Wednesday 31 March 2021

There Was a Fine Young King.

 


There was a Fine Young King. He was vigorous, strong, and a good man in every respect. 

He loved to hunt, and one day he was hunting deer on horseback with his courtiers. 

In Indian mythology, The Call of The Inner World, The Call of The Unconscious, is often portrayed as a deer that is tantalizingly close but eludes being caught. 

The King and his courtiers were galloping along when the King saw a deer just out of bow-and-arrow range. 

He veered off and began following it, but the miraculous deer kept just outside his range. 

The King went plunging further and further into the forest, chasing the deer all day, so intent was he, in his masculine vigor, to catch this prized animal. 

By late afternoon, the King was irretrievably lost, and the deer had vanished. 

What a wonderful deer. 

He gets you where you need to go and then leaves you. 

The King was exhausted and rather frightened, as he was now separated from his courtiers. 

Being a wise young man, he got off his horse and sat down. 

If you don’t know What to Do, 

sit quietly, until your wits come back.

 

Suddenly he heard a beautiful song. A maiden was singing as he had never heard before, and he fell in love with her very voice. He got up, began to walk toward the sound, and soon came upon her. The maiden was as lovely as her voice, and the King, overwhelmed by her beauty, instantly lost his heart to her. 

 

He asked, “Are you married?” and the maiden said, “No.” The King said, “Will you be my queen?” and the maiden replied, “You must ask my father.” So he asked her to take him to her father, and she did. 

 

The father, himself a wise man, was delighted at the prospect of having a king for a son-in-law, but he didn’t let his enthusiasm appear too obvious. So he said, “You may have my daughter as your wife under one condition. She must never see water.” If you replace the word water with the wordreality, you will understand this story easily. The King agreed, and the young couple married. But there was one problem—keeping the Queen from seeing water. 

 

Avoiding Reality The King did his best to arrange for the Queen to see no water, but the task was more difficult than he anticipated. The palace was located right along the river that ran through the royal city. So the King ordered the royal laborers to build a brick wall alongside the river. Before he would take the Queen outdoors or up to the palace roof, he also had to be careful that there was no rain on the horizon. In fact, the King spent almost all his time arranging things so the Queen would not see water, and he did little else. The kingdom was going to seed, as he wasn’t per- forming most of his kingly duties. 

 

Finally, one day, the courtiers cornered him and said, “You never meet with us. You’re not managing the kingdom.” And the King said, “I have no time. Go away.” The head courtier, seeing that the kingdom was in dire straits and that there was no use asking the King again, as he was out of his mind, went to the servants and asked, “How does the palace work? What do you do?” The servants told him, “We spend all our time making sure the Queen does not see water.” 

 

What is this myth telling us? The King is in the throes of the forward-looking possibility, but his newfound love, who would fill his heart and bring him all the legitimate happiness in the world, has a condition laid upon her—that she must never be subjected to reality. Every love affair, every Stardust romance, carries this prohibition. It will work as long as you don’t subject it to reality, as long as it doesn’t come down to ordinary everydayness. If ordinary everydayness— water, in the symbolism of the story—ever douses this fallen-in-love quality, the feeling dis- solves instantly. That is the story of romantic love. 

 

The head courtier came to the King and said, “Sire, let us make a garden on the rooftop. We can plant trees and beautiful plants and put a roof over it, so that even if it rains, there will be no difficulty. You and the Queen can spend time in the gar- den and be happy.” They did, and it was a success.

 

Contact with Reality

One day the courtier asked, “Sire, are you not thirsty for the sight of water?”

 

And the King admitted, “I’m parched, but I don’t dare pursue my wish or The Queen will be in trouble.”

 

So the courtier suggested, “Your Majesty, I can build a fountain in the middle of the garden and surround it with greenery so thick that the Queen will never see it.

You can gaze upon the fountain in private and be refreshed.”

It was done. The King went regularly to the fountain and he was pleased. 

 

Then, one day, inevitably, the Queen happened upon the fountain. She was delighted for an instant, and then she vanished.

Our idealism, our noble motives, our loftiest intuitions perish at their first contact with reality.

The Queen disappeared, and the King was consumed with loneliness. Everything he wanted in The World, and he’d had a touch of it, was gone.

He could not eat or drink. Nothing could assuage his loneliness. 

 

The courtiers tried to cheer him up. They gave him the best of everything.

But when someone is in the throes of that kind of loneliness, he is inconsolable. Nothing anyone can do, no possessions, no amount of money, fame, or entertainment can break through that loneliness.

We have seen something that we are not yet able to encompass, and it is snatched away.

This is the cruelest loneliness of all.

 

The King was in the level of Hell that is frozen over, and no one knew what to do.

It had never happened before, and they didn’t have a cure for it.

Then one wise man observed that when The Queen vanished, a small frog had appeared in the roof garden beside the fountain.

He didn’t know what it meant, but he had seen it.

The King heard about the frog at The Fountain and went up to The Garden and smashed it flat with his own hands.

Then he declared that all the frogs in The Kingdom were to be killed.

For weeks, peasants trudged toward the palace with sacks of dead frogs to collect their bounties. Thousands and thousands of frogs were killed, and The Kingdom was spending all its time and energy killing frogs and carrying them to the royal palace.

The King had all the frogs killed because he thought the frog was, in some way, responsible for the disappearance of His Queen.

That’s a strange symptom of loneliness.

We self-perpetuate our loneliness, killing every frog we see. 

 

Finally, one day, The Frog King came to see The King,

and he said,

“Your Majesty, you are about to exterminate my entire species.

I am The Father of Your Queen.

She returned to the land of the frogs when you broke your vow.”

 

The King listened.

He liked the Frog King and made peace with him.

 

As a result, The Frog King brought his daughter, the little frog by the fountain, back to life.

Here was the Queen in all her splendor. The King embraced her and was happy again.

And the Queen was no longer compelled to stay away from water.

 

Transformation and Redemption

This Myth of the King and His Frog Queen is a story of Transformation and Redemption.

If you’re caught in the kind of loneliness that has no comfort and cannot be assuaged, and you can hear the wisdom of this story, it will help.

 

This is how to get through the second kind of loneliness.

 

If you have touched something of Heaven, something that was given to you miraculously but is not yet ready for contact with reality, when reality touches it — and inevitably it will — The Dream will vanish and your loneliness will return worse than before.

You must touch the inner world and learn to bear the sight of water without going to pieces.

When you restore your connection to the unconscious, to spirit, your beloved will come back cured of her reality phobia. 

 

Both the King and the Queen had learned to live without Water, Reality.

But the King couldn’t stand it, or maybe it was the Queen who couldn’t stand it.

No relationship can survive unless it includes Reality, Water.

Many fine, spiritually evolved people are at the tenuous stage where they’ve had a sublime vision, but if any water gets on it, it vanishes.

The King on his heroic journey, and all heroes, are the ones who suffer most. 

 

At some time in every relationship, every man or woman wonders: When did my partner turn into a frog? Whether you get through this crisis hinges on your ability to see the divine.

At first, we fail.

The King marries the Queen, and you might hope the story will end with them living happily ever after. But they can’t take it. Every marriage replays this scene, and the marriage can dissolve at this point. She turns into a frog. He turns into a boar. They are unable to sustain the heavenly vision that started it all. The frog needs water. 

 

The bliss you experience at the beginning of your marriage is true, but you can- not stand it. If you hang on and go through the dry time — without water — the glory of your first meeting will return, less fragile this time.

But you have to persist to be able to touch the bliss of Heaven and the trials of ordinary life.

 

The Nearness of God

 

The third kind of loneliness is the most subtle and difficult.

It is the loneliness of being dangerously close to God.

The proximity of God is always registered first as extreme pain.

To be near it yet unable to touch the thing you want most is unendurable.

A medieval proverb says, “The only cure for loneliness is aloneness.”

 

In the Western world, loneliness has reached its peak.

The old ways that used to protect us have worn thin.

We’re at the point where The King has killed the frog, and we feel perpetual, incurable loneliness.

When we’re in this kind of pain, we cry out to be freed from our suffering.

But when our understanding deepens, we go off somewhere, sit still, and determine not to move until the dilemma is resolved.

For some time, the journey is hellish.

I don’t know whether it’s possible for us to get through this stage more quickly or if it is a set path we have to traverse at its own pace, not ours. 

 

When we are able to move from solitude to vision, redemption takes place and loneliness vanishes — not because it gets filled, but because it was illusory in the first place.

It could never be filled.

A new kind of consciousness arises that does not find the immanence of God unendurable. There never was anywhere to go outwardly. But there is a lot to do inwardly.

The change of consciousness that turns Loneliness into Solitude is genius.

Each time the handless maiden comes to a crisis, she goes to The Forest in Solitude.

This is especially powerful in a woman’s way. It is the feminine spirit.

 

Solitude and Community

As an intuitive introvert, I rarely feel lonely when I’m alone.

When I was in my early twenties, I took a job in a lookout tower, fire-watching in the forest. I was alone on a mountain peak for four months, and I never felt lonely.

Reality didn’t catch me there. I was not in danger of my Queen leaving me.

But the moment I returned to civilization, loneliness descended on me like a landslide.

How could I be so happy on the mountaintop and then rubbed so raw when I came back down?

I didn’t want to live my whole life on a mountaintop — I’m not a Hermit.

I had to go back and forth, as the King did, until the visionary life could finally stand the impact of The Water of Reality.

 

The Queen in me had to learn to withstand the water. It’s a process. I believe that everyone who has touched the realm of spirit has had to go through this antechamber. 

 

If you’re honest and perceptive, you can tell the difference between regressive loneliness, the first kind, and the ineffable second and third types of loneliness, where you sense and then see what you cannot yet have.

The second and third types of loneliness are nearly indistinguishable.

If you can say exactly what you are lonely for, it will reveal a lot.

Do you want to go back where you came from, to the good old days?

Or have you seen a vision you can’t live without?

They’re as different as backward and forward. 

 

Dr. Jung said that every person who came into his consulting room was either twenty-one or forty-five, no matter their chronological age.

The twenty-one-year-old is looking backward and must conquer it.

The forty-five-year-old is being touched by something he cannot yet endure.

These are the only two subjects of therapy. 

 

Solitude 

 

The Garden of Eden and the heavenly Jerusalem are the same place, depending on whether you are looking backward or forward.

A person touched by loneliness is a holy person.

He is caught in the development of individuation.

Whether it’s a development or a regression depends on what he does with it. Loneliness can destroy you, or it can fire you up for a Dante-like journey through Hell and Purgatory to find paradise.

 

St. John of the Cross called this The Dark Night of the Soul. 

 

The worst suffering I’ve ever experienced has been loneliness, the kind that feels as though it has no cure, that nothing can touch it.

 

One day, at the midpoint in my life — a little like Dante — I got so exhausted from it that I went into my bedroom, lay face down on my bed, and said, “I’m not going to move until this is resolved.”

I stayed a long time, and the loneliness did ease a little.

Dante fell out of Hell, shimmied down the hairy leg of the Devil,

went through The Center of The World, and started up the other side, which was Purgatory.

I felt better, but as soon as I got up and began to do anything, my loneliness returned.

I made many round trips until gradually an indescribable quality began to suffuse my life, and loneliness loosened its grip.

Nothing outside changed. The change was entirely inside

 

Thomas Merton wrote a beautiful treatise on solitude :

 

He said that certain individuals are obliged to bear The Solitude of God.

Solitude is loneliness evolved to the next level of reality. He who is obliged to bear the solitude of God should not be asked to do anything else; it’s such a difficult task.

For monastics, solitude was one of the early descriptions of God. If you can transform your loneliness into solitude, you’re one step away from the most precious of all experiences. 

 

This is The Cure for Loneliness.

How Should I Know?

X-Files (1995): Clyde Bruckman: How Should I Know - This is the Spot


CAR :
(Scully's driving, [SCULLY NEVER DRIVES (Her little feet can't reach the peddles)] Bruckman's in the front seat, Mulder's in the back. Mulder leans forward to talk to Bruckman.)

CLYDE BRUCKMAN: 
We're almost there.

MULDER: 
How are you receiving this information about the body's location?

CLYDE BRUCKMAN: 
How should I know?

MULDER: 
I mean, are you seeing it in a vision or is it a... sensation? 
How do you know where to go?

CLYDE BRUCKMAN: 
I just know.

MULDER: 
But how do you know?

CLYDE BRUCKMAN: 
I don't know!

(Mulder slinks back in his seat. Bruckman half-looks at him.)

Look, it's just up ahead. You know, there are worse ways to go, 
but I can't think of a more undignified way than autoerotic asphyxiation.

(Mulder leans forward.)

MULDER :
Why are you telling me that?

CLYDE BRUCKMAN :
[smirks]
Look, forget I mentioned it. 
It's none of my business.

(He looks ahead, smirking.)

Oops, pull over here.

(Scully stops the car.)

Stop.

(Bruckman gets out and looks around.)

This is the spot.

(They start walking through the forest, looking for the body.)

I guess you run into a lot of dead bodies in your line of work.

SCULLY :
You get used to it.

CLYDE BRUCKMAN: 
I never have. 
I'm not sure you're supposed to.

MULDER: 
Do you remember the first time you foresaw someone's death?

CLYDE BRUCKMAN: 
1959.

MULDER: 
What happened in 1959?

CLYDE BRUCKMAN: 
Buddy Holly's plane crashed.

SCULLY: 
You prognosticated Buddy Holly's death?

CLYDE BRUCKMAN: 
Oh, God, no. 
Why would I want to do that

But I did have a ticket to see him perform the next night. 

Actually, I was a bigger fan of the Big Bopper than Buddy Holly. 

"Chantilly Lace," 
that was the song.

MULDER: 
I'm not following.

(Bruckman sighs. They stop walking.)

CLYDE BRUCKMAN : 
There's... The Big Bopper was not supposed 
to be on the plane with Buddy Holly. 

He won the seat from Somebody Else 
by flipping a coin for it.

MULDER :
I'm still not following.

CLYDE BRUCKMAN : 
Imagine all the things that had to occur
not only in his life, but in Everybody Else's
to arrange it so on that particular night, 
The Big Bopper would be in a position to Live or Die depending on a flipping coin. 

I became so obsessed with that idea 
that I gradually became capable of seeing the specifics of 
everybody's death.

SCULLY :
Well, Mister Bruckman, 
I'm not one who readily believes in that kind of thing 
and if I was, I still wouldn't believe that story.

CLYDE BRUCKMAN :
I know it sounds crazy, but I swear it's True --
I was a bigger fan of the Big Bopper than Buddy Holly.

(She looks at him, annoyed.)

SCULLY :
Where's the body?

MULDER :
Yeah, Mister Bruckman, I don't understand how you can know that 
this is the exact area, but you can't pinpoint the exact spot.

(Bruckman looks around.)

CLYDE BRUCKMAN :
I guess I can't see the forest for the trees.

(Back at their car, Bruckman and Mulder prepare to push the car out of the mud when Scully pushes the gas.)

MULDER :
Okay, now.

(The wheels spin, splattering Mulder's pants with mud. Bruckman looks down at the tire in front of him, apparently smiling.)

I'm glad I could bring a little smile into your life, Mister Bruckman.

CLYDE BRUCKMAN :
I'm not smiling, I'm wincing.

(Mulder looks down at his tire to see a hand sticking out of the mud under the tire.)

GRENADA

The X Files - 
Mulder Asks Clyde Bruckman for Help (3x04)

CLYDE BRUCKMAN'S APARTMENT
(The numbers on Bruckman's lotto ticket are "9, 13, 37, 39, 41, 45." 
He is listening to the radio.

WOMAN ON RADIO: 
Thirty-eight, forty and forty-four. 
Once again, the winning lotto numbers are...

CLYDE BRUCKMAN: 
Why?

WOMAN ON RADIO: 
...eight, twelve...

(Bruckman turns it off.)

CLYDE BRUCKMAN: 
Why do I do this to myself?

(He covers his eyes with his hands. There is a knock at the door.)

Come in.

(Mulder slowly walks in.)

I knew it was you. I know why you're here. You're here because you found that woman's body where I told you it would be. And now you're convinced I have some kind of psychic power. So while your skeptical lady partner is off performing an autopsy, you came here to ask my help catching this serial murderer.

MULDER: Everything you said is correct.

(Bruckman looks up at him.)

CLYDE BRUCKMAN: Oh, it's you.

(Mulder looks perplexed.)

I won't help you. Please leave.

(He stands.)

MULDER: But you do admit to having this gift.

CLYDE BRUCKMAN: Oh, I got it, all right. The only problem is, it's non-returnable.

MULDER: Mister Bruckman, you possess an ability that not only has staggering implications upon physics and human consciousness, but it's one which most people, myself included, would be envious of. Yet you seem to treat it with disdain.

CLYDE BRUCKMAN: Do you want to know how you're going to die?

(Mulder stares at him.)

MULDER: Y, yes, I would.

(Bruckman laughs a little and smirks.)

CLYDE BRUCKMAN: No, you don't. Of course, not knowing has its own drawbacks which is why a good insurance policy is so important. I, I don't know what kind of coverage the F.B.I. has, but, uh, General Mutual has...

MULDER: Mister Bruckman, this murderer has already committed four homicides.

CLYDE BRUCKMAN: And he'll commit more whether I help you or not.

MULDER: How can you be so sure?

CLYDE BRUCKMAN: How can I see the future if it didn't already exist?

MULDER: Then if the future is written, then why bother to do anything?

CLYDE BRUCKMAN: Now you're catching on.

(He sits down.)

MULDER: 
Mister Bruckman, I believe in your ability but not your attitude -- I can't stand by and watch people die without doing everything in my, albeit unsupernatural, power to interfere with that fate.

CLYDE BRUCKMAN: 
Well, you see, that's another reason I can't help you catch this guy. 
I might adversely affect the fate of The Future. 
I mean, his next victim might be the mother of the daughter whose son invents the time machine. 
Then the son goes back in time and changes World History, and then 
Columbus never discovers America, 
Man never lands on The Moon, 
The U.S. never invades Grenada...

(Mulder is staring down at the floor.)

Or something less significant... 
Resulting in the fact that 
My Father never meets My Mother 
and consequently, 
I'm never born.

(Mulder looks up at him.)

So when do we start?

BLOCKING PEOPLE






 
 
JACK’S STOLEN PHONE
PHONE BUZZES :
 
LUCY: 
Where did you go?
Are you sulking?
Just cos I got engaged?
Jack, don't sulk.
 
DRACULA :
Um, Jack's not here at the moment.
Who shall I say called?
 
Oh, sorry.
Tell him it's Lucy.
Lucy Westenra.
Who's this?
 
DRACULA :
Hello, Lucy Westenra.
I'm Count Dracula.
 
WIND HOWLS
 
FLASHBACK-DRACULA : 
Agatha Van Helsing :
You'll be Part of Me.
You'll travel to The New World
in my veins.
 
FLASHBACK-Sister Van Helsing :
( Baring Her Exposed Nun-neck)
Come, boy  Suckle.
 
HE GROWLS
 
GUSHING
 
SHE GASPS
 
TRAFFIC SOUNDS OVERLAP
 
DANCE MUSIC BLARES
 
CAMERA SHUTTER CLICKS
 
LAUGHTER
CAMERA SHUTTER CLICKS
 
I can't do two more days of this.
 
What?
I feel bloody terrible already.
 
Lightweight!
 
Stick your head out the window.
It's the Jagerbombs.
 
That last one tasted like furniture polish.
 
Where are the crisps? 
I can't get the taste out of my mouth.
 
LUCY :
Somebody said they were getting
crisps.
 
They only had plain ones.
 
LUCY :
Plain? Oh, Jesus.
What's good about no flavour?
 
 
FRANK RENFIELD : 
What was wrong with the
physicist?
 
HE SIGHS
 
No flavour.
 
And the tennis player?
 
Stringy.
 
Master, I am trying to provide you with precisely the skill sets
you're hoping to acquire.
 
Listen, for 500 years, I have not had to exercise, but these days everything is done for you, and everything is being delivered,
even food.
 
PHONE DINGS
 
SAM: 
Are we nearly there?
 
ZEV: 
Another 20 minutes.
Ugh!
 
What? 
Just texting.
 
I know that face. 
What face?
 
Yours.
 
Master, you came to me with a programme, a plan, some genuinely fresh initiatives
for... well, let's call it what it is...
....world domination.
 
May I ask, as your lawyer, 
What are you doing with your time?
 
You can't afford to feed on just,
uh, anyone.
 
ZEV: 
Oh, dot-dot-dot.
There's a reply coming!
 
Give it back.
Are you not eating with us?
 
She's drinking with us.
 
Give it here!
 
Uh, uh, uh - reply's in.
 
HE READS OUT LOUD
 
Lucy Westenra, you're getting
married.
 
Yeah, final days as a free woman.
Give it here.
 
SAM RETCHES
How should I reply?
 
Yes. Just say yes.
 
"Ms Westenra is available
for a late dinner."
 
I'm saying, though,
we've got karaoke!
 
So who's this one, then?
 
D?
SAM GROANS
 
Who's D?
 
What about this one?
 
"Staying locally.
Double first from Oxford.
 
"Martial arts expert. Non-drinker."
 
PHONE BEEPS
Ah. Sorry. Already have dinner
plans.
 
HE SIGHS
I am trying, Dark Lord.
I do sometimes wonder — what it is that you actually want.
 
MESSAGE SENDS
 
HE SIGHS
 
PHONE BEEPS
 
LAUGHTER
 
DANCE MUSIC PLAYS
 
What about the Harker Foundation?
Are they still taking an interest?
 
There is some activity.
However, your lady friend has left their employ...
 
My lady friend?
 
Dr Helsing.
 
I'm unclear exactly what's happened, but I'm assuming...
 
PHONE DINGS
 
...she'll take no further interest
in you.
 
Mm.
 
YAWNS
What's the time?
 
Half two.
HE GIGGLES
 
You know what?
 
I think there's blood in my alcohol stream.
 
Yeah.
 
Did you hear what I said? I did.
 
There's blood...in your
alcohol stream. 
It was hilarious.
 
It's the wrong way round, you see?
 
Stop, you're killing me.
 
Are you even drunk?
Were you even drinking properly?
 
Maybe I'm saving myself.
 
For dinner? Mm!
 
For D?
MESSAGE SENDS
 
Don't.
 
Who's hungry at this time of night?
 
Are you sure about all this?
 
About what?
 
Marrying Quincey.
 
I like him.
 
You're supposed to love him.
 
OK, I love him, then.
 
‘Cos he loves you.
And Jack loves you.
Everybody Loves You.
 
Yeah, I'm pretty, that happens.
 
Woo! Listen to her.
 
Do you know what it's like
when you're pretty? 
 
Yes!
 
Everybody smiles.
You never see The World without a big, stupid smile on its face.
 
HE GROANS
 
The thing you don't get...
HE SIGHS
..Marriage is for Life.
 
Yeah —
But Life isn't Forever.
 
PHONE DINGS
 
CAWING
 
DISTANT SIRENS
 
PHONE DINGS
 
Ah!
Tart.
 
Hungry.
 
You could've waited.
 
I need to feed on someone, Lucy.
You don't always give your consent.
 
I bet this one didn't.
 
Fast food.
 
So why does my consent matter?
 
It doesn't, but it's delicious.
I'm a gourmet, not a glutton.
 
Why always a graveyard?
 
I like to spend time with people my own age.
 
SHE LAUGHS
 
Yeah, funny guy.
Very funny.
 
Where will you be buried?
 
Why?
 
Because I might want to visit.
 
That's next-level clingy.
Thank God I'm being cremated. No.
 
Shut up.
 
Everyone is.
It's a waste of space, all this.
 
DRACULA :
Listen to me :
Do not let them burn you.
 
Why not?
 
DRACULA :
It hurts.
 
SHE LAUGHS
 
I've never heard anyone. complain.
 
DRACULA :
Well, I have.
I'd say there are...
..nine here.
Yes, nine.
 
Nine what?
 
 
DRACULA :
Sufferers.
Come here.
Give me your hand.
 
SHE GIGGLES
 
What am I doing?
 
DRACULA :
Listening.
 
FAINT THUDS
 
What's that?
 
DRACULA :
What does it sound like?
 
THUDS GROW LOUDER
 
Knocking.
 
DRACULA :
Knocking, yes.
On a coffin lid.
From the inside.
 
MAN: 
Turn on the lights, please.
 
WOMAN: 
100 million...
 
Someone turn on the lights!
 
245,000...
 
WOMAN 2: 
I can't...I can't feel it!
 
Help me! Help me!
 
HE CHUCKLES
 
Are they vampires?
 
DRACULA :
Nothing so evolved.
They're just undead.
 
The unfortunate few who remain sentient as they rot.
 
Ah!
 
The Children of The Night —
what music they make.
 
BANGING
Help me!
 
VOICES OVERLAP
 
Ahh!
 
HE CHUCKLES
 
DEAD BABY :
Bloofer lady. Bloofer lady.
 
Bloofer lady.
 
Bloofer?
 
DRACULA :
Beautiful.”
He means you.
 
DEAD BABY :
Bloofer lady.
 
LUCY :
How does he know I'm here?
 
DRACULA :
Because he's looking at you.
Right there.
 
DEAD BABY :
Bloofer lady.
Bloofer lady play peekaboo.
Peekaboo!
 
DRACULA :
Some of the little ones wriggle their way to the surface.
I think they can smell the worms.
 

DEAD BABY :
Can you see me yet?
 
DRACULA :
No, no, no! 
No, no!
 
SHE LAUGHS
 
DRACULA :
Don't play with him.
He'll follow you home.
 
LUCY :
(fascinated)
Would he really?
 
DRACULA :
You know, in a very, very long life, 
I don't think I've ever met anyone quite like you —
 
You really don't care, do you?
 
The Perfect Food.
 
ZEV GROANS
 
HE SIGHS
 
Lucy?
Shit.
 
COUNT DRACULA: 
Dying is the only remaining novelty.
 
Every other human experience
is catalogued somewhere in your 
endless chattering libraries.
 
Nothing comes fresh.
 
Every living instant is shop-soiled 
and second-hand except that one moment in life
that no-one can report back on.
 
In a world of travelled roads...
Death is the last unprinted snow.
 
LUCY: 
…you don't half talk 
a lot of shit...!
 
DRACULA :
...You Know, 
People Don’t usually 
Say That to Me….
 
LUCY: 
Yeah, you kill them 
before they can

Basically, You're blocking people.
 
….Do You Love Me? 
 

DRACULA :
No.
 

LUCY: 
Will you ever love me? 
 

DRACULA :
No.
 

LUCY: 
Well, that's one less thing 
to worry about….
 

DRACULA :
Aren't you even a little scared of me?
Aren't you afraid of anything?
Even Dying?
 

LUCY: 
Everybody Dies.

DRACULA :
Lucy, you're a very special flavour.
 
LUCY: 
Two minutes —
if you've still got the appetite.
 

DRACULA :
Three. 

LUCY: 
FiveSpecial Treat.
 

DRACULA :
What do you want to dream about tonight?
 

LUCY: 
Put me Somewhere Beautiful...
..where no-one can see me... 
..where I don't have to smile.
 
BLOOD GUSHING
 
Frank Renfield, 
Dracula’s Lawyer & Servant
is waiting in The Car for His Lord
outside The Cemetery Gates, 
doing The Times Cryptic Crossword —
Frank :
"Unscrupulous Doctor deployed
tanner's knife," 12 letters.
 
FLY BUZZES
 
Frank :
Ah!

He snatches it out of The Air, and scoffs it (as usual)

 

Frank :
Dracula...
..is...

HE SLURPS
..My
...Lord.
 
ZEV: 
Lucy?
 
Lucy!
 
Lucy?
 
Luce?
 
What the hell?
 
ZEV ON PHONE:
Jack, please, you've got to see her.
 
She won't see doctors,
but she might see you.
 
SHE MUMBLES
 
HE CHUCKLES
 
PHONE RINGS
 
Could I speak to Dr Helsing, please?
 
No.
 
No, I didn't know that.
 

Dr. Zöe Helsing is asleep 
in the Terminal Cancer Ward.
She is Dying. Badly.
Waking, SHE GASPS —
There is a mysterious Blue Nun 
in The Corner of Her Room, 
with her back turned
 

Van Helsing :
Hello —
Did somebody Send You?
 
Sorry, no offence, but 
I'm really not A Believer.
 
Zoe?
 
DOOR OPENS
 
Sorry, I didn't mean to...
 

Van Helsing :
Oh, Jack. Hello.
Sorry, I was...
I was dreaming.
Please, come in.
 
Thanks.
Sorry if I startled you.
 

Van Helsing :
No, no, you didn't. Ugh.
Try again
I'm incredibly bored.
 
HE CHUCKLES
 
I didn't bring any grapes or
anything.
 

Van Helsing :
I hate grapes.


In that case, you're welcome.
 
SHE LAUGHS
 
It's very kind of you
to come and see your old mentor.
 
Is it, Jack…?
Is it kind?
 

Van Helsing :
Oh, Jack…
You were My Star Pupil —
 
I only suggested you 
for the donor programme 
so you could get some easy money
get you through college.
 
I never thought Dracula would actually come back.
 
Nobody did.
 
So...
 
What do you think...
..about Lucy?
 

Van Helsing :
It's possible.
Could be him.
 
Dracula chooses His Victims 
for A Reason.
 
Is there anything...
special about her?
 
I love her —
But she's a perfectly ordinary girl.
 
Van Helsing :
She can't be.
Because if it is Dracula...
..what keeps him coming back for more?
 
SHE TYPES
 

LUCY: 
Hello?
Who's down there?
Is that you?
 
CHILD: 
Peekaboo.
 
SHE GASPS
 
Peekaboo.
 
Bloofer lady.
Peekaboo.
 
May I come in?
 
Peekaboo.
 
Please avert your eyes - I, um...
..I have to murder a child.
As we used to say in Vladivostok.
 
BLOOD SPATTERING
 
CHILD SCREAMS
 
I'm ill.
 
Well, not ill, precisely.
 
Look at my face.
 
So, so beautiful.
 
I'm as white as a sheet.
 
As the last unprinted snow.
 
Am I dying?
 
You're mortal.
 
You've been dying since the day you were born.
 
SHE SIGHS
 
My people have a saying,
 
"One should always speed a parting guest."
 
BLOOD GUSHING
 
KNOCK ON DOOR
MEG: How are you feeling, love?
 
FLY BUZZES
 
Just going to make some
tea. Want some?
 
I'll bring you a cuppa.
 
You stay there!
You need to keep your strength up.
 
FLY BUZZING
 
Help me!
 
Help me!
 
Help me!
 
Help me!
 
Shh.
 
Hush, Lucy, you're mine now.
 
You've nothing left to fear.
 
You won't be long in your grave.
 
Your mind screams aloud, but for now, your body must be silent.
 
In the midst of life, we are in death.
 
Of whom may we seek for succour but of Thee, O Lord, who for our sins art justly
displeased?
 
Yet, O Lord, God most holy...
 
MUFFLED SCREAMS
 
..deliver us not into the bitter
pains of eternal death.
 
MUSIC: 
Angels by Robbie Williams