DRACULA: THE CASE OF THE SILVER SCREAM

by Robert Neblett & David Grapes

Show dates: OCTOBER 13-16, 2005
Director Billy Worboys
Set Design Billy Worboys
Set Construction/Painting Jason Tays, Chuck Lovelace, Jennifer Frost, Hanna Talley, Heather Barber, Shelley Johnson, Marty Meyer, Gavin Blackwell, Terri Kaye, Paul Sherrod
Costumes Candice Knox, Becky Fly, Dodie Worboys
Props/Set Decoration Mary Catherine Gatlin, Jennifer Frost
Hair/Makeup Alaina Kraus, Kris King
Stage Manager Brenda Poteet
Back Stage Crew Carrie Smith, Tony Carroll, Stephanie Andrews
Sound Design Shelley Johnson
Sound/Lights Terry Bivens
VIEW SHOW PHOTOS

CAST LIST
Dracula Gavin Blackwell
Lucy Murray Hannah Talley
Mina Holmwood Shelley Michael
Jonathan Harker Jonathan King
Det. Van Helsing Paul Sherrod
Dean Quincey Jason Tays
Simmons Chuck Lovelace
Renfield Clay Elliot
Nurse Westfall Gwen Harris
Female Patient Heather Barber
Lorna Mills Jennifer Frost
Emily Van Helsing Mary Cat Gatlin
Jessica Sheridan Teresa Morgan
Dr. Serward Marty Meyer


PRODUCTION NOTES

Because this play was constructed with a specific film noir style in mind, it is important to attempt its performance honestly and embrace noir's conventions, rather than spoofing them. This is a delicate balance which means that directors, designers, and performers should familiarize themselves with the idiosyncratic speech patterns, physical demeanor, and rhythms inherent in classic films such as: The Big Sleep, The Maltese Falcon, Double Indemnity & Sunset Boulevard. These movies served as direct sources of influence on the style of the dialogue and physicality during the original production process, and I recommend that theatre groups who choose to perform Dracula: The Case of the Silver Scream should refer to them liberally for inspiration.

Similarly, Van Helsing's asides to the audience are intended to serve the same purpose as traditional voiceovers did in the detective films of the 194Os. Typically, the other characters onstage should freeze when these moments occur, returning to normal speed when Van Helsing returns to the action of the scene.


SYNOPSIS

ACT ONE

Van Helsing, a hard-boiled detective, introduces the audience to the seedy world of Hollywood crime and to the case which changed his life forever.

A crazed mental patient, Renfield, interrupts the on-location filming of a monster movie starring Lucy Murray. The film's writer and director, Jonathan Harker, argues with Dr. Seward, the sanitarium's chief administrator about the impossible working conditions he is experiencing. This is heightened by the fact that Lucy, Harker's ex-girlfriend, has been brought in to replace Lorna Mills, an actress who disappeared mysteriously the week before. After another of the patients has a severe neurotic episode, Dean, Lucy's male co-star, discovers Lorna's dead body, stuffed into a closet and drained of blood.

Lucy has a nightmare in which Lorna warns her that she will be the next victim of the mysterious killer. Dr. Seward interrogates Renfield about his recent habit of collecting and consuming insects.

Lucy attempts to hire Van Helsing to investigate the horrific goings-on at the sanitarium, but he refuses, until she reveals that Lorna was drained of blood. Van Helsing's last murder case in London involved a similar method of death, and we learn that his wife was the final victim of a serial killer. Lucy invites him to a party being thrown the next night by Jonathan and Seward to solicit donations from a wealthy new neighbor, Count Dracula.

At the party, a flamboyant entertainment gossip columnist, Jessica Sheridan, infuriates everyone present with her insults and arrogance. Jonathan has invited Mina Holmwood, a young accountant from the studio, to help convince Dracula to make a contribution to the financially-ailing film. Dracula finally arrives and is smitten with Lucy. He agrees to help Jonathan fund his movie, if only to get closer to its beautiful star. After spending some time alone with the Count, Mrs. Sheridan returns to the party and passes out in a chair. Renfield causes havoc with a platter of dead animals that he regards as hors d'oeuvres. Dean discovers Sheridan is dead, and the killer has left Van Helsing a taunting note.

Van Helsing drinks himself into oblivion after the party, even though he knows he cannot refuse Lucy's request for aid anymore.

Dracula berates Renfield for making such a public spectacle of himself at the party and forces him to watch over Lucy during the daylight.

Lucy sleepwalks outside and finds Dracula waiting for her. She confesses her love for him, and he kisses her, then bares her neck and drinks her blood.

ACT TWO

Van Helsing has a nightmare about his dead wife, Emily.

Lucy and Dean shoot their final scene for the film, with no interruptions. Everything seems to have returned to normal. Even Renfield has become a model patient. However, Lucy has begun exhibiting strange, uncharacteristic behavior, and requests that Van Helsing abandon the case, since there have been no further strange occurrences since the party. Dean notices that Lucy has two unusual marks on her neck, but she brushes him off on her way to a date with Dracula.

Mina has begun to show a romantic interest in Dean, and they discuss the bizarre transformation that has come over Lucy since Dracula arrived. Dean describes a vampire movie he once worked on, as well as the similarities between it and their current situation. Dracula and Lucy return from the opera. and Mina and Dean hide in the shadows, observing them. Lucy thinks Dracula is about to propose to her, but in reality he drinks her blood then forces her to drink his, in order that she may be his eternal bride. Dean tries to interfere and is killed. Lucy screams in horror and Dracula disappears.

After witnessing Dean's death, Mina calls Van Helsing from a street corner to come help her. She mentions Dean's theory about Dracula being a vampire. Dracula steps out of the shadows and fog to dispose of her as well.

Van Helsing arrives, only to find Nurse Westfall being held captive by Kenfield. Dracula has accused him of failing him, and now he is trying to prove his allegiance to his "Master' by getting rid of those who would stand in the vampire's way. Lucy insists that Jonathan leave, because she is afraid that she will kill him when she finally transforms into a vampire. Dracula suddenly appears in a mist and swears to feast on the blood of all who oppose him and that Lucy's soul will belong completely to him by the end of the following night. He calls Lucy to him; she cannot resist. As he holds her in his arms, they vanish into the mist.

Seward brings Renfield to Van Helsing's office. Van HeIsing questions Ren£ield as to the whereabouts of Dracula, and the lunatic reveals that the Count has been hiding literally under their noses - in the unused morgue beneath the sanitarium.

Renfield escorts Jonathan, Seward, and Van Helsing to the morgue. They find a coffin in a refrigeration vault. Jonathan opens it, and Lucy is inside. When she sees Jonathan. Lucy begins to feel the desire to feed. Van Helsing tries to hold her back. Dracula appears and taunts Van Helsing's imminent failure. Van Helsing shoots Dracula with a silver bullet made out of his dead wife's locket, and then Jonathan kills the monster by driving a stake through his heart.
DRACULA CHARACTER DESCRIPTIONS

DETECTIVE ABE VAN HELSING A strong, robust private eye in his late 30s-40s, with a distinctive, deep, gravelly, booming voice. Pragmatic but highly secretive of his past. A loner with lightning-quick reflexes and a dry wit. The archetypal hard-boiled detective reminiscent of Sam Spade or Philip Marlowe.

LUCY MURRAY A late 20s / early 30s blonde movie starlet, a la Jean Harlow. Long hair, voluptuous, very glamorous, but still naive at heart. Her career is just beginning: she is still overwhelmed by the Hollywood studio scene. She is a good actress trapped in bad typecasting.

JONATHAN HARKER An attractive yet intensely egomaniacal Hollywood director in his mid-20s/ early 30s. He has been driven to his wit's end by the impossible working conditions at the Sanitarium and the financial difficulties his film is experiencing. A relentless name-dropper, he considers himself to be a young Orson Welles or Eric Von Stroheim, when in fact he is more akin to Ed Wood.

DR. JACK SEWARD An intelligent, nervous psychiatrist in his late 30s, the chief administrator of the Whitby Hills Sanitarium. A fastidious dresser and very organized worker, but easily flustered, particularly when things do not go according to plan. Shy and bookish.

NURSE MARY WESTFALL A very prim, powerful, no-nonsense redhead in her late 30s/ early 40s. She is Seward's chief aid and strikes fear in all of the patients but Renfield. Sarcastic and systematic, able to stop a person in his/her tracks with a single glance.

COUNT DRACULA An ageless, sensual, dark, exotic man, played by an actor in his late 30s/ early 40s. Very striking physically with a lithe, muscular build. Long, flowing black hair and piercing eyes. Full lips and angular facial features and bone structure. His attractiveness has a strong sense of danger behind it. Must have the ability to alternate from erotic to savage in an instant. He speaks with a deep British accent, colored with an occasional Romanian inflection. He wears the modern attire of mid-20th century Eastern European nobility.

RENFIELD
Emaciated, wild-eyed man in his late 30s/ early 40s. Very jumpy and anxious, unpredictable, pathetic at times, much like Peter Lorre. His moods shift often, and he can be incredibly calm and endearing one moment and manic and violent the next. Has a severe persecution complex. He comes from a wealthy corporate family, but has not seen any of them since being admitted to the hospital because of his mental illness. The actor playing Renfield must have a good sense of humor (verbal and physical).

DEAN QUINCEY . Dean is a handsome Hollywood actor in his early 30s, with an overactive sense of humor. He is the class clown and every woman's best friend.

FEMALE PATIENT/MINA HOLMWOOD The Female Patient is a deaf mute who carries a ragged baby doll, she often weeps uncontrollably and must be sedated regularly. Mina is a brassy accountant in her mid-20s. Thin body frame, with short hair and a dark complexion. Soft brown eyes and sculpted, aquiline facial features. Very strong, independent, and professional. Very reminiscent of a young Ingrid Bergman or Barbara Stanwyck.

LORNA MILLS/JESSICA SHERIDAN/EMILY VAN HELSING Lorna Mills is a Hollywood diva in her 40s who routinely plays roles ten years too young for her. She and Lucy share many similar physical attributes and could easily be mistaken for one another. Jessica Sheridan is a pushy, sharp-tongued gossip columnist in her late 40s who insists on being in the middle of everything. She has a cackling laugh that cuts through any amount of noise and a pocketful of insults suitable for any occasion. Emily Van Helsing is a demure, soft-spoken woman in her late 30s. Her spirit is trapped in Van Helsing's memories by his sense of guilt and regret.

SIMMONS
Simmons is an orderly, in charge of the Sanitarium's male patients; a tall, muscular hulk of a man in his 20s-30s. Very short hair, well-groomed, rarely smiles. Should be skilled with stage combat.

NURSE WALLACE
Nurse Wallace is an orderly, in charge of the Sanitarium's female patients; a solid woman in her 30s, surprisingly strong for her size. Ideally, some stage combat experience would be preferable.
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