launches himself into
space. His hands grip the parapet but slip and slip until he is dropping through
space, hitting a sloping roof and sliding towards a skylight.
INT. CHAPEL. DAY.
JONATHAN crashes through the glass
and falls a short drop into the organ loft where a baroque organ is apparently
being played by a ghost. On closer inspection, as he brushes himself off,
Jonathan sees that the organ playing a gentle Bach Chorale is functioning by
mechanical, not supernatural, means.
INT. CHAPEL DOOR.
By the eerie light filtering
through the crimson stained glass windows set in the outside wall, JONATHAN is
able to take in the strange nature of this secret spot. In place of the usual
cross a lifelike carving of a giant heart surrounded by a circle of tusks seems
to float above the altar which is flanked not by statues of saints but by
models of the chemical structure of blood, blown up to resemble modern
sculptures. Dominating this shrine dedicated to the Glory of Blood is a mural
showing Dracula in medieval robes seated at a banqueting table enjoying a glass
of Bull’s Blood surrounded by a forest of stakes on which men, women and
children suffer a multitude of slow, painful deaths. Attending him are three
beautiful women bearing an uncanny likeness to the vampires of the previous
night. Other paintings adorning the walls show Dracula in a variety of regal historical
costumes ranging from medieval times to the 20th Century. Though his mode of
dress changes with the times, Dracula, like Dorian Gray, remains forever young.
Jonathan’s first impulse is to flee
this temple of eternal youth but, as he descends the stairs to the aisle, he is
arrested in his flight by the sight of an open trap door leading to the crypt.
Now curiosity overcomes fear and impels him to peer down into the gloom below.
JONATHAN’S POINT OF VIEW:
At the bottom of a flight of steps
rests an open casket and in it lies DRACULA apparently asleep. Taking the
sturdy paper knife from his jacket pocket, and barely daring to breathe,
Jonathan creeps silently down towards him.
INT. CRYPT. DAY.
Ribbons of light from slits in the
outside wall illuminate a strange setting for the dormant Count. A large
variety of wooden boxes, all big enough to hold a recumbent figure, are stacked
amidst piles of earth excavated from the floor itself which is a mass of
rubble. Some of the boxes are open and filled with freshly dug earth. On such a
bed of clay lies DRACULA, his eyes wide open and stony, his face motionless,
set in a mocking smile. Sweat pours from Jonathan’s brow as he summons up
strength to commit murder. Gripping the knife firmly in his hands Jonathan raises
it, trembling, above his head and with all his force plunges the blade into
Dracula’s chest. A grin of malice passes over Dracula’s face as he reaches to
take the knife from his chest and slowly withdraws it, dripping gore. Jonathan
is transfixed in horror at the failure of his lethal blow. Dracula’s eyes stare
with hate as he raises the dripping blade and plunges it towards Jonathan’s
throat. But Jonathan leaps back in time to sustain nothing worse than a gashed
cheekbone.
Simultaneously, the door at the far
end of the crypt is flung open admitting a BAND OF GYPSIES. Instantly, Jonathan
runs up the stairs to the chapel spurred on by their cries of alarm.
INT. CHAPEL. DAY.
Slamming the trap door behind him,
Jonathan covers it with a heavy pew which requires all his strength to drag
into place. Then to the sound of hammering and muffled shouts, he runs out of
the door with all speed, locking it behind him.
INT. CASTLE CORRIDOR. DUSK.
Outside the chapel door, Jonathan
finds himself on a spiral staircase leading up to a door, which he discovers to
be locked and down to ... the unknown. He has no choice but to descend.
INT. VAULT. DUSK.
JONATHAN pushes a door open to find
himself in a bare cellar with iron grills set in the wall about