A Christmas Homecoming (10 page)

“How are we going to get gravestones on the stage?” James asked.

Joshua looked at Caroline.

“Eliza and I have found some very good old cabin trunks,” she replied. “They are solid and about the right size, stood up on end. We can easily cover them in paper and paint on them appropriately. We can get some stones and a little bit of earth from the kitchen staff.”

“Very good,” Joshua said with satisfaction.

“We may have to condense this next scene a bit for the sake of time; instead of finding the coffin empty multiple times, we’ll just have her in it, serene and lovely. Then empty, to get the point across.”

“It will be stronger if it is shorter,” Alice agreed. “But we should see her smile a terrible smile.”

“We will.” Joshua did not even think to argue. “We’ll see Lucy as a vampire quite clearly, and the struggle that Harker, Van Helsing, and Mina have to kill her. Then, with lights, we can make her seem to return to herself and finally be at peace in death. That is really the end of the middle act.”

“Bravo,” Vincent said sarcastically.

Joshua ignored him. “Then we move into the beginning of the climax, the search for Dracula. We start to see that Renfield’s behavior reflects Dracula’s being
nearby.” He looked at Vincent now. “Van Helsing will recount that, with the mimicry,” he instructed. “Including Renfield’s death, with appropriate sadness from Mina and Harker. We’ll include his reference to rats and flies. I know that’s a repeat of his previous references, but this time his manner will be different, and it should be a nice counterpoint.”

No one interrupted, but looking around at them, Caroline saw that he had his troupe’s complete attention. Even Douglas Paterson had nothing to say, as if at last, despite himself, he was drawn into the story.

“Then we have the series of scenes where Dracula appears and attacks Mina. The audience knows it, but Harker and Van Helsing don’t …”

Eliza Netheridge was sitting next to Caroline. “This is getting rather exciting, isn’t it? I begin to understand why Alice cares so much.” She looked across at Alice, who was standing at the far side of the stage, her eyes on Joshua.

“Van Helsing realizes the awful truth of Mina’s condition when he places the holy wafer on her forehead and she screams with pain. It leaves a red scar,” Joshua went on. “They corner Dracula, but he escapes.”

Eliza shuddered.

“Mina tells them that at sunrise and sunset Dracula loses much of his control over her.” Joshua continued the narrative. “Van Helsing hypnotizes her and she says that when Dracula calls her—and he will—then she will have no choice but to go to him, wherever he is, and whatever it costs her.” Joshua smiled. “At that point we should have the audience on the edge of their seats. Then we have the climax.” He glanced at Caroline, then away again.

“This will call for some clear lighting to create the illusion of movement,” he went on. “And then of a screaming wind and a snowstorm in the Carpathian Mountains. Our three remaining characters are huddling together as darkness falls, waiting for the coach that holds Dracula in his coffin, as he is returning to his native soil to regenerate his power. They have to drive a stake through his heart to destroy him forever, or else he will destroy them. We have to make certain that all the necessary information is given without slowing down the action or breaking the sense of doom and terror.”

Vincent grinned. “Actually, it sounds quite good,” he
said reluctantly. “It might even be passable, by the time Boxing Day comes. Let’s just hope there is an audience.”

“If there isn’t, we’ll put it on for the servants,” Joshua retorted. “Now let’s get to work.”

or a time as they worked, the challenge of creating a story in which they could all believe overtook their personal differences. There was a spark of excitement in the air.

Caroline leaned forward in her seat as they put more energy and movement into their positions on the stage. It was beginning to come alive. She forgot she was sitting on a chair in a stranger’s house in Whitby, working to make something good out of something poor. Bram Stoker’s characters became people; the dark shadow of the vampire reached out and chilled them all.

Vincent was enthusiastic about Van Helsing’s new and larger role. As Joshua had predicted to Caroline, he grasped at the chance to play Renfield as well. He did
not do it exactly as Ballin had, but he did it slyly, at moments pathetically. In spite of her dislike of Vincent, Caroline was forced to be both fascinated and moved by his performance. Renfield became not a device to further the plot but a real person, revolting and pitiful. Vincent Singer was Van Helsing, and Van Helsing, in his portrayal, was Renfield. The magic was complete.

When they changed the scene, stopping for a few minutes to talk about movements, Caroline turned to Eliza sitting beside her. She saw the awe in Eliza’s face, the naked emotion.

Aware of being looked at, Eliza colored a little and smiled apologetically. “I’m sorry, did you say something?”

“No. And please don’t be sorry. You were caught up in it. So was I. It is the greatest compliment you can pay an actor,” Caroline replied.

Eliza looked startled. “I suppose it is. You know, for a moment I believed it as if I were there. Do you suppose there really are people like poor Renfield?”

“I fear there are.” Caroline shivered. “But I am quite sure that there are no actual vampires.”

“Actual?” Eliza stared at her. “But such seductive
art is real, isn’t it! People who prey on one another, even who live by feeding on each other in some emotional way.”

“I think that is the whole point,” Caroline agreed. “It would hardly frighten us if the danger were only imaginary. We jump at shadows the first time, and then we laugh at our own foolishness and feel silly, but happy that there was no substance to it. If at heart we know the evil is real, then the feeling is completely different.”

Eliza looked at her with anxiety. “Should we be dealing with such ideas about real evil at Christmas? Isn’t it … inappropriate?”

“But isn’t the good real as well?” Caroline countered simply.

Eliza swallowed hard, her throat tightening.

“I used to believe the battle between good and evil was something of a fairy story,” Caroline went on seriously. She remembered Sarah’s death. She felt the horror again, as sharp as if it had been yesterday.

“Now as I get older and have seen more, I believe it is real. We need redeeming so desperately. We need hope because without it we have nothing. If there is a God, then mercy and renewal must be possible, even if
we understand only a little of them, and nothing at all of how such redemption works. We get so much wrong, make so many rules, because it deludes us into thinking we have control of what goes on around us. We don’t, and we shouldn’t want to.

“For heaven’s sake, we are so limited!” she added with sudden ferocity. “We need a force infinitely bigger and wiser than we are in our lives. But we cannot have good without also the possibility of evil, so if there are angels, then there must be devils as well. If we are even remotely honest with ourselves, we know that. So …” She looked at Eliza’s face and wondered if she had already said too much. “So in a way devils and demons are good,” she finished. “Because if we are reminded that there is evil, even supernatural manifestations of it, then we will believe in and love the good even more.”

Eliza was smiling. She put out a hand very tentatively, resting it on Caroline’s arm. “My dear, you are a remarkable woman. I could never have imagined that watching a group of actors working would have taught me something I so badly needed to know. Thank you so much.” Then, as if embarrassed by her frankness, she stood up and excused herself to go and speak to the
cook about dinner. “I fear we shall have to be a little more sparing with our rations than usual,” she added, by way of explanation.

Caroline thought that the cook would have noticed for herself that the snow was impassable, but she only nodded agreement.

On the stage they were proceeding with some of the later scenes; Vincent Singer was elaborating on Van Helsing’s intellectual brilliance.

Caroline watched Joshua, and knew he did not like it. She agreed with him. Glancing at the faces of those who were watching, she could see that they were bored as well.

Mr. Ballin came in silently, bowing briefly to Caroline, and to Alice and Lydia, who were both sitting in the audience. Douglas ignored him, but Ballin did not seem to see anything untoward about Douglas’s manner.

Caroline watched Joshua standing on the stage holding the script in his hand. He had asked Vincent to make more of Van Helsing’s character, his humanity. But now that Vincent was trying to add depth, the character was not coming alive. But Joshua needed a solution
before he risked interrupting Vincent’s monologue. They could not afford the time or the emotional energy for tantrums, and Singer was crucial to the drama.

Vincent continued on, making Van Helsing seem a smug genius, and Alice sat wincing, looking more and more perplexed.

Finally Joshua interrupted. “Vincent, this doesn’t work. It’s taking up too much time, and half of it is irrelevant.”

Vincent stared at him. “I thought you wanted Van Helsing to be more of a character? As Miss Netheridge has written him, he’s flat, and even tedious. And more important, he’s no match for Dracula. How many times have you told us that a hero has no validity if the villain has no menace and no power? Surely the reverse must also be true?”

“Yes, it is,” Joshua conceded. “But telling us he is clever doesn’t convince—”

“What do you want?” Vincent demanded. “I’m an actor, not a conjurer or a contortionist. You want the music halls for tricksters!”

“It’s too many words,” Joshua said flatly. “We stop listening.”

Ballin walked over toward the stage. “No one cares for a man who boasts of his achievements,” he said quietly but very clearly. “And we have to like Van Helsing, even if we do not always understand or approve of what he does until after he has done it. Then we see the necessity.”

Vincent started to speak, and Joshua held up a hand to silence him.

“What do you suggest?” he asked Ballin.

“Let him solve a problem, a difficulty of some sort,” Ballin replied. “Then his quick thinking, his knowledge and improvisation will be evident, and useful. He will not need to boast; in fact, he will not need to speak at all.”

“Oh, bravo!” Vincent applauded. “Such as what? I’m sure you must be overburdened with examples.”

Ballin thought for a moment. “Well, the use of light and mirrors is always interesting,” he replied. “Especially with vampires, who traditionally have no reflection.”

“We already know who the vampire is.” Vincent dismissed the suggestion with a degree of contempt.

Ballin ignored him. “Van Helsing could arrange mirrors
that reflect from each other, magnifying light and sending it around corners. Vampires are creatures of the shadows. At least to begin with, Dracula does not wish to be exposed.”

“Brilliant,” Vincent said sarcastically. “Then we lose all the tension because we defeat the poor devil right at the beginning. So how is it then that we let anyone fall victim to him? Are we all just blazingly incompetent?”

Ballin was unperturbed. “We do not succeed because Lucy is bitten outside, in the night, before Dracula ever enters the house. Van Helsing doesn’t know that. Nor, at the beginning, does he know the depth of the vampire’s seduction. Lucy moves the mirrors, just as later Mina will lie, and even become violent, when Dracula calls her.”

Joshua was smiling slowly.

Ballin continued. “Later Van Helsing could suggest an alarm to warn them all if anyone enters Mina’s room through the window. A chemical device, of magnesium dislodged by the movement of the window so that it lands in water. It would give off a brilliant white light, which could be seen by anyone watching the window from another part of the house.”

“And they don’t come running to the rescue because …?” Vincent asked, but his voice was now interested rather than dismissive.

Ballin smiled very slightly. “Because Mina has drugged their wine. That is already in the story. Again, clever as we are, we have underestimated the strength of the vampire’s hold over our minds.”