Chapter Text
Dark Universe
Written by Andrew Downs and Thomas Lapeyrouse III
Deep in the rugged Carpathian Mountains of Transylvania, Romania, in May 1897, the sun began to set as a lone carriage wound its way through the mist-shrouded roads. Among the few passengers on board was Jonathan Harker, a fresh-faced solicitor, filled with a potent mix of excitement and trepidation as he embarked on his first professional assignment. His destination? The foreboding castle of Count Dracula, a reclusive Transylvanian nobleman with whom Harker’s agency sought to secure a real estate transaction for the sale of Carfax Abbey in London. Eager to recount his adventure to his beloved fiancée, Wilhelmina ‘Mina’ Murray, Jonathan had thus far documented every detail of his journey meticulously over the past two weeks. [Dracula the Musical – Prologue]
As the carriage made its way to the modest village of Bistritz, Jonathan wrote in his journal, recounting his adventures thus far: vivid descriptions of the enchanting landscapes of Eastern Europe, the exotic cuisines he savored at the wayside inns (which he’d acquired recipes for and planned to give to Mina upon his return), and an eerie account of how he’d once strayed from the carriage into the woods only to be guided back by an enigmatic white wolf with red streaks in its fur. Jonathan mused that the trip had taken him two weeks to travel from London to Bistritz and that whatever adventures lay ahead were more than a lawyer’s clerk usually experienced.
As Jonathan approached the end of his ride, he placed his journal back into his carry-on and pulled out the letter that’d beckoned him on this unsettling journey. As he did so, however, a photo accidentally fell out. Picking it up, Jonathan smiled as it showed his beloved Mina and her adoptive sister, Lucy Westenra. Carefully placing the photo back in his journal and stowing them away, he reopened the letter and reread it once again to ensure he’d gone over every detail. The invitation was from the Count himself, informing him that one of his servants would meet Jonathan in Bistritz and accompany him the rest of the way to the castle via a coach through the Borgo Pass.
At last, the carriage finally came to a halt in Bistritz, a remote village a few miles from the Bargo Pass. Nestled amidst dark, foreboding forests and rugged terrain, the village held an air of isolation. The landscape was both beautiful and intimidating, with a lingering mist that hung close to the ground. The village’s buildings, crafted from a mix of sturdy stone and weathered timber, were of unmistakably Eastern European design, their facades weathered by time and the elements. At the heart of the village stood the central square, locally referred to as the Court of Miracles, dominated by a large, ancient fountain, its surface cracked and worn.
As the other passengers disembarked from the carriage, Jonathan entered the local inn, the Golden Krone, and asked the innkeeper, Michael Visaroff, if he knew when the next carriage would be arriving. Visaroff either appeared to not understand Jonathan’s English or didn’t know of any other scheduled carriages coming that night. Deciding to wait for his escort, Jonathan took one of the tables in the inn’s little dining area. A few hours later, Jonathan looked outside again as the sun began to set, and yet still saw no carriage had arrived. Knowing the importance of his arrival, Jonathan thought it strange that no one had yet come to escort him, or even look for him.
Seeing his distress, the innkeeper’s wife, Barbara Bozoky-Visaroff, brought a small plate of food to his table. As Jonathan thanked her, he inquired to her if she knew anything of the man he’d been sent to meet. Upon saying the name Dracula, however, the woman dropped her tray and stared at him in abject horror. As Jonathan went to help her pick up the tray, he noticed that the entire room, which had been a bustle of joy, singing, and merriment mere moments ago, had suddenly become as quiet as the grave, with all of the villagers staring at him, frozen in place in pale-faced fear. As the sun began to slip away behind the mountains, the innkeepers and villagers rushed to Jonathan, begging and pleading with him not to go in a mix of English and an unfamiliar language he barely understood. They warned Jonathan about something of the “Night of Evil” and that “Nosferatu” inhabited the castle.
As the sun finally vanished into the night, the door to the inn suddenly burst open and the crowd quickly moved away from Jonathan. Watching with waited breath, the villager’s fear filling him with a sense of dread, Jonathan watched as a striking woman entered the inn, who’d seemingly materialized from the mist itself. She had pale brown skin and an athletic look, with red hair tied in two long braids. Looking at her attire, Jonathan assumed she was a servant of some kind, with an intricate red collar around her neck. But most striking of all to Jonathan was that she had red eyes and slightly pointed ears – both of which he just chalked up to exotic foreign traits and possibly albinism. Jonathan rationalized that her strange appearance must have been why the villagers were so scared, for as she smiled and spoke kindly to them, they either ignored her or backed away. How unfortunate, Jonathan thought, that some places in the world still were fueled by prejudices towards others and the superstition of the unknown.
When the woman finally spotted Jonathan sitting at his table, she smiled brightly and hurried to him. She introduced herself as Aleera Popofsky, a servant of Count Dracula, and apologized for her lateness, having been unfortunately delayed (she had to wait until the sun was down). Unlike the monster the villagers were making her out to be, Jonathan saw her as a kind person. As Aleera offered to carry his luggage (which she did effortlessly despite his own struggle to carry them), she escorted him to a waiting immaculate black carriage.
Jonathan immediately recognized that the carriage belonged to nobility who had a deep appreciation for gothic aesthetics. The carriage was meticulously crafted from weathered, ebony mahogany, boasting multiple windows that allowed the moonlight to filter through. The mounted lanterns at the four corners cast a ghostly light upon the dark exterior. Delicate silver filigree adorned the edges, and intricate carvings of bats, wolves, and other creatures of the night seemed to come to life, their forms emerging from the wood with an almost haunting realism. The wheels were of exquisite design, forged from iron and embellished with silver, while their spokes were fashioned to resemble elongated fangs. The hubs proudly displayed the Count’s regal crest of a red dragon, adding an unmistakable air of aristocracy to the carriage.
Perched atop the carriage’s driver’s seat was the mysterious coachman. The man was shrouded in a long, flowing dark coat that billowed in the chilling night wind. His face remained hidden behind a raised high collar and the wide brim of his hat, creating shadows that concealed his identity. Every now and then, his piercing red eyes would briefly come into view, exuding a keen and perceptive gaze. In his hands, he held reins connected to a team of emaciated midnight-black stallions, their eyes glowing with an unnatural intelligence.
As Aleera loaded his luggage and Jonathan prepared to board the carriage, he failed to notice how all the villagers had suddenly gone back to their business, avoiding looking at Jonathan or Aleera, or vanished to the inn’s rooms – all except the innkeeper’s wife. Just as he was about to step inside, Mrs. Bozoky-Visaroff dashed to grab his arm and delivered an ominous warning, pleading with him to reconsider for the sake of his safety. She told Jonathan that it was the eve of St. George’s Day, when “all the evil things in the world will have full sway.”
When he politely refused, Mrs. Bozoky then put a crucifix around his neck, saying, “For your mother’s sake, then.” As Jonathan looked at the crucifix, he failed to see as Aleera, who was already sitting in the carriage, dropped her cheery smile and shoot the innkeeper’s wife an evil glare – her eyes briefly shifting to resemble wolf eyes; glowing, angry, and hungry. As Jonathan looked up to thank Mrs. Bozoky, he saw she’d vanished back inside the inn. Turning back to enter the carriage, Jonathan saw Aleera with the same bright smile and kind eyes.
As Jonathan stepped into the carriage, it was as if he’d been transported to a world of lavishness and comfort. The soft glow of candelabras affixed to the walls bathed the interior in a warm, ambient light; their flickering flames casting dancing shadows that played across the carriage’s interior. The seats, adorned with plush crimson velvet, provided a striking contrast to the carriage’s dark exterior. Adding to the mystique, black curtains with intricate blood-red patterns of roses and thorns were pulled open, tied by elaborate red cord.
As the carriage departed, Jonathan watched as Aleera opened a window to wave at the people as if she were royalty or a celebrity, while many of the villagers ran back into their homes. From a window, he saw Mrs. Bozoky shielding her child behind her and making the sign of the cross in his direction. As they left, Jonathan asked why the villagers seemed so frightened of her. Aleera apologized for the villagers’ strange behavior, explaining that many of them were simply superstitious and had always been apprehensive towards her master’s reclusive family. She assured him that it was nothing to worry of and that he’d understand when he met her master.
As they made their way through the Borgo Pass, Jonathan, in an attempt to calm his nerves, found himself writing in his journal. While engrossed in writing, he noticed Aleera’s gaze fixated on the photograph of Mina and Lucy he'd set aside. Though he chalked it up to his nervousness, he could’ve sworn he’d seen a flicker of shock briefly cross Aleera’s face as she stared at the photo – as if she were seeing a ghost; but when he blinked, she looked as cheerful as she’d been the entire ride. When Aleera inquired about the women in the picture, Jonathan explained that they were his fiancée and future sister-in-law, eagerly awaiting his return at Whitby Bay in Yorkshire, the place where he and Mina had first met. He explained that he and Mina planned to finally be married once his business transaction with Dracula was finished and he returned to her.
Later, as the night fully enveloped the sky, Aleera informed Harker that they’d finally arrived. [Dracula Untold – Prologue] Jonathan peered out of the carriage window and saw a colossal gothic structure perched on a jagged cliff overlooking a deep chasm. The structure, in a notable state of ruin, featured towering spires and turrets that extended at impossible angles, defying gravity and piercing the dark sky like jagged teeth. Overhead, the stormy sky swirled with dark clouds and occasional flashes of lightning, illuminating the castle and hundreds of bats circling above. As they got closer, Jonathan heard from the thick, dark forests surrounding the castle the howls of wild packs of wolves; announcing their arrival like trumpeters, which Aleera seemed to smile at the sound of.
As they passed the worn iron gates of the estate, Jonathan saw waiting for them at the entrance was an elegant, snow-white-skinned woman – appearing almost ethereal and spectral. With an intelligent air about her, she tucked an out-of-place strand of ebony hair behind her slightly pointed ears into her low-cropped bun, reaffixed her black lensless glasses, and adjusted the same red collar around her neck that Aleera wore. As Jonathan and Aleera stepped out of the carriage, the woman introduced herself as Verona Vilisevic, the Steward of the Castle. Before Aleera could utter a word, Verona swiftly instructed her to take Jonathan’s luggage to his room and escorted Jonathan inside herself, informing Aleera that they would have a conversation later about her delayed arrival. As the last of the luggage was removed from the carriage, the coachman wiped at the horses which let out a scream as they departed into the night.
As they approached the castle, Jonathan couldn’t help but be awed by the massive, weathered stone walls of the ancient structure. The dark, aged stone gave the castle an eerie, timeless appearance, hinting at untold centuries of history and concealed mysteries. Monstrous gargoyles perched on ledges and corners added to the sense of foreboding; their twisted forms and menacing expressions sent shivers down Jonathan’s spine. The once-grand doors, now decayed with the passage of time, parted with a loud, rusted squeaking.
Upon entering the castle, Jonathan was immediately struck by the grandeur and decay that coexisted within its walls. The entrance hall was vast and imposing, with high ceilings and stone walls that echoed with their footsteps. The dim lighting, provided by flickering candles and torches, cast long shadows that danced across the cold stone floor, creating an atmosphere of unease. As they entered the foyer, Verona instructed Jonathan to wait there while she announced his arrival to her master.
As Jonathan waited, he took in the opulent yet faded grandeur of the foyer and main hall – rich tapestries that were now mouth-eaten, ornate chandeliers missing dozens of crystals, and luxurious furniture either torn or worn out all hinted at Dracula’s once immense wealth and lofty status. The walls were adorned with tapestries and faded portraits, remnants of a bygone era that hinted at the castle’s storied past. The twin stairs leading on either side to higher floors were adorned with ornate carvings depicting twisted vines and grotesque figures that seemed to come alive in the flickering candlelight.
Despite the resemblance to the fantasy novels that Mina loved to read to him, the dim lighting, shadowy corners, and palpable sense of unease in the air created a deeply unsettling atmosphere. If the castle was any reflection of its master, then Jonathan felt an urgent desire to conclude their business deal as quickly as possible.
After what seemed like an eternity – with Jonathan swearing he saw eerie creatures darting around the darkened castle out of the corner of his eyes – he turned his attention to the weathered stained-glass window. The windows were tall and narrow, allowing only slivers of moonlight to penetrate the darkness within. Gazing through the small slits, Jonathan looked out at the desolate, gloomy countryside surrounding the castle. The distant howls of wolves, accompanied by other unidentifiable, terrifying sounds, echoed through the air, sending a chill down his spine.
Suddenly, a voice broke the silence, commenting on the haunting beauty of the sounds. Startled, Jonathan spun around to see a mysterious, unnaturally pale elderly figure clad in black standing behind him. The elderly man’s tall, imposing presence and deep, sorrowful red eyes gazing out at the forest left Jonathan with a feeling of inexplicable unease.
“Um, excuse me?” Jonathan asked.
The man, still gazing out the window, responded, “Listen to them, the children of the night. What music they make!”
Breaking his gaze from the window, the man offered his apologies and extended a warm welcome to Jonathan, introducing himself as the master of the castle, Count Vladislaus Dracula Ţepeş III. Relieved to finally meet the man he was sent to see, Jonathan stuck out his hand to greet Dracula. As the two shook hands, Jonathan noted the ornate bat-symbol ring adorning Dracula's hand, the wolf headed cane the count leaned against, the impressive strength of Dracula’s grip, and how the ice-cold hand was more like that of a dead man’s than a living one. As the two conversed, Jonathan noticed the same exotic foreign marks that Aleera and Verona bore: pointed ears, exceptionally pale skin, and extremely sharp teeth. Still, the Count’s greeting was so warm that the Englishman’s fears vanished.
As Jonathan prepared to present the deeds to Dracula’s new estate in order to conclude their business quickly, a young woman in her late 30's entered the room and informed them that dinner was ready. Though he couldn’t be certain, Jonathan guessed that she might’ve been the Count’s daughter, as she bore a striking resemblance to him: pale skin, soft red eyes, and slightly pointed ears. She was dressed in black Victorian gothic clothes, apparently already trying to become accustomed to the fashion of the country they’d be moving shortly to. Jonathan also noticed that she wore the same intricate red collar around her neck that Aleera and Verona wore. Strange, he’d assumed that was some sort of foreign mark of a servant. Perhaps it was just a bit of fashion for people of high social standing in Transylvania?
Jonathan’s thoughts were broken as Dracula thanked his daughter, Marya, for informing them and suggested that they continue their discussion over dinner. As they walked down a series of corridors that wound through the castle like veins, Jonathan was startled as the Count and his daughter seemingly passed through a large spider’s web that’d spread from wall to wall without disturbing it. The corridors were lined with suits of armor with bat-like emblems and ancient relics, their presence adding to the sense of history and mystery that permeated the castle.
When they reached the Great Hall, Jonathan was amazed by the long, wooden dining table, decorated with ornate carvings and bearing a lavish supper. It was surrounded by high-backed chairs, with the largest at the head of the table, seeming to watch over the room like silent sentinels. A massive fireplace with a roaring fire loomed at one end of the hall, its mantel adorned with cobwebs and dust. Standing at the ready by the dining table were Aleera, Verona, and another woman, seemingly the last of Dracula’s servants – a pale beauty named Marishka Karelova, who had spiraling blonde curls and blue eyes. She was adorned in a similar attire to Aleera and Verona, conveying her servant status – albeit hers emphasized her sex appeal more so.
After sitting, with Dracula at the head of the table and Marya and Jonathan on either side of him, Dracula bid Jonathan to enjoy the feast prepared in his honor. As Jonathan began eating from the sumptuous spread laid before them, he noticed that Dracula and his daughter abstained from eating, to which the Count apologized and told him they’d had a bite before he arrived. What Jonathan didn’t notice, however, were Dracula’s servants watching him as he ate, especially Marishka who stared at him like a piece of meat. With a stern look, Dracula silently bid them to leave without Jonathan’s notice.
As the meal progressed, Jonathan discussed Dracula’s plans to relocate to London. He expressed concern about the potential expenses involved in moving Dracula, his daughter, and his servants across the sea, along with all his possessions, and how expensive such a venture would be. Dracula assured him that money was not an issue, and once the papers were signed, a crew would be dispatched to initiate the relocation.
Jonathan, still curious, asked if Dracula had any acquaintances in England awaiting his arrival. Dracula responded that he knew Jonathan and that other contacts had been informed in advance to ensure his arrival was well-received.
Jonathan commented that London was a big change from where Dracula was currently living. Still, Dracula admitted that, while he, his daughter, and his three servants were accustomed to solitude, he needed to experience new ways and meet new people Jonathan found this curious, as he was sure that there were at least four servants with the Couchman included, but kept this to himself.
Dracula further explained his desire to begin a new life in this new country to aid his daughter. She’d spent her entire life in the weathered castle, facing the prejudices of the locals. He wished to relocate to London to leave behind this life so that his daughter had a safer place to establish herself.
After the meal, Dracula offered to let Jonathan rest for the night in one of his guest rooms and get ready for his journey back home after they signed the paperwork the following morning. As Dracula escorted Jonathan down a long corridor to his room, the Count warned Jonathan that while he remained his guest, he could enter any room within the castle that was unlocked, and that all rooms barred from him were ones he would not wish to enter anyway. After the Count took his leave, Jonathan composed a letter to Mina, expressing his desire to conclude his business soon so he could return to her and finally make her his wife.