA looks up with a smile.
HILDA
Always so dramatic. Can’t you enter a building without having to announce your presence?
EMIL
I could, but then how would you know how important my arrival is.
They embrace. EMIL sits down at the table and HILDA continues to wipe the table down.
HILDA
The Count is still using you as his errand boy, huh?
EMIL
You know he doesn’t like to leave the castle. Besides, I don’t mind coming into town every now and then.
HILDA
I don’t know how you do it. Stay inside all the time, I mean.
EMIL
Well, I have chores. Tending and cleaning the castle keeps me pretty busy.
HILDA
Why though? No offense, but nobody’s exactly dying for a job like yours.
EMIL
I owe the Count my life. It’s the least I can do to thank him. Besides.
HILDA
Besides?
EMIL
I like… living with the Count. It’s… nice.
HILDA sighs and shakes her head in disbelief.
HILDA
I sometimes forget how much you enjoy the Count’s presence. You’re certainly a strange one for that.
EMIL
The rest of the town doesn’t like having the Count around?
HILDA
Well, I wouldn’t say that. He’s charitable, gives a lot to the town, and keeps in touch with those who don’t have anyone to keep in touch with. But (she pauses) most people here, we wouldn’t jump at the chance to spend actual time with him, as much as we like him and all.
EMIL
I see…
HILDA
We’re getting off the subject.
HILDA nods to the items EMIL brought with him.
HILDA
Is that not this week’s delivery?
EMIL
Ah, yes!
He passes the bag and stack of letters to HILDA.
EMIL
Letters for the children at St. Olga’s, and if I’m not mistaken one for you as well.
HILDA
No letter for Victor this time?
EMIL
Not that I’m aware of. But he did include a letter for Mrs. Shepard. Her youngest son was just married, you know?
HILDA
It was the talk of the town for weeks. (lifting up the bag of coins) And this?
EMIL
The Count wants that to be delivered to the old man. He thought Leonhardt might need some help getting back on his feet. Did they ever figure out the cause of the fire?
HILDA
Candle left burning overnight.
EMIL
Figures.
EMIL stands. He and HILDA hug again.
EMIL
I’ll make sure to stop by next time I’m in town.
HILDA
I’m holding you to that. And tell that old Count he’s welcome to drink here anytime. Some people around might be ok never meeting him, but I’d at least like to thank him for everything he does for us.
EMIL
I’ll pass along the message. Until next time.
HILDA exits SR and as EMIL begins to exit SL, AGNES enters and the two bump into each other.
AGNES
Oh, I’m sorry.
EMIL
No, that’s my fault. Excuse me.
EMIL exits SL. AGNES sits at the right barrel as the lights fade slightly.
ACT ONE
Scene Eleven
AGNES sits at the right barrel. She begins carving into the table with a knife. HILDA walks back on SR with a drink as the lights come up. She swats at AGNES’ knife wielding hand.
AGNES
Hey!
HILDA
Stop fuckin’ up my table.
AGNES puts the knife down and HILDA hands her the drink. A door closes off stage and VICTOR enters SL. He stops as soon as he enters the stage and spreads his arm.
VICTOR
A little blackbird told me we have a hunter in our town.
HILDA begins walking off stage SR and AGNES stands.
AGNES
(happily) Victor!
HILDA
I’ll be right back with your usual.
HILDA exits and AGNES and VICTOR embrace.
VICTOR
I cannot tell you how relieved I am to see you home, Agnes.
They pull apart and AGNES returns to her barrel seat, now with VICTOR across from her.
VICTOR
When you first wrote to me you were returning, I was ecstatic. It’s been too long.
AGNES
I apologize for being away for so long. Work keeps me busy.
VICTOR
Believe me, I know how that is.
AGNES
I’m sure you do, Doctor.
VICTOR
I’m not a doctor. Not yet, at least. I have a couple more years of schooling ahead of me before you can start calling me that.
AGNES
I’m sure you’ll make a wonderful doctor when you do finish school.
VICTOR
I appreciate your faith in me.
He leans closer to AGNES from across the table.
VICTOR
Agnes, I must ask, what brings you home?
AGNES
I’m sure with all that studying you do, you can figure that one out for yourself.
VICTOR
Perhaps I just didn’t want to believe it. …What are you going to do? About the Count, I mean.
AGNES
I’m not entirely sure myself. I’ve asked around town, no one here wishes the Count ill. He… helps the people? And everyone who has summarized who I am refuses to even come near me. They don’t want to put him at risk.
VICTOR
It’s true. Ever since your father’s death, the Count has lived a peaceful life. People here respect him, and he does a lot for our town. But…
VICTOR takes AGNES’ hand in his own.
VICTOR
You have to think about yourself too. What would help you? What do you want to do?
AGNES
You’re saying I should still go through with it.
VICTOR releases AGNES’ hands and HILDA returns SR with a drink.
VICTOR
I’m only suggesting that you take your own feelings into consideration as well as the town’s. After all, the most important person to you should be, well, you.
HILDA
Justifying murder, are we?
VICTOR
(to HILDA) That’s not what I’m saying.
HILDA
As a doctor, shouldn’t you be more concerned with helping people?
VICTOR
The Count isn’t really a person like you and me. Besides, I’m not a doctor yet.
HILDA
No shit.
HILDA exits SR angrily. VICTOR shakes his head and turns back to AGNES.
AGNES
You two don’t get along very well?
VICTOR
Nothing like that. Hilda’s always been an emotional person, sympathetic, while I tend to look more at the facts of the situation. Nothing more. But I stand by what I said. Consider the best path for you. That’s all you need to focus on.
For the first time since coming on stage, AGNES smiles a true smile.
AGNES
Thank you, my friend. I will keep your words in mind.
The lights fade completely to a blackout.
ACT ONE
Scene Twelve
The lights come back up and AGNES sits on the left barrel with VICTOR on the right barrel. They’re drinking from mugs and laughing with each other.
VICTOR
You must have seen some exciting places in your travels?
AGNES
Europe isn’t all that exciting.
VICTOR
Oh, come now, I’m sure there must be somewhere you went that’s better than this place. We’re a little town trapped between two mountains up in the north of a northerner continent. It basically snows eight months out of the year and hails the other four.
AGNES laughs.
AGNES
Well, I was summoned to the South East to handle a dybbuk problem in a big city. I guess that place was pretty interesting.
VICTOR
Tell me, you’ve been around, seen your fair share of what the darkness has to offer. What do you think makes a monster?
AGNES
Interesting question.
VICTOR
Call me curious. I want a famous Van Helsing’s opinion on monstrosity.
AGNES
I’ve never thought about it before. If I’m being honest though, I would have to agree with what they teach us in school. A monster is anything that lives past a natural human’s lifespan. More often than not, they gained that ability through dark means.
VICTOR
Hm.
AGNES
What does ‘hm’ mean exactly?
VICTOR
That’s such a boring answer. Exactly what I thought you’d say. You’re too… predictable.
AGNES
Alright then, jackass, then what’s your answer.
VICTOR falls silent. He stares down at his drink in contemplation.
VICTOR
Hatred. I think hatred makes monsters.
The two sit in silence, as AGNES is unsure of how to respond. Eventually, she speaks, changing the subject.
AGNES
I used to hate being alone on Sunday’s.
VICTOR looks up, his smile returning to his face.
VICTOR
Oh yeah? Why’s that?
AGNES
We would play together on Saturday’s. Sunday’s would feel that much lonelier without you.
VICTOR
Aw, I’m flattered.
AGNES leans across the table.
AGNES
Tell me your thoughts, Victor.
VICTOR
(laughing) Huh?
AGNES
You’re so quiet. You can be more open about what you’re thinking. We’re friends, aren’t we?
VICTOR
Yeah, but… you know I don’t like to talk about myself.
AGNES
That’s true. Tell me about Hilda then. How did you guys become friends?
VICTOR snorts.
VICTOR
Do we seem like friends to you?
AGNES
The best of friends, actually.
VICTOR
She just takes pity on me is all. The town doesn’t like me that much.
AGNES
I’m sorry to hear that.
VICTOR
It’s fine. I mean, I don’t really care what people think of me. I’m fucked up as it is.
AGNES
Aren’t we all, though?
VICTOR smiles. He sets his mug down on the table and stands. Crossing to SL, he turns over his shoulder to AGNES.
VICTOR
I’ve got to run. Things to see, and all.
AGNES raises her mug in acknowledgment and VICTOR exits SL. AGNES turns back to face the table and the lights fade slightly.
ACT ONE
Scene Thirteen
The lights come back up. AGNES sits at the table on the left barrel when EMIL enters SL. He walks past her towards the stairs and looks around. AGNES watches him and he turns back to face her.
EMIL
Is Hilda around?
AGNES
She had to run out. Should be back in an hour or so.
EMIL
(sighs) Guess I’ll come back another time.
AGNES
Do you want me to give her a message from you? I’m going to be here for a while, anyways.
EMIL
Well… it’s kind of… silly.
AGNES gestures for EMIL to sit across from her. He does.
EMIL
There’s someone I’m interested in.
AGNES
Uh-huh.
EMIL
But he isn’t interested in me. At least, I did not think he was, but recently he seems to be more, how do I put this…?
AGNES
Clingy?
EMIL
(laughing) I was going to say affectionate.
AGNES
Is he someone you know well?
EMIL
Oh, yes! We’ve known each other for about three or four years now.
AGNES
And is he affectionate with anyone else other than you?
EMIL
No, not that I’ve seen.
AGNES
I think you have your answer, then.
EMIL
You believe so?
AGNES
People are afraid to lose things they love. It’s human nature to be protective and guarded to avoid getting hurt. Hence why he would act like he isn’t interested in you. But he must care about you. Especially if the way he acts is unique to you.
EMIL
He is the type to let his fear get the best of him.
EMIL stands. He offers his hand to AGNES and she shakes it.
EMIL
Thank you for your good counsel.
AGNES
I’m just happy to be of help. I’ll tell Hilda you stopped by.
EMIL
Much appreciated. Until next time, then.
EMIL bows and exits SL.
AGNES
I hope he, whoever he was, manages to work things out with his lover.
Lights fade slowly to black. AGNES exits SR.
ACT ONE
Scene Fourteen
The lights come up fully on the stage with no tint. All characters except AGNES file out from SR and line up in a row, facing away from the audience. THE COUNT and ABRAHAM stand in the middle of the line. AGNES enters from SL a moment later.
AGNES
My most prominent memory of my childhood is probably a surprise to no one.
She crosses the stage to the center and stands between THE COUNT and ABRAHAM. While still facing away from the audience, they place their hands on one of AGNES’ shoulders.
AGNES
When Dracula first came, my father told me to hide upstairs in my room. I did as I was told, stayed there and stayed quiet, until the sounds of the fight disappeared. I was a child who thought my father was an invincible warrior so when the fight ended, I came out to see my father. Only it wasn’t my father who was victorious.
ABRAHAM’s hand falls away from AGNES’ shoulder.
AGNES
Dracula was soaked in his blood, standing over my father’s body like a great beast stands over his slaughtered prey. I remember our eyes met. I screamed, and Dracula fled. I never saw him again. But I will always remember how he looked looming over my father’s corpse.
THE COUNT’s hands fall away and the characters file out SR, leaving only AGNES on the stage. Once they’re all gone, AGNES speaks.
AGNES
It’s been seared into my memory and it won’t leave me alone until I kill Dracula with my own two hands.
Blackout. AGNES exits.
ACT ONE
Scene Fifteen
The set’s props are swapped once again. The table and barrels are replaced with the velvet chairs, the fire dies out, and the portrait now displays THE COUNT. The lights come up and EMIL enters SR. He holds a book in his hand and is flipping through it when he discovers a letter inside. He pulls the letter out.
EMIL
‘To my old friend’.
ABRAHAM enters from SL.
ABRAHAM
Emil, my boy! What have you got there?
EMIL
Hello, Abraham. I’m not quite sure, actually. It looks like an old letter. I found it in one of the Count’s books.
ABRAHAM peers over EMIL’s shoulder at the letter.
ABRAHAM
Ah, yes. I recognize this envelope.
EMIL
You do?
ABRAHAM
Of course. I was the one who sent it.
EMIL
(taken aback) You?
ABRAHAM
Wondering why after opposing each other for so long I would refer to our dear Count as a friend?
EMIL
The question… crossed my mind.
ABRAHAM
After you run around the continent for so long hunting bloodsuckers, you come to find that you’re actually quite lonely. Sure, there were people I met during my adventures but no one who I could really call a friend. No one who knew me beyond my hunting, other than the Count. Funny, isn’t it? The man I vowed to kill with my own two hands was the only person I could call a friend.
EMIL
You stopped hunting after a while, didn’t you?
ABRAHAM
I settled here, actually. Got married, had a kid. I still kept my ear to the ground, but the Count had gone oddly quiet. Not a single report of him attacking and killing anyone. Not for eleven years at least.
EMIL
What happened? I mean…
EMIL gestures vaguely to the bloody wound on ABRAHAM’s chest.
ABRAHAM
Read the letter. It will tell you everything you need to know.
The lights fade to blackout. EMIL exits SR, the letter in hand. ABRAHAM faces SR, watching him go.
ACT ONE
Scene Sixteen
The lights come back up. ABRAHAM still faces towards SR. THE COUNT enters SL. He holds a letter in his hand.
ABRAHAM
To my oldest friend. I hope this letter finds you in better health than I. You know I wouldn’t write to you unless it was a dire situation.
THE COUNT takes a cautious step forward.
THE COUNT
I got your letter. I tried to write back as quickly as I could. Van Helsing… this… request …of yours, it’s just, it’s mad. What happened? What happened to you that you would ask such a horrid thing?
ABRAHAM
I will be brief. It seems the horrors I faced as a hunter have finally caught up to me. Everywhere I look, I see creatures of the night. I believe the longer I’m alive, the farther into insanity I will slip.
THE COUNT
There are other ways, Van Helsing. I mean, you cannot seriously believe that ending your life is the best solution can you? Think of your daughter!
ABRAHAM turns slowly on his heel to face THE COUNT.
ABRAHAM
My daughter. …The other night I, I even thought my own daughter was evil. I am afraid of what I might do to her if this condition worsens. I have to protect her. Please. Please.
He crosses the stage and takes THE COUNT by the shoulders.
ABRAHAM
I must ask you to do something for me. Bring your family’s heirloom sword in three night’s and meet me at my home. There, out of revenge, you will kill me.
THE COUNT places his hands on top of ABRAHAM’s.
THE COUNT
I don’t want to kill you. Not out of revenge. Not out of hate.
ABRAHAM
Then perhaps… as a favor. For a friend?
THE COUNT
I do… (pause) I do like the sound of, of friends.
Blackout. End first act.
Hiley Davis is a junior at Salem College studying creative writing. Davis plans to attend graduate school for creative writing. They are originally from Charlotte, North Carolina where they live with their parents, younger sister, Chloe, and their three dogs, Libby, Snoopy, and Pepper.