Taste the Blood of Dracula (1970) Movie Script
(DRAMATIC INSTRUMENTAL MUSIC)
What a way to travel, eh? Barbaric.
Horseless carriage, that's the way.
I've seen them myself, you know.
Paris, London.
London. That's where my business is,
buying and selling.
The fact is, I got these
on my last stop here. Karlsburg.
Pretty, isn't it?
Six crowns it cost in Karlsburg. Six.
I can let you have one for three.
Two crowns, then. I can't go any lower.
Oh, well.
Give.
- Sorry.
- Give me.
I should do as he says.
One crown, then?
No!
(INTENSE INSTRUMENTAL MUSIC)
(ANIMAL HOWLING)
(ANIMAL CONTINUES HOWLING)
(LOUD SCREECHING)
God.
(LOUD MOANING)
Oh, my God.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(LOUD MOANING CONTINUES)
(INTENSE INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
Dracula's blood.
(INTENSE INSTRUMENTAL MUSIC)
(CHURCH BELLS TOLLING)
Where is that girl? Alice!
- Yes, Father.
- All right, dear?
It's a brisk morning, Father.
Indeed, Jeremy.
Isn't Alice's hat pretty, Mother?
It's a pretty color, don't you think?
Come along now.
- Mr. Hargood.
- Thank you, Vicar.
- This was a very nice sermon.
- Did you think so? I hadn't planned it.
Mr. Secker, good day.
- PAXTON: Excellent service.
- VICAR: Mr. Paxton.
- Hello.
- Hello.
- The Allens are having a party on Friday.
- I know, and I haven't been invited.
You will be.
- Paul.
- Alice.
When shall I see you?
Alice!
- When shall I see you?
- Alice!
I don't know.
(PEACEFUL INSTRUMENTAL MUSIC)
You will stay here, Alice.
You will apologize to your mother and I
for your behavior.
- Thank you. You may go.
- For what behavior?
You will apologize,
then go up to your room and stay there.
- Do you understand?
- No, I don't understand...
You know perfectly well
what I'm talking about.
Mother, I don't understand...
You were smiling and flirting
with that young man.
But that was Paul, Father.
I don't care. He is still a young man
and you are a young woman.
A sexually mature young woman.
I will not have you displaying yourself
in that provocative manner.
It's because it was Paul, isn't it?
You've never liked him,
but he can't help that.
But you can help behaving like a harlot.
- Papa!
- A harlot in God's house!
Oh, my God.
Blasphemy will only make it worse.
It's only natural
in a young girl, William.
Lunch will soon be ready, William.
You may send hers up on a tray.
And her supper, too.
- Yes, dear.
- I shall not, of course, be in to supper.
But I asked Cook to bake a ham
the way you like it.
I am never in to supper
the last Sunday in the month.
- WILLIAM: Surely you know that by now.
- MARTHA: Yes, of course.
- Your charity work in the East End.
- Exactly.
(CHURCH BELLS TOLLING IN THE DISTANCE)
Don't judge your father too harshly,
my dear.
I know just how you feel.
Do you, Mother?
Well, of course I do, darling.
I was young like you once, you know.
Young and excited by the prospect
of my life before me.
ALICE: Until you met him.
He crushed you, didn't he?
He crushed the life right out of you.
You mustn't say such things.
Well, he's not going to do it to me.
- You're upset.
- With good reason.
Mother, why does he hate Paul so?
I've honestly no idea. No idea at all.
- Is it something to do with Paul's father?
- Mr. Paxton?
I don't see how it can be.
They scarcely know one another.
(HORSE AND CARRIAGE APPROACHING)
Bit late tonight, Hargood.
I am exactly on time, Paxton.
Exactly on time as usual, gentlemen.
I thought we were a little late, Secker.
(CHILDREN YELLING)
VENDOR: Hot potatoes.
CHILD: Sir!
Sir! Sir!
- This way, gentlemen.
- We know the way.
GIRL: Well, what have we here?
Veronica, you look delightful.
Nice to see you again.
Such a pleasure
to see you again, gentlemen.
Punctual to the minute, as always.
I have your usual room ready for you,
of course.
I hope the entertainment
isn't too usual, Felix.
No, I've selected something
most diverting for you gentlemen tonight.
I'm sure it will amuse you.
I've been getting a bit bored with it.
You won't be bored tonight,
I can assure you of that.
I think it's best
if you leave it all to me...
because I know the girls who are
really clean, if you get my meaning.
Some of the girls sent to me,
they've no idea.
Straight into a hot bath they go,
and do they scream!
They don't want to be seen
without their clothes on.
I told them there's no point being shy
in a place like this.
Here we are, gentlemen.
Everything is ready, as you see.
Here, let me take that for you. Thank you.
- Thank you.
- Felix?
That's right. You can't be
too careful, can you? Thank you.
Here, let me.
- Well done.
- Thank you, Felix.
- Sir, there.
- Thank you.
Gentlemen, may I be permitted to say,
"To your health"?
And now, if you will excuse me,
I'll just go and....
Well, you know.
- Paxton?
- Yes, all right.
- Secker?
- I don't think so.
- Gentlemen.
- To your health.
Ready when you are, gentlemen.
(EXOTIC INSTRUMENTAL MUSIC)
Oh, my goodness.
(ALL LAUGHING)
(EXOTIC INSTRUMENTAL MUSIC CONTINUES)
FELIX: Why don't you stop pushing
your way in and upsetting everyone?
You're not wanted here.
For God's sake, will you please go away
and stay away?
Do you hear me?
- WOMAN: Oh, darling.
- FELIX: Sorry.
No, not in here. I do beg your pardon.
No!
You can't go...
You are not going in there.
Don't you dare try to go in there.
They're some of my best gentlemen
in there.
SECKER: Bravo!
Now, look here.
- Yes?
- You can't come in here.
But I have.
Who's going to pay?
My girls aren't free for any Tom, Dick,
or Harry, you know.
WILLIAM: Good heavens.
Impudent young puppy.
I can't tell you how sorry I am.
I can't begin to tell you.
Yes. Well, get rid of these girls.
FELIX: No, Mr. Hargood,
I've got another lovely girl for you.
- WILLIAM: Get rid of them.
- FELIX: Yes, of course. Come now, girls.
That's a girl. That's it.
Who is he?
An impudent rascal, that's what.
Yes, who is he?
He's young Courtley. Lord Courtley, sir.
You must remember.
His father disowned him
several years ago...
cut him off without a shilling.
Found him celebrating black mass
in the family chapel.
Very nasty, it was.
- So that's young Courtley.
- Yes, terrible scandal it was.
How does he live? Does he work?
Him? Never a stroke.
- Then how?
- They keep him.
What, the girls pay him?
Yes, they're fascinated by him.
He's the very devil himself.
If I were religious,
I would say he was possessed.
Possessed of the devil.
Possessed of the devil.
Young man.
If you're serving a writ, my friend,
please don't waste my time...
or yours, for that matter.
WILLIAM: Lord Courtley.
Do I know you?
Of course, I took your woman from you.
If it's to be swords or pistols,
I have neither.
My friends and I
would like to take you to supper.
- COURTLEY: Why?
- WILLIAM: We want to talk to you.
- COURTLEY: About?
- WILLIAM: Over supper.
Very well.
- Driver...
- The Caf Royal, driver.
It's the only place.
- MARTHA: May I come in, dear?
- ALICE: Yes, Mother.
- MARTHA: All ready for bed, dear?
- ALICE: Just getting ready.
- You've hardly eaten a thing, dear.
- I wasn't hungry.
Mother.
I'm so sorry for you.
- Because I didn't eat my supper?
- You know it isn't that.
ALICE: I know it isn't, Mother.
Don't worry, please.
Good night, darling.
Good night, Mother.
Then let me explain it for you.
You and your two friends here
have formed a little society...
with the objects of enjoying
the more unusual aspects of this life.
Is that right?
That is quite right.
At the same time
keeping up a faade of respectability...
in front of your families
and local community.
Is that right?
- Well, I hardly...
- I wouldn't put it like that.
And having tried everything that
your narrow imaginations can suggest...
you're bored to death with it all, right?
And now you want someone...
with infinitely greater experience
than yourselves...
to suggest alternatives?
- That's it exactly.
- Just how far are you willing to go?
For instance, would you be willing
to sell your souls to the devil?
What exactly do you mean?
I mean exactly what I say:
sell your souls to the devil.
- I don't know.
- Then we're wasting time.
If one thought that one's experience
might be extended...
It would be extended to infinity.
What would we have to do?
- First you will need money.
- Yes, I thought as much.
No, not for me. To buy something
that we shall need for the ceremony.
- What is it we have to buy?
- And how much?
I will show you.
(PAUL WHISTLING)
Paul?
Who else did you expect?
Don't be silly.
Wait a moment and I'll come down.
If you don't, I'm coming up.
Don't you dare.
(SOFT INSTRUMENTAL MUSIC)
- PAUL: Come on, monkey.
- ALICE: You'll wake them up.
- PAUL: Alice, nothing but good news.
- ALICE: What?
My uncle Harry will lend me the money.
I can go into business on my own.
So, my darling, there's absolutely
nothing to stop us getting away.
Oh, Paul.
So when is it to be? This week? Tomorrow?
Really.
You don't mean that, do you?
- PAUL: Mean it?
- ALICE: About tomorrow?
What's to stop us?
Well, I can't just leave them.
- Not like that.
- Why not?
You've told me often enough
how he treats you...
how you long to get away. He'll never
agree to let us meet any other way.
- But my mother....
- She married him, didn't she?
She chose to be his wife.
She's also my mother.
I can't just run away and leave her.
I see.
So it was all just talk,
about our going away.
No, it wasn't just all talk, Paul.
I love you, really I do.
I've said I want to marry you, and I do.
I want it more
than anything in this world.
And if it was anything else...
If I left her, Paul, I think she'd die.
So what are we going to do?
I don't know.
Paul, never stop loving me. Never.
(KNOCKING ON DOOR)
Weller?
Weller!
Where are you, Weller?
Who wants me?
It's you, is it?
COURTLEY: Come out, you fool.
We've business to discuss.
What sort of business
can you have with me?
I want to buy, Weller.
You? Buy?
- Buy what?
- You know what.
It's not for sale.
- You'll sell anything for money.
- Money? What money?
Would you please tell us
what this is all about?
- Quite.
- You say the price, Weller.
- More than you can afford.
- Granted.
But it's these gentlemen who are buying.
- What's that?
- Buying what exactly?
Is it true?
- You want to buy?
- Possibly...
if we knew what it was
we're supposed to be buying.
- Don't you know?
- No.
Show them, Weller.
(EERIE INSTRUMENTAL MUSIC)
The master.
Courtley, what is all this about?
- A concentration of evil, my dear sirs.
- A what?
These pieces belong
to the most evil man of all time:
Count Dracula.
Dracula!
You'll know that I tell the truth
when I so describe him:
His cloak, his signet ring...
his clasp.
- And his blood.
- His blood?
(EERIE INSTRUMENTAL MUSIC CONTINUES)
His blood.
But it's just powder.
That's right, gentlemen. It's only powder.
No!
These relics will enable us
to perform the ceremonies I spoke about.
- I'm asking you to buy them.
- Just on your word?
Just on my word!
I see.
What is the price?
1,000 guineas.
- What?
- You'll never regret it, I swear.
I swear in his name.
Secker?
Paxton?
For all we know...
Do I take it that you do not want
to remain in the circle?
No.
Very well.
We'll pay the price.
You will be repaid a thousand times.
And may the devil take good care of you.
(TENSE INSTRUMENTAL MUSIC)
(TENSE MUSIC INTENSIFIES)
SECKER: It's this way.
(SUSPENSEFUL INSTRUMENTAL MUSIC CONTINUES)
WILLIAM: There it is.
Courtley.
- My God, I don't like this.
- Do you want to leave?
- No, of course not.
- Then keep quiet.
(EVIL LAUGHTER)
- PAXTON: What's that?
- WILLIAM: Keep quiet.
(EVIL LAUGHTER CONTINUES)
There's someone there.
There's something there.
COURTLEY: Of course I'm here.
Did you not expect me to be here?
- That was a damned fool thing to do.
- Possibly, but it amused me.
- You have the casket?
- Yes.
COURTLEY: Let's not waste any more time.
Bring it here.
On there.
The goblets! You brought them?
Yes, they're here.
Good.
Good.
Hark, ye...
O ye timeless ones...
ye elementals of the earth,
and of the air...
and of fire, and of water.
In the most august dread
of the supreme Prince of Darkness...
and of his archangels
and angels of darkness...
and his legions...
draw near and do my bidding, I command!
(EERIE ORGAN MUSIC PLAYING)
(THUNDER CRASHING)
(EERIE ORGAN MUSIC CONTINUES PLAYING)
(THUNDER CRASHING)
Now will you believe?
Now drink.
Did you not hear me? I said drink.
Drink! Do you hear me?
Don't insult the master!
- I can't.
- Drink, damn you!
You!
Drink!
You fools.
You pathetic, spineless fools.
You drink then! You drink it!
You drink the filth!
(THUNDER CRASHING)
(COURTLEY GAGGING)
(COURTLEY SCREAMING)
(GASPING)
COURTLEY: Help me!
Help me! Help me!
(COURTLEY GROANING)
WILLIAM: He's dead.
(TENSE INSTRUMENTAL MUSIC)
William?
- What do you want?
- William, what is it?
Now listen carefully.
I was at home here all evening,
do you understand?
- At home here?
- Yes, here.
- Can't you understand that?
- Yes, but....
If anybody asks.
- MARTHA: But who could ask?
- WILLIAM: Anybody!
- Do you understand?
- Yes, dear.
Good.
- WILLIAM: Where's Alice?
- MARTHA: In her room.
You'd better tell her to do the same.
Yes, I'll tell her,
but she's a headstrong girl.
I'll tell her myself then!
You'll tell me what, Father?
Listen, Alice. Now listen carefully.
I was at home here all evening.
Do you understand me?
- Yes, I understand.
- Good.
Now go back to bed.
Both of you.
- MARTHA: Are you sure...
- WILLIAM: Go!
(WILLIAM SOBBING)
- MARTHA: Won't you tell me what's wrong?
- WILLIAM: No! Never.
Never.
Never.
(HEART BEATING)
(WIND HOWLING)
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
They have destroyed my servant.
They will be destroyed.
- Come on, Jeremy!
- Come on, Lucy!
Come through on the inside! That's it.
- PAUL: Come on, Jeremy!
- ALICE: Come on, Lucy!
PAUL: Come through on the inside.
LUCY: I won! Jeremy let me win.
- JEREMY: It's not true. I didn't.
- LUCY: Yes, you did, but I don't care.
I'd rather cheat and win
than not win at all.
- LUCY: There, isn't that honest of me?
- ALICE: Very.
Well, isn't anybody going to notice?
- PAUL: Notice? What? Where?
- LUCY: No, look.
Your ring.
Isn't it beautiful? Jeremy gave it to me.
- We're engaged.
- Does your father know?
No, of course not.
- You can't talk to him these days.
- Father's not very well, anyway.
- ALICE: I am sorry.
- LUCY: Come on, let's go home.
Alice has seen my ring,
and she is green with envy.
That's all I came out for.
I'll race you home.
Alice, what are you wearing
to the Allens' party on Friday?
My primrose, I think.
Good, that won't clash with my blue.
- Jeremy, what are you wearing?
- My pink, I think.
Ripping! It won't clash with my yellow.
LUCY: Are you ready? Good. Go.
We'll see you both on Friday.
(ROMANTIC INSTRUMENTAL MUSIC)
I'm sorry about your father, Paul.
Is it serious?
Nobody knows.
He came home the other night,
went straight to bed...
and he hasn't moved since.
He won't see a doctor,
he won't see anyone.
My father's been acting
rather strangely, too.
He's been drinking heavily.
And that makes it even worse
for your mother.
And for us.
I'm sorry, Paul.
What's wrong with everybody?
(CHURCH BELLS TOLL)
Mother, have you....
I'm sorry, I thought Mother
was in here. Excuse me.
WILLIAM: Just a minute.
I see from your dress
you intend going out.
Yes, Father, to the Allens' party.
I wasn't told about this.
I would've told you, only....
Only what?
You haven't been very
approachable lately, have you?
I mean, you haven't been quite yourself.
You think I've been drinking too much,
is that what you mean?
- Is that it? Is that what you mean?
- Yes.
Yes, Father.
I see.
Who is taking you to this party?
- ALICE: Paul.
- WILLIAM: I forbid it.
- I forbid it. Go and get those things off.
- But...
(KNOCKING ON DOOR)
WILLIAM: Good evening, Mr. Paxton.
My daughter will not be coming
to the party. So you can go.
- May I ask why not, sir?
- No, you may not.
- Is she ill?
- No, she's perfectly well, thank you.
It is just my wish that she
should not go out this evening.
Excuse me.
May I ask you one more question?
I think I have the right.
Why do you hate me?
What is it I've done to offend you?
You don't have to do anything
to offend me, young man.
Drive on!
(PAUL WHISTLING)
Coming to the party, Alice?
I can't. Father won't let me.
I said, are you coming
to the party, Alice?
Just give me a moment.
(EERIE INSTRUMENTAL MUSIC)
As to the place where it happened,
I have been making discreet inquiries...
and have ascertained, as far as I am able,
that no one ever goes there.
So, short of one or all of us
returning there...
No.
No, I must confess
I should not relish such a journey myself.
Short of us going
and seeing for ourselves...
I think we can safely assume
that the body will remain where it is...
until either it rots,
or is discovered by some tramp...
who is unlikely to give the alarm.
What you're saying is...
it looks like we've got away with it.
As you say, it looks as though
we've got away with it.
All that remains is for us to establish...
that none of us were away
from our homes that evening.
I understand it is
what the police call an alibi.
That is quite right.
- SECKER: Well, if there is nothing else....
- PAXTON: No.
Then I shall declare that
not only is this meeting closed...
but that it never occurred.
WILLIAM: Good.
- You'd better keep an eye on him.
- An eye?
Yes, on his drinking.
It might loosen his tongue.
I'll try.
Well....
(CHEERFUL INSTRUMENTAL MUSIC)
I did enjoy the party, Paul.
I must go in, Paul.
(ROMANTIC INSTRUMENTAL MUSIC)
- Good night, darling.
- I love you.
(GASPING)
(TENSE INSTRUMENTAL MUSIC)
Father.
I went to the party.
With Paul. Father, I love him.
- I know it was wrong of me.
- Yes.
It was wrong of you.
- ALICE: I'm sorry, Father.
- WILLIAM: You'll be punished for it.
- Father, I've said I'm sorry.
- I'm going to punish you.
I'm going to whip you, Alice.
Don't touch me.
Whip you, Alice.
- Please don't touch me.
- And I haven't beaten you...
since you were a little girl...
have I, Alice?
ALICE: Let me go!
If you touch me, Father,
I'll never forgive you.
(TENSE INSTRUMENTAL MUSIC CONTINUES)
Paul, it's....
(EERIE INSTRUMENTAL MUSIC)
Alice.
Who are you?
How do you know my name?
(TENSE INSTRUMENTAL MUSIC)
Alice.
WILLIAM: Alice!
Alice!
(EERIE INSTRUMENTAL MUSIC)
WILLIAM: Alice!
Alice!
Alice!
(TENSE INSTRUMENTAL MUSIC)
Alice!
Alice!
Alice!
Come here.
Damn you, come here!
Alice, you're going to be whipped.
Whipped, do you hear me? Whipped.
Now.
WILLIAM: Whipped, do you hear me?
(INTENSE INSTRUMENTAL MUSIC)
DRACULA: The first.
It's nasty, that.
Very nasty. It's nasty, Evans.
Get it cleared up, will you?
Yes, sir.
Hello.
COBB: I just came to see the lady
of the house, sir, about him out there.
Mrs. Hargood is suffering from shock.
I'm Paul Paxton. My sister's with her.
COBB: Perhaps I'd better come back
some other time, sir.
We can't do very much
for him out there, can we?
Except take him out of the flower beds.
But what about his daughter,
Alice Hargood?
She been done in, too, sir?
God knows, but she's missing.
- Only missing.
- Only?
Yes, since last night.
- COBB: Is she a young girl, sir?
- PAUL: Yes.
- Trouble in the home?
- Yes.
Familiar story, sir.
I won't keep you any longer.
But what are you going to do about her?
What do you want me to do about her?
Issue a description. Send her picture
to all your police stations.
My dear sir, if we were to do that with
every young girl that runs from home...
we wouldn't have time for anything else.
- PAUL: She has not run away.
- COBB: How do you know that, sir?
- I just know it!
- I see, sir. You just know it.
I'm sure you have other things
to attend to, like me, sir.
- So if you'll excuse me.
- Look, it's a raw morning.
I'm sure Mrs. Hargood wouldn't want you
to leave without a little refreshment.
COBB: I won't while I'm on duty, sir.
Good morning.
Evans, you got that mess
cleared up outside there yet?
VICAR: "We beseech thee, O Father,
to raise us from the death of sin...
"unto the life of righteousness,
that when we shall depart this life...
"we may rest in him,
as our hope is this our brother doth...
"and that at the general resurrection
in the last day...
"we may be found acceptable in thy sight
and receive that blessing...
"which thy well-beloved Son
shall then pronounce...
"to all that love and fear thee...
"through Jesus Christ
our mediator and redeemer. Amen.
"The grace of our Lord Jesus Christ
and the love of God...
"and the fellowship of the Holy Ghost,
be with us all evermore.
"Amen."
- I'll see Mrs. Hargood home.
- All right.
(CHURCH BELLS TOLLING)
ALICE: Lucy!
Lucy.
Why are you here?
Why are you dressed like that?
I can't tell you now.
Come to my house tonight.
I'll tell you everything then.
- ALICE: In the garden.
- LUCY: Why the garden?
Lucy?
Lucy!
I can't explain now, my dear,
but do come, please.
- Yes, all right.
- And not a word to anybody, not to a soul.
Promise?
- All right, I promise.
- Thank you, Lucy.
Lucy!
Lucy?
- LUCY: Sorry, Jeremy.
- JEREMY: Come on.
- LUCY: Hope they haven't left us behind.
- JEREMY: We can walk.
BETTY: I'm afraid the mistress isn't well
enough to see anyone at the moment.
- BETTY: What name shall I say called?
- SECKER: My name's Secker. My card.
- SECKER: I'll call again. Good evening.
- PAUL: Good evening, Mr. Secker.
Betty, I'm just going.
If anything should happen, you know...
- PAUL: let me know at once, will you?
- BETTY: Very good, sir.
- I'm Paul Paxton, sir.
- Yes, I know.
- It's a terrible business.
- Yes. Did you know Mr. Hargood well?
We had met.
Did you know his daughter had disappeared?
- I had heard. Is there any news?
- Nothing.
- The police?
- They're worse than useless.
I go to the station at least four times
every day to ask if they've any news.
They've told me
not to bother them anymore.
As far as you know, they are not
carrying out any proper investigation?
As far as I know,
they are doing absolutely nothing.
Someone's got to do something.
I love Alice...
and to know that she's somewhere in need
of help, and nobody doing anything to....
Be careful, Paul. Don't do anything...
that you may be sorry for.
I couldn't be any sorrier
than I am now, Mr. Secker.
Good night, sir.
(SOFT INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
ALICE: I'm over here, Lucy.
- LUCY: Where?
- ALICE: Over here.
Alice.
You must be frozen.
- Why are you dressed like that?
- Secret.
- But I don't understand.
- You will. Follow me.
- But why?
- Come along.
(BOTH GIRLS LAUGHING)
- LUCY: Alice, what is all this?
- ALICE: Come on.
Whose carriage is this?
Alice, you haven't eloped, have you?
LUCY: No!
Please!
Stop it!
Alice, tell him to stop!
(EERIE INSTRUMENTAL MUSIC)
LUCY: Really, what do you think that....
ALICE: Come on, Lucy.
Where are we going, Alice?
(ALICE LAUGHING)
- ALICE: Come on.
- LUCY: Where are we?
- ALICE: Come on, Lucy.
- LUCY: Where are we going?
(EERIE INSTRUMENTAL MUSIC CONTINUES)
- LUCY: Alice, why are we here?
- ALICE: I want you to meet someone.
Is it your lover? Where is he?
Lucy.
Alice?
Alice, I'm afraid.
- You're hurting me.
- Do as he tells you.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
I know I shouldn't have come here,
but I had to.
- PAXTON: You see, I know.
- SECKER: Know what?
First Hargood, then his girl...
then Lucy. Gone!
It's him. It's Courtley.
- Pull yourself together.
- Don't you see? It must be.
He's come back to punish us
for what we did to him.
- Don't you see?
- Drink it.
- What are we going to do?
- Make sure.
- What?
- I can't believe it, but we'll make sure.
How?
By finding out
if the body of Courtley is still there.
I can't.
You can and will. Now!
- Well, it would seem that you were right.
- My God.
Unless, of course,
someone has hidden the body.
Hidden it?
But who? What for?
I only offer it as a possibility.
I think, however, we should make sure.
This has been disturbed.
Help me.
Come on.
PAXTON: My God.
It's Lucy. She's dead.
SECKER: No, she's not dead.
What do you mean?
She's neither dead nor alive.
Look at the marks on her neck.
Marks? I don't understand.
Lucy!
- Lucy! Lucy!
- Paxton! Paxton!
Paxton, listen to me!
The marks on her neck....
She's a vampire!
I don't understand.
Oh, my God.
- What can we do?
- I believe there is a way to release her.
Release her?
What do you mean?
What are you talking about?
Drive a wooden stake through her heart.
Only then will she be free to die.
If not...
she will live out
her nightmare existence forever...
wandering about in the night,
living off the blood of animals...
and of human beings like herself.
No.
The decision is yours, as her father.
I can't!
I will do it, then.
You go away from here until I call you.
- And when you return, she'll be at peace.
- No, I'll stay.
(TENSE INSTRUMENTAL MUSIC)
Get out of here!
Get out of here.
Leave us alone, do you hear?
Paxton!
(DRAMATIC INSTRUMENTAL MUSIC)
I'll shoot you again if you don't get out.
- Paxton...
- Get out!
(GUN FIRING)
(DRAMATIC INSTRUMENTAL MUSIC CONTINUES)
(PAXTON SCREAMING)
(SUSPENSEFUL INSTRUMENTAL MUSIC)
Lucy.
Now.
Lucy!
Help me!
Help me!
(INTENSE INSTRUMENTAL MUSIC)
The second.
Paxton!
Paxton!
(SECKER GROANING IN PAIN)
Mrs. Hargood, ma'am.
- MARTHA: Yes, Betty?
- BETTY: Mr. Paul is here, ma'am.
- Ask him to come in, Betty.
- Yes, ma'am.
Will you go in, sir?
- Mrs. Hargood?
- Nothing?
We've searched everywhere, Jeremy and I.
Every field for miles around, every ditch.
Is that where you expect
to find her, Paul?
You think she's dead.
Why has this happened to us, Paul?
- What have we ever done?
- God knows, Mrs. Hargood.
Does he, Paul?
Father?
(KNOCKING ON WINDOW)
JEREMY: Lucy, what....
- JEREMY: Where have you been?
- LUCY: Kiss me, Jeremy.
- Lucy, my love.
- Kiss me, my darling.
Oh, God!
(INTENSE INSTRUMENTAL MUSIC)
Jeremy, thank God it's you.
For a moment, I thought it was....
There's something
that you must do for me immediately.
This letter's got to go to young Paxton,
to Paul, you know. I want you to....
Not you.
Not you.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
DRACULA: The third.
LUCY: Master...
did I do well?
Did I please you?
Wait.
Please.
Please wait. Please.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
As it was addressed to you, sir,
I thought you might like to have it.
I opened it because I thought
it might throw some light on all this.
- PAUL: And did it?
- COBB: Ramblings of a lunatic, sir.
He goes on here
about vampires and suchlike.
You couldn't have a clearer case, sir.
Son hates his father...
he's hot-blooded, they quarrel,
and the son loses his temper.
Quite straightforward, sir.
However, we've got him locked up
safe and sound.
However, we've got him locked up
safe and sound.
But Jeremy did not hate his father.
He was one of the most even...
- If you've come here to obstruct justice...
- I came here because you sent for me.
Here's your letter, sir.
I shan't need to see you anymore.
- And don't go touching that, will you, sir?
- No.
(EERIE INSTRUMENTAL MUSIC)
Master.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(ROOSTER CROWING)
SECKER: You have the courage
to do what has to be done...
and above all...
your love for Alice will act as
your strength and your protection.
And you must believe me.
You must arm yourself
with knowledge, Paul.
And so you will see that, while there is
little hope for your dear sister...
Alice may have escaped.
Find her, Paul,
and nd her before nightfall.
Only then will you know the truth.
We know that she is under his influence...
but she may not yet
be his sister in blood.
Not yet.
So nd her, Paul. Find her!
Find her before it is too late.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
Lucy.
Lucy!
(MELANCHOLIC INSTRUMENTAL MUSIC)
(TENSE INSTRUMENTAL MUSIC)
Alice!
Alice!
Alice!
Alice!
Alice!
(MYSTERIOUS LOUD RUMBLINGS)
(WOMAN SCREAMING)
(INTENSE INSTRUMENTAL MUSIC)
DRACULA: Take it away.
ALICE:
You'll give it to me, or we'll punish you.
You're free, Alice.
Free to choose good or evil.
You're not one of them yet.
You're free to choose.
- I must do as he says. He's my master.
- He's not!
(INTENSE INSTRUMENTAL MUSIC CONTINUES)
Did I do well, master?
Take me with you, master.
I have no further use for you.
(DRAMATIC INSTRUMENTAL MUSIC)
PAUL: Run, Alice! Run as fast
as you can away from here.
ALICE: Not without you, Paul.
Please, you must come, too. He'll kill us!
- ALICE: Please.
- PAUL: I can't go.
ALICE: Please, Paul.
PAUL: Please run. Do as I say!
(VOICE RECITING PRAYERS)
(SOFT ORGAN MUSIC PLAYING)
(DRACULA SCREAMING)
(THUNDER CRASHING)
(EERIE INSTRUMENTAL MUSIC)
(PEACEFUL INSTRUMENTAL MUSIC)
(SLOW INSTRUMENTAL MUSIC)
What a way to travel, eh? Barbaric.
Horseless carriage, that's the way.
I've seen them myself, you know.
Paris, London.
London. That's where my business is,
buying and selling.
The fact is, I got these
on my last stop here. Karlsburg.
Pretty, isn't it?
Six crowns it cost in Karlsburg. Six.
I can let you have one for three.
Two crowns, then. I can't go any lower.
Oh, well.
Give.
- Sorry.
- Give me.
I should do as he says.
One crown, then?
No!
(INTENSE INSTRUMENTAL MUSIC)
(ANIMAL HOWLING)
(ANIMAL CONTINUES HOWLING)
(LOUD SCREECHING)
God.
(LOUD MOANING)
Oh, my God.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(LOUD MOANING CONTINUES)
(INTENSE INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
Dracula's blood.
(INTENSE INSTRUMENTAL MUSIC)
(CHURCH BELLS TOLLING)
Where is that girl? Alice!
- Yes, Father.
- All right, dear?
It's a brisk morning, Father.
Indeed, Jeremy.
Isn't Alice's hat pretty, Mother?
It's a pretty color, don't you think?
Come along now.
- Mr. Hargood.
- Thank you, Vicar.
- This was a very nice sermon.
- Did you think so? I hadn't planned it.
Mr. Secker, good day.
- PAXTON: Excellent service.
- VICAR: Mr. Paxton.
- Hello.
- Hello.
- The Allens are having a party on Friday.
- I know, and I haven't been invited.
You will be.
- Paul.
- Alice.
When shall I see you?
Alice!
- When shall I see you?
- Alice!
I don't know.
(PEACEFUL INSTRUMENTAL MUSIC)
You will stay here, Alice.
You will apologize to your mother and I
for your behavior.
- Thank you. You may go.
- For what behavior?
You will apologize,
then go up to your room and stay there.
- Do you understand?
- No, I don't understand...
You know perfectly well
what I'm talking about.
Mother, I don't understand...
You were smiling and flirting
with that young man.
But that was Paul, Father.
I don't care. He is still a young man
and you are a young woman.
A sexually mature young woman.
I will not have you displaying yourself
in that provocative manner.
It's because it was Paul, isn't it?
You've never liked him,
but he can't help that.
But you can help behaving like a harlot.
- Papa!
- A harlot in God's house!
Oh, my God.
Blasphemy will only make it worse.
It's only natural
in a young girl, William.
Lunch will soon be ready, William.
You may send hers up on a tray.
And her supper, too.
- Yes, dear.
- I shall not, of course, be in to supper.
But I asked Cook to bake a ham
the way you like it.
I am never in to supper
the last Sunday in the month.
- WILLIAM: Surely you know that by now.
- MARTHA: Yes, of course.
- Your charity work in the East End.
- Exactly.
(CHURCH BELLS TOLLING IN THE DISTANCE)
Don't judge your father too harshly,
my dear.
I know just how you feel.
Do you, Mother?
Well, of course I do, darling.
I was young like you once, you know.
Young and excited by the prospect
of my life before me.
ALICE: Until you met him.
He crushed you, didn't he?
He crushed the life right out of you.
You mustn't say such things.
Well, he's not going to do it to me.
- You're upset.
- With good reason.
Mother, why does he hate Paul so?
I've honestly no idea. No idea at all.
- Is it something to do with Paul's father?
- Mr. Paxton?
I don't see how it can be.
They scarcely know one another.
(HORSE AND CARRIAGE APPROACHING)
Bit late tonight, Hargood.
I am exactly on time, Paxton.
Exactly on time as usual, gentlemen.
I thought we were a little late, Secker.
(CHILDREN YELLING)
VENDOR: Hot potatoes.
CHILD: Sir!
Sir! Sir!
- This way, gentlemen.
- We know the way.
GIRL: Well, what have we here?
Veronica, you look delightful.
Nice to see you again.
Such a pleasure
to see you again, gentlemen.
Punctual to the minute, as always.
I have your usual room ready for you,
of course.
I hope the entertainment
isn't too usual, Felix.
No, I've selected something
most diverting for you gentlemen tonight.
I'm sure it will amuse you.
I've been getting a bit bored with it.
You won't be bored tonight,
I can assure you of that.
I think it's best
if you leave it all to me...
because I know the girls who are
really clean, if you get my meaning.
Some of the girls sent to me,
they've no idea.
Straight into a hot bath they go,
and do they scream!
They don't want to be seen
without their clothes on.
I told them there's no point being shy
in a place like this.
Here we are, gentlemen.
Everything is ready, as you see.
Here, let me take that for you. Thank you.
- Thank you.
- Felix?
That's right. You can't be
too careful, can you? Thank you.
Here, let me.
- Well done.
- Thank you, Felix.
- Sir, there.
- Thank you.
Gentlemen, may I be permitted to say,
"To your health"?
And now, if you will excuse me,
I'll just go and....
Well, you know.
- Paxton?
- Yes, all right.
- Secker?
- I don't think so.
- Gentlemen.
- To your health.
Ready when you are, gentlemen.
(EXOTIC INSTRUMENTAL MUSIC)
Oh, my goodness.
(ALL LAUGHING)
(EXOTIC INSTRUMENTAL MUSIC CONTINUES)
FELIX: Why don't you stop pushing
your way in and upsetting everyone?
You're not wanted here.
For God's sake, will you please go away
and stay away?
Do you hear me?
- WOMAN: Oh, darling.
- FELIX: Sorry.
No, not in here. I do beg your pardon.
No!
You can't go...
You are not going in there.
Don't you dare try to go in there.
They're some of my best gentlemen
in there.
SECKER: Bravo!
Now, look here.
- Yes?
- You can't come in here.
But I have.
Who's going to pay?
My girls aren't free for any Tom, Dick,
or Harry, you know.
WILLIAM: Good heavens.
Impudent young puppy.
I can't tell you how sorry I am.
I can't begin to tell you.
Yes. Well, get rid of these girls.
FELIX: No, Mr. Hargood,
I've got another lovely girl for you.
- WILLIAM: Get rid of them.
- FELIX: Yes, of course. Come now, girls.
That's a girl. That's it.
Who is he?
An impudent rascal, that's what.
Yes, who is he?
He's young Courtley. Lord Courtley, sir.
You must remember.
His father disowned him
several years ago...
cut him off without a shilling.
Found him celebrating black mass
in the family chapel.
Very nasty, it was.
- So that's young Courtley.
- Yes, terrible scandal it was.
How does he live? Does he work?
Him? Never a stroke.
- Then how?
- They keep him.
What, the girls pay him?
Yes, they're fascinated by him.
He's the very devil himself.
If I were religious,
I would say he was possessed.
Possessed of the devil.
Possessed of the devil.
Young man.
If you're serving a writ, my friend,
please don't waste my time...
or yours, for that matter.
WILLIAM: Lord Courtley.
Do I know you?
Of course, I took your woman from you.
If it's to be swords or pistols,
I have neither.
My friends and I
would like to take you to supper.
- COURTLEY: Why?
- WILLIAM: We want to talk to you.
- COURTLEY: About?
- WILLIAM: Over supper.
Very well.
- Driver...
- The Caf Royal, driver.
It's the only place.
- MARTHA: May I come in, dear?
- ALICE: Yes, Mother.
- MARTHA: All ready for bed, dear?
- ALICE: Just getting ready.
- You've hardly eaten a thing, dear.
- I wasn't hungry.
Mother.
I'm so sorry for you.
- Because I didn't eat my supper?
- You know it isn't that.
ALICE: I know it isn't, Mother.
Don't worry, please.
Good night, darling.
Good night, Mother.
Then let me explain it for you.
You and your two friends here
have formed a little society...
with the objects of enjoying
the more unusual aspects of this life.
Is that right?
That is quite right.
At the same time
keeping up a faade of respectability...
in front of your families
and local community.
Is that right?
- Well, I hardly...
- I wouldn't put it like that.
And having tried everything that
your narrow imaginations can suggest...
you're bored to death with it all, right?
And now you want someone...
with infinitely greater experience
than yourselves...
to suggest alternatives?
- That's it exactly.
- Just how far are you willing to go?
For instance, would you be willing
to sell your souls to the devil?
What exactly do you mean?
I mean exactly what I say:
sell your souls to the devil.
- I don't know.
- Then we're wasting time.
If one thought that one's experience
might be extended...
It would be extended to infinity.
What would we have to do?
- First you will need money.
- Yes, I thought as much.
No, not for me. To buy something
that we shall need for the ceremony.
- What is it we have to buy?
- And how much?
I will show you.
(PAUL WHISTLING)
Paul?
Who else did you expect?
Don't be silly.
Wait a moment and I'll come down.
If you don't, I'm coming up.
Don't you dare.
(SOFT INSTRUMENTAL MUSIC)
- PAUL: Come on, monkey.
- ALICE: You'll wake them up.
- PAUL: Alice, nothing but good news.
- ALICE: What?
My uncle Harry will lend me the money.
I can go into business on my own.
So, my darling, there's absolutely
nothing to stop us getting away.
Oh, Paul.
So when is it to be? This week? Tomorrow?
Really.
You don't mean that, do you?
- PAUL: Mean it?
- ALICE: About tomorrow?
What's to stop us?
Well, I can't just leave them.
- Not like that.
- Why not?
You've told me often enough
how he treats you...
how you long to get away. He'll never
agree to let us meet any other way.
- But my mother....
- She married him, didn't she?
She chose to be his wife.
She's also my mother.
I can't just run away and leave her.
I see.
So it was all just talk,
about our going away.
No, it wasn't just all talk, Paul.
I love you, really I do.
I've said I want to marry you, and I do.
I want it more
than anything in this world.
And if it was anything else...
If I left her, Paul, I think she'd die.
So what are we going to do?
I don't know.
Paul, never stop loving me. Never.
(KNOCKING ON DOOR)
Weller?
Weller!
Where are you, Weller?
Who wants me?
It's you, is it?
COURTLEY: Come out, you fool.
We've business to discuss.
What sort of business
can you have with me?
I want to buy, Weller.
You? Buy?
- Buy what?
- You know what.
It's not for sale.
- You'll sell anything for money.
- Money? What money?
Would you please tell us
what this is all about?
- Quite.
- You say the price, Weller.
- More than you can afford.
- Granted.
But it's these gentlemen who are buying.
- What's that?
- Buying what exactly?
Is it true?
- You want to buy?
- Possibly...
if we knew what it was
we're supposed to be buying.
- Don't you know?
- No.
Show them, Weller.
(EERIE INSTRUMENTAL MUSIC)
The master.
Courtley, what is all this about?
- A concentration of evil, my dear sirs.
- A what?
These pieces belong
to the most evil man of all time:
Count Dracula.
Dracula!
You'll know that I tell the truth
when I so describe him:
His cloak, his signet ring...
his clasp.
- And his blood.
- His blood?
(EERIE INSTRUMENTAL MUSIC CONTINUES)
His blood.
But it's just powder.
That's right, gentlemen. It's only powder.
No!
These relics will enable us
to perform the ceremonies I spoke about.
- I'm asking you to buy them.
- Just on your word?
Just on my word!
I see.
What is the price?
1,000 guineas.
- What?
- You'll never regret it, I swear.
I swear in his name.
Secker?
Paxton?
For all we know...
Do I take it that you do not want
to remain in the circle?
No.
Very well.
We'll pay the price.
You will be repaid a thousand times.
And may the devil take good care of you.
(TENSE INSTRUMENTAL MUSIC)
(TENSE MUSIC INTENSIFIES)
SECKER: It's this way.
(SUSPENSEFUL INSTRUMENTAL MUSIC CONTINUES)
WILLIAM: There it is.
Courtley.
- My God, I don't like this.
- Do you want to leave?
- No, of course not.
- Then keep quiet.
(EVIL LAUGHTER)
- PAXTON: What's that?
- WILLIAM: Keep quiet.
(EVIL LAUGHTER CONTINUES)
There's someone there.
There's something there.
COURTLEY: Of course I'm here.
Did you not expect me to be here?
- That was a damned fool thing to do.
- Possibly, but it amused me.
- You have the casket?
- Yes.
COURTLEY: Let's not waste any more time.
Bring it here.
On there.
The goblets! You brought them?
Yes, they're here.
Good.
Good.
Hark, ye...
O ye timeless ones...
ye elementals of the earth,
and of the air...
and of fire, and of water.
In the most august dread
of the supreme Prince of Darkness...
and of his archangels
and angels of darkness...
and his legions...
draw near and do my bidding, I command!
(EERIE ORGAN MUSIC PLAYING)
(THUNDER CRASHING)
(EERIE ORGAN MUSIC CONTINUES PLAYING)
(THUNDER CRASHING)
Now will you believe?
Now drink.
Did you not hear me? I said drink.
Drink! Do you hear me?
Don't insult the master!
- I can't.
- Drink, damn you!
You!
Drink!
You fools.
You pathetic, spineless fools.
You drink then! You drink it!
You drink the filth!
(THUNDER CRASHING)
(COURTLEY GAGGING)
(COURTLEY SCREAMING)
(GASPING)
COURTLEY: Help me!
Help me! Help me!
(COURTLEY GROANING)
WILLIAM: He's dead.
(TENSE INSTRUMENTAL MUSIC)
William?
- What do you want?
- William, what is it?
Now listen carefully.
I was at home here all evening,
do you understand?
- At home here?
- Yes, here.
- Can't you understand that?
- Yes, but....
If anybody asks.
- MARTHA: But who could ask?
- WILLIAM: Anybody!
- Do you understand?
- Yes, dear.
Good.
- WILLIAM: Where's Alice?
- MARTHA: In her room.
You'd better tell her to do the same.
Yes, I'll tell her,
but she's a headstrong girl.
I'll tell her myself then!
You'll tell me what, Father?
Listen, Alice. Now listen carefully.
I was at home here all evening.
Do you understand me?
- Yes, I understand.
- Good.
Now go back to bed.
Both of you.
- MARTHA: Are you sure...
- WILLIAM: Go!
(WILLIAM SOBBING)
- MARTHA: Won't you tell me what's wrong?
- WILLIAM: No! Never.
Never.
Never.
(HEART BEATING)
(WIND HOWLING)
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
They have destroyed my servant.
They will be destroyed.
- Come on, Jeremy!
- Come on, Lucy!
Come through on the inside! That's it.
- PAUL: Come on, Jeremy!
- ALICE: Come on, Lucy!
PAUL: Come through on the inside.
LUCY: I won! Jeremy let me win.
- JEREMY: It's not true. I didn't.
- LUCY: Yes, you did, but I don't care.
I'd rather cheat and win
than not win at all.
- LUCY: There, isn't that honest of me?
- ALICE: Very.
Well, isn't anybody going to notice?
- PAUL: Notice? What? Where?
- LUCY: No, look.
Your ring.
Isn't it beautiful? Jeremy gave it to me.
- We're engaged.
- Does your father know?
No, of course not.
- You can't talk to him these days.
- Father's not very well, anyway.
- ALICE: I am sorry.
- LUCY: Come on, let's go home.
Alice has seen my ring,
and she is green with envy.
That's all I came out for.
I'll race you home.
Alice, what are you wearing
to the Allens' party on Friday?
My primrose, I think.
Good, that won't clash with my blue.
- Jeremy, what are you wearing?
- My pink, I think.
Ripping! It won't clash with my yellow.
LUCY: Are you ready? Good. Go.
We'll see you both on Friday.
(ROMANTIC INSTRUMENTAL MUSIC)
I'm sorry about your father, Paul.
Is it serious?
Nobody knows.
He came home the other night,
went straight to bed...
and he hasn't moved since.
He won't see a doctor,
he won't see anyone.
My father's been acting
rather strangely, too.
He's been drinking heavily.
And that makes it even worse
for your mother.
And for us.
I'm sorry, Paul.
What's wrong with everybody?
(CHURCH BELLS TOLL)
Mother, have you....
I'm sorry, I thought Mother
was in here. Excuse me.
WILLIAM: Just a minute.
I see from your dress
you intend going out.
Yes, Father, to the Allens' party.
I wasn't told about this.
I would've told you, only....
Only what?
You haven't been very
approachable lately, have you?
I mean, you haven't been quite yourself.
You think I've been drinking too much,
is that what you mean?
- Is that it? Is that what you mean?
- Yes.
Yes, Father.
I see.
Who is taking you to this party?
- ALICE: Paul.
- WILLIAM: I forbid it.
- I forbid it. Go and get those things off.
- But...
(KNOCKING ON DOOR)
WILLIAM: Good evening, Mr. Paxton.
My daughter will not be coming
to the party. So you can go.
- May I ask why not, sir?
- No, you may not.
- Is she ill?
- No, she's perfectly well, thank you.
It is just my wish that she
should not go out this evening.
Excuse me.
May I ask you one more question?
I think I have the right.
Why do you hate me?
What is it I've done to offend you?
You don't have to do anything
to offend me, young man.
Drive on!
(PAUL WHISTLING)
Coming to the party, Alice?
I can't. Father won't let me.
I said, are you coming
to the party, Alice?
Just give me a moment.
(EERIE INSTRUMENTAL MUSIC)
As to the place where it happened,
I have been making discreet inquiries...
and have ascertained, as far as I am able,
that no one ever goes there.
So, short of one or all of us
returning there...
No.
No, I must confess
I should not relish such a journey myself.
Short of us going
and seeing for ourselves...
I think we can safely assume
that the body will remain where it is...
until either it rots,
or is discovered by some tramp...
who is unlikely to give the alarm.
What you're saying is...
it looks like we've got away with it.
As you say, it looks as though
we've got away with it.
All that remains is for us to establish...
that none of us were away
from our homes that evening.
I understand it is
what the police call an alibi.
That is quite right.
- SECKER: Well, if there is nothing else....
- PAXTON: No.
Then I shall declare that
not only is this meeting closed...
but that it never occurred.
WILLIAM: Good.
- You'd better keep an eye on him.
- An eye?
Yes, on his drinking.
It might loosen his tongue.
I'll try.
Well....
(CHEERFUL INSTRUMENTAL MUSIC)
I did enjoy the party, Paul.
I must go in, Paul.
(ROMANTIC INSTRUMENTAL MUSIC)
- Good night, darling.
- I love you.
(GASPING)
(TENSE INSTRUMENTAL MUSIC)
Father.
I went to the party.
With Paul. Father, I love him.
- I know it was wrong of me.
- Yes.
It was wrong of you.
- ALICE: I'm sorry, Father.
- WILLIAM: You'll be punished for it.
- Father, I've said I'm sorry.
- I'm going to punish you.
I'm going to whip you, Alice.
Don't touch me.
Whip you, Alice.
- Please don't touch me.
- And I haven't beaten you...
since you were a little girl...
have I, Alice?
ALICE: Let me go!
If you touch me, Father,
I'll never forgive you.
(TENSE INSTRUMENTAL MUSIC CONTINUES)
Paul, it's....
(EERIE INSTRUMENTAL MUSIC)
Alice.
Who are you?
How do you know my name?
(TENSE INSTRUMENTAL MUSIC)
Alice.
WILLIAM: Alice!
Alice!
(EERIE INSTRUMENTAL MUSIC)
WILLIAM: Alice!
Alice!
Alice!
(TENSE INSTRUMENTAL MUSIC)
Alice!
Alice!
Alice!
Come here.
Damn you, come here!
Alice, you're going to be whipped.
Whipped, do you hear me? Whipped.
Now.
WILLIAM: Whipped, do you hear me?
(INTENSE INSTRUMENTAL MUSIC)
DRACULA: The first.
It's nasty, that.
Very nasty. It's nasty, Evans.
Get it cleared up, will you?
Yes, sir.
Hello.
COBB: I just came to see the lady
of the house, sir, about him out there.
Mrs. Hargood is suffering from shock.
I'm Paul Paxton. My sister's with her.
COBB: Perhaps I'd better come back
some other time, sir.
We can't do very much
for him out there, can we?
Except take him out of the flower beds.
But what about his daughter,
Alice Hargood?
She been done in, too, sir?
God knows, but she's missing.
- Only missing.
- Only?
Yes, since last night.
- COBB: Is she a young girl, sir?
- PAUL: Yes.
- Trouble in the home?
- Yes.
Familiar story, sir.
I won't keep you any longer.
But what are you going to do about her?
What do you want me to do about her?
Issue a description. Send her picture
to all your police stations.
My dear sir, if we were to do that with
every young girl that runs from home...
we wouldn't have time for anything else.
- PAUL: She has not run away.
- COBB: How do you know that, sir?
- I just know it!
- I see, sir. You just know it.
I'm sure you have other things
to attend to, like me, sir.
- So if you'll excuse me.
- Look, it's a raw morning.
I'm sure Mrs. Hargood wouldn't want you
to leave without a little refreshment.
COBB: I won't while I'm on duty, sir.
Good morning.
Evans, you got that mess
cleared up outside there yet?
VICAR: "We beseech thee, O Father,
to raise us from the death of sin...
"unto the life of righteousness,
that when we shall depart this life...
"we may rest in him,
as our hope is this our brother doth...
"and that at the general resurrection
in the last day...
"we may be found acceptable in thy sight
and receive that blessing...
"which thy well-beloved Son
shall then pronounce...
"to all that love and fear thee...
"through Jesus Christ
our mediator and redeemer. Amen.
"The grace of our Lord Jesus Christ
and the love of God...
"and the fellowship of the Holy Ghost,
be with us all evermore.
"Amen."
- I'll see Mrs. Hargood home.
- All right.
(CHURCH BELLS TOLLING)
ALICE: Lucy!
Lucy.
Why are you here?
Why are you dressed like that?
I can't tell you now.
Come to my house tonight.
I'll tell you everything then.
- ALICE: In the garden.
- LUCY: Why the garden?
Lucy?
Lucy!
I can't explain now, my dear,
but do come, please.
- Yes, all right.
- And not a word to anybody, not to a soul.
Promise?
- All right, I promise.
- Thank you, Lucy.
Lucy!
Lucy?
- LUCY: Sorry, Jeremy.
- JEREMY: Come on.
- LUCY: Hope they haven't left us behind.
- JEREMY: We can walk.
BETTY: I'm afraid the mistress isn't well
enough to see anyone at the moment.
- BETTY: What name shall I say called?
- SECKER: My name's Secker. My card.
- SECKER: I'll call again. Good evening.
- PAUL: Good evening, Mr. Secker.
Betty, I'm just going.
If anything should happen, you know...
- PAUL: let me know at once, will you?
- BETTY: Very good, sir.
- I'm Paul Paxton, sir.
- Yes, I know.
- It's a terrible business.
- Yes. Did you know Mr. Hargood well?
We had met.
Did you know his daughter had disappeared?
- I had heard. Is there any news?
- Nothing.
- The police?
- They're worse than useless.
I go to the station at least four times
every day to ask if they've any news.
They've told me
not to bother them anymore.
As far as you know, they are not
carrying out any proper investigation?
As far as I know,
they are doing absolutely nothing.
Someone's got to do something.
I love Alice...
and to know that she's somewhere in need
of help, and nobody doing anything to....
Be careful, Paul. Don't do anything...
that you may be sorry for.
I couldn't be any sorrier
than I am now, Mr. Secker.
Good night, sir.
(SOFT INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
ALICE: I'm over here, Lucy.
- LUCY: Where?
- ALICE: Over here.
Alice.
You must be frozen.
- Why are you dressed like that?
- Secret.
- But I don't understand.
- You will. Follow me.
- But why?
- Come along.
(BOTH GIRLS LAUGHING)
- LUCY: Alice, what is all this?
- ALICE: Come on.
Whose carriage is this?
Alice, you haven't eloped, have you?
LUCY: No!
Please!
Stop it!
Alice, tell him to stop!
(EERIE INSTRUMENTAL MUSIC)
LUCY: Really, what do you think that....
ALICE: Come on, Lucy.
Where are we going, Alice?
(ALICE LAUGHING)
- ALICE: Come on.
- LUCY: Where are we?
- ALICE: Come on, Lucy.
- LUCY: Where are we going?
(EERIE INSTRUMENTAL MUSIC CONTINUES)
- LUCY: Alice, why are we here?
- ALICE: I want you to meet someone.
Is it your lover? Where is he?
Lucy.
Alice?
Alice, I'm afraid.
- You're hurting me.
- Do as he tells you.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
I know I shouldn't have come here,
but I had to.
- PAXTON: You see, I know.
- SECKER: Know what?
First Hargood, then his girl...
then Lucy. Gone!
It's him. It's Courtley.
- Pull yourself together.
- Don't you see? It must be.
He's come back to punish us
for what we did to him.
- Don't you see?
- Drink it.
- What are we going to do?
- Make sure.
- What?
- I can't believe it, but we'll make sure.
How?
By finding out
if the body of Courtley is still there.
I can't.
You can and will. Now!
- Well, it would seem that you were right.
- My God.
Unless, of course,
someone has hidden the body.
Hidden it?
But who? What for?
I only offer it as a possibility.
I think, however, we should make sure.
This has been disturbed.
Help me.
Come on.
PAXTON: My God.
It's Lucy. She's dead.
SECKER: No, she's not dead.
What do you mean?
She's neither dead nor alive.
Look at the marks on her neck.
Marks? I don't understand.
Lucy!
- Lucy! Lucy!
- Paxton! Paxton!
Paxton, listen to me!
The marks on her neck....
She's a vampire!
I don't understand.
Oh, my God.
- What can we do?
- I believe there is a way to release her.
Release her?
What do you mean?
What are you talking about?
Drive a wooden stake through her heart.
Only then will she be free to die.
If not...
she will live out
her nightmare existence forever...
wandering about in the night,
living off the blood of animals...
and of human beings like herself.
No.
The decision is yours, as her father.
I can't!
I will do it, then.
You go away from here until I call you.
- And when you return, she'll be at peace.
- No, I'll stay.
(TENSE INSTRUMENTAL MUSIC)
Get out of here!
Get out of here.
Leave us alone, do you hear?
Paxton!
(DRAMATIC INSTRUMENTAL MUSIC)
I'll shoot you again if you don't get out.
- Paxton...
- Get out!
(GUN FIRING)
(DRAMATIC INSTRUMENTAL MUSIC CONTINUES)
(PAXTON SCREAMING)
(SUSPENSEFUL INSTRUMENTAL MUSIC)
Lucy.
Now.
Lucy!
Help me!
Help me!
(INTENSE INSTRUMENTAL MUSIC)
The second.
Paxton!
Paxton!
(SECKER GROANING IN PAIN)
Mrs. Hargood, ma'am.
- MARTHA: Yes, Betty?
- BETTY: Mr. Paul is here, ma'am.
- Ask him to come in, Betty.
- Yes, ma'am.
Will you go in, sir?
- Mrs. Hargood?
- Nothing?
We've searched everywhere, Jeremy and I.
Every field for miles around, every ditch.
Is that where you expect
to find her, Paul?
You think she's dead.
Why has this happened to us, Paul?
- What have we ever done?
- God knows, Mrs. Hargood.
Does he, Paul?
Father?
(KNOCKING ON WINDOW)
JEREMY: Lucy, what....
- JEREMY: Where have you been?
- LUCY: Kiss me, Jeremy.
- Lucy, my love.
- Kiss me, my darling.
Oh, God!
(INTENSE INSTRUMENTAL MUSIC)
Jeremy, thank God it's you.
For a moment, I thought it was....
There's something
that you must do for me immediately.
This letter's got to go to young Paxton,
to Paul, you know. I want you to....
Not you.
Not you.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(EERIE INSTRUMENTAL MUSIC)
DRACULA: The third.
LUCY: Master...
did I do well?
Did I please you?
Wait.
Please.
Please wait. Please.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(INTENSE INSTRUMENTAL MUSIC)
As it was addressed to you, sir,
I thought you might like to have it.
I opened it because I thought
it might throw some light on all this.
- PAUL: And did it?
- COBB: Ramblings of a lunatic, sir.
He goes on here
about vampires and suchlike.
You couldn't have a clearer case, sir.
Son hates his father...
he's hot-blooded, they quarrel,
and the son loses his temper.
Quite straightforward, sir.
However, we've got him locked up
safe and sound.
However, we've got him locked up
safe and sound.
But Jeremy did not hate his father.
He was one of the most even...
- If you've come here to obstruct justice...
- I came here because you sent for me.
Here's your letter, sir.
I shan't need to see you anymore.
- And don't go touching that, will you, sir?
- No.
(EERIE INSTRUMENTAL MUSIC)
Master.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
(ROOSTER CROWING)
SECKER: You have the courage
to do what has to be done...
and above all...
your love for Alice will act as
your strength and your protection.
And you must believe me.
You must arm yourself
with knowledge, Paul.
And so you will see that, while there is
little hope for your dear sister...
Alice may have escaped.
Find her, Paul,
and nd her before nightfall.
Only then will you know the truth.
We know that she is under his influence...
but she may not yet
be his sister in blood.
Not yet.
So nd her, Paul. Find her!
Find her before it is too late.
(SUSPENSEFUL INSTRUMENTAL MUSIC)
Lucy.
Lucy!
(MELANCHOLIC INSTRUMENTAL MUSIC)
(TENSE INSTRUMENTAL MUSIC)
Alice!
Alice!
Alice!
Alice!
Alice!
(MYSTERIOUS LOUD RUMBLINGS)
(WOMAN SCREAMING)
(INTENSE INSTRUMENTAL MUSIC)
DRACULA: Take it away.
ALICE:
You'll give it to me, or we'll punish you.
You're free, Alice.
Free to choose good or evil.
You're not one of them yet.
You're free to choose.
- I must do as he says. He's my master.
- He's not!
(INTENSE INSTRUMENTAL MUSIC CONTINUES)
Did I do well, master?
Take me with you, master.
I have no further use for you.
(DRAMATIC INSTRUMENTAL MUSIC)
PAUL: Run, Alice! Run as fast
as you can away from here.
ALICE: Not without you, Paul.
Please, you must come, too. He'll kill us!
- ALICE: Please.
- PAUL: I can't go.
ALICE: Please, Paul.
PAUL: Please run. Do as I say!
(VOICE RECITING PRAYERS)
(SOFT ORGAN MUSIC PLAYING)
(DRACULA SCREAMING)
(THUNDER CRASHING)
(EERIE INSTRUMENTAL MUSIC)
(PEACEFUL INSTRUMENTAL MUSIC)
(SLOW INSTRUMENTAL MUSIC)