DANCE OF THE VAMPIRES
A Musical

8/11/01

Based on Roman Polanski's film
"The Fearless Vampire Killers"

NOTE: The same actor portrays all members of the Van Krolock family: Count Von Krolock, Mme. Von Krolock, Koukol Von Krolock, Father Von Krolock, and Herbert Von Krolock

SYNOPSIS OF SCENES

ACT ONE

Prologue: A Graveyard in the Woods, on a night long ago...
Scene One: Heidelberg. The University three years later
Scene Two: An Inn
Scene Three: Upstairs at the Inn
Scene Four: Outside the Inn, the next morning
Scene Five: Sarah's Bedroom, that evening
Scene Six: Outside the Inn
Scene Seven: Before Krolock's Castle

ACT TWO

Scene One: Portrait Gallery, then a Topiary Garden. Night
Scene Two: Alfred's Bedroom. The next morning
Scene Three: The Search Through the Castle
Scene Four: The Crypt
Scene Five: Herbert's Room
Scene Six: Sarah's Room
Scene Seven: Castle Library
Scene Eight: Castle Graveyard
Scene Nine: The Ballroom
Scene Ten: The Wilderness
Scene Eleven: Finale

SYNOPSIS OF MUSICAL NUMBERS

ACT ONE

Overture
Shivers Down my Spine..............................Sarah & Girls
Dance..............................................Vampires
(I've Been Looking For An) Original Sin............Krolock & Vampires
Garlic.............................................Chagal, Rebecca, Magda & Peasants
Don't Leave Daddy..................................Chagal
A Girl as Beautiful................................Alfred, Sarah, Chagal, Rebecca, Magda, Abronsius
Invitation to the Ball.............................Krolock
Everything's Fair..................................Magda, Chagal, Rebecca
Braver Than we Are.................................Alfred, Sarah
Red Boots Ballet...................................Dancers
Carpe Noctem.......................................Krolock & Vampires

ACT TWO

Total Eclipse of the Heart.........................Sarah & Krolock, with Vampires
Alfred's Nightmare.................................Dancers
For Sarah..........................................Alfred
Death is Such an Odd Thing.........................Rebecca, Magda, Chagal
When Love is Inside You............................Alfred & Herbert
Is Nothing Sacred*.................................Alfred & Sarah
Books, Books.......................................Abronsius & Krolock
Eternity...........................................Vampires
The Insatiable Appetite............................Krolock
The Ball...........................................Company
Braver Than we Are (Reprise).......................Alfred & Sarah
Dance of the Vampires..............................Vampires

Prologue: A Graveyard in the Woods, on a night long ago…

LIGHTS FADE UP on SARAH and TWO GIRLS picking mushrooms in a shadowy wood.
Evening. Low mist. On the horizon, a bloodshot sunset. We are off the map of civilized Europe, long long ago

Parents' Voices (O.S.):
Sarah…! Sarah, come back…! — Children, come home! —
It's late! — Children! Sarah, Sarah, come back…!

First Girl
Sarah, it's getting late
Second Girl
Sarah, it's getting dark
Sarah:
Just a little longer. We'll be safe. I'll say a prayer…

Song: Shivers Down My Spine

Sarah:
ANGELS ARISE
AS NIGHT MUST FALL AND
RADIANT EYES STARE DOWN
ON US ALL

IF THE POWERS THAT BE
BE BEYOND OUR CALL
THEN ANGELS ARISE
AS THE NIGHT MUST SURELY FALL

AND FOR EVERY PIT OF DARKNESS
THERE'S A LIGHT SO PURE DIVINE
I ASK YOU TO PROTECT ME
FROM THOSE GASPS AND SHUDDERS
AND THOSE SHIVERS DOWN MY SPINE

The woods have receded as the girls go deeper into the woods, and A GRAVEYARD comes into view. A twisted tree. A headless angel. A gutted, burnt-out church that seems to morph into the graveyard

Parents' Voices (O.S.):
Sarah…! — Children!
Don't go too far…! Don't go too far…!

First Girl
They're calling us
Second Girl
They're calling us back
Sarah:
Ten more mushrooms, then we'll go home
First Girl
You know we're not supposed to be in the woods
Second Girl:
Not after nightfall
Sarah:
You're not going to believe those stories.
Those old fairy tales
Second Girl:
I believe them
Sarah:
If there is something out here, don't you want to see it?
What are you — common peasants?
First Girl:
I'm common
Second Girl:
I'm a peasant

SOMETHING MOVES in the mist behind them — then vanishes

Sarah:
Shhh! Did you hear something?
First Girl:
No, did you?
Second Girl:
What did you hear?
Sarah:
Every now and then… in the middle of the night…
I hear a voice…
Second Girl:
I'm scared
Sarah:
Then pray. Let's all pray together

Sarah & Girls
ANGELS ARISE
AS NIGHT MUST FALL
ALL-KNOWING EYES
STARE DOWN ON US ALL

IF THE POWERS THAT BE
BE BEYOND OUR CALL
THEN ANGELS ARISE
AS NIGHT MUST SURELY FALL

Sarah:
THERE ARE THINGS THAT MUST BE MAGIC
NO EXPLAINING
WHY OR HOW
AND THERE'S EVERY SIGN
THAT ONCE-UPON-A-TIME
IS STARTING HERE

Sarah & Girls
AND NOW
THERE'S EVERY SIGN
THAT ONCE-UPON-A-TIME
IS STARTING RIGHT HERE AND
NOW…

A strange, pulsing rhythm is heard.
Suddenly — a FIGURE LEAPS in the fog

Two Girls
Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaah!

The TWO GIRLS EXIT, screaming. From offstage:

Sarah…! Sarah…!

Sarah (transfixed):
I'm here. I'm here…

SARAH watches, fascinated, as the FIGURE dances.
A SECOND FIGURE joins, then FOUR MORE, half-glimpsed in the mist

Dance: God has Left the Building

The first dance of the evening is a Dionysian revel, a vampire rave. Like teenagers on a rampage, the vampires swarm over the church and gravestones. It's an explosion of freedom — no limits — utter abandon. One of them scrawls "CARPE NOCTEM" on a mausoleum in red, as if his bare hand itself were a spray-paint can. At some point, the dance becomes more synchronized, a pounding rhythm, as if the group was collectively summoning something forth.

As if in response, there's A THUNDERCLAP, and BOLTS OF LIGHTNING pierce the sky. Sinister blinding lights blast out from within the church. The earth seems to tremble and shake. The sky becomes darker and more bloodshot as the sun expires. Volcanic rumblings surround everyone, onstage and in the audience. Fixtures on the theatre wall begin to rattle.

The earth tremors become convulsive. SOMETHING BLASTS OUT FROM BENEATH THE GROUND, SLOWLY, WITH INCREDIBLE STRENGTH, SHOOTING OUT LIKE A ROCKET LAUNCHING, BULLETING UPWARD, SENDING EARTH AND STONES FLYING. The huge shape is revealed to be AN ENORMOUS COFFIN, and it is soon hovering in the air, wildly swinging back and forth like the pendulum of a clock, glowing and pulsing with inner light.
THE LID SWINGS OPEN and FALLS TO THE GROUND. The interior of the coffin lights up so that KROLOCK is a shadowy outline.

Sarah:
Help me, Almighty God!

SUDDEN TOTAL DARKNESS — onstage and in the theatre

Krolock's Voice:
God has left the building!

THE DANCE CONTINUES with even greater ferocity, climaxing in pagan rapture as ROCKS and TOMBSTONES LEVITATE.

Vampires (sing, exultantly):
GOD HAS LEFT THE BUILDING
THE WORLD HAS NEVER BEEN SO BLACK
AND WE CAN RAVE UNTO THE NIGHT
RANT UNDER THE MOON
DANCING UPON OUR VERY OWN GRAVES
RUNNING WITH THE PACK
GOD HAS LEFT THE BUILDING
AND HE IS NEVER COMING BACK

THE DANCE ENDS, but MUSIC CONTINUES

Krolock:
You… are… perfect! How old are you, child?
Sarah:
I? Fifteen
Krolock:
And your name? — No. Don't tell me. Sarah
Sarah:
Sarah…

Song: (I've Been Looking For An) Original Sin

Krolock:
I'VE BEEN LOOKING FOR AN ORIGINAL SIN
ONE WITH A TWIST AND A BIT OF A SPIN
AND SINCE I'VE DONE ALL THE OLD ONES
TILL THEY'VE ALL BEEN DONE IN
NOW I'M JUST LOOKING
THEN I'M GONE LIKE THE WIND
ENDLESSLY SEARCHING
FOR AN ORIGINAL SIN

Vampires:
TURN AROUND
TURN AROUND
TURN AROUND

Krolock:
I'VE BEEN WAITING FOR YOU
SINCE YOU'VE BEEN BORN
I'VE WAITED PATIENTLY
IT WON'T BE LONG
AND SINCE I
KNOW ALL YOUR DREAMS
I UNDERSTAND WHAT YOU NEED
AND WHEN I CALL YOU
YOU MUST GO WHERE I LEAD
YOUR DREAMS ARE SO HUNGRY
IT'S TIME NOW TO FEED

Vampires:
TURN AROUND

Krolock:
SO I BLESS YOU WITH MY CURSE
THERE ARE TIES THAT YOU MUST SEVER
YOU'LL BE BETTER WHEN YOU'RE WORSE
YOU MUST DIE TO LIVE FOREVER
I WILL SHOW YOU THE DEPTHS OF THE NIGHT
WE CAN NEVER GO WRONG
TOGETHER
I WILL TAKE YOU TO THE END OF THE LINE
MY LOVE WILL BE A SHADOW ON YOU

Sarah:
EVERY NOW AND THEN I HEAR A VOICE

Vampires:
TURN AROUND

Krolock:
AND SINCE I
KNOW ALL YOUR DREAMS
I UNDERSTAND WHAT YOU NEED
AND WHEN I CALL YOU
YOU MUST GO WHERE I LEAD
YOUR DREAMS ARE SO HUNGRY
IT'S TIME NOW TO
FEED

Spoken — as MUSIC PULSES SOFTLY UNDERNEATH

Sarah…

Incantationally

On a cold winter night
Would you offer your throat to the wolf with the red roses?
Sarah (transfixed, as if mesmerized):
Will he offer me his mouth?
Krolock:
Yes
Sarah:
Will he offer me his teeth?
Krolock:
Yes
Sarah:
Will he offer me his jaws?
Krolock:
Yes
Sarah:
Will he offer me his hunger?
Krolock:
Yes
Sarah:
And will he starve without me?
Krolock:
Yes
Sarah:
Then does he love me?
Krolock:
Yes. On a cold winter night
Would you offer your throat to the wolf with the red roses?
Sarah:
Yes
Krolock:
I will return for you, Sarah,
three winters from now, at the total eclipse of the moon.
Till then, all this will seem like a dream
Sarah (as if emerging from a trance):
Oh, God, God…

Vampires (elegiacally, mysteriously):
GOD HAS LEFT THE BUILDING
BUT WE STILL MUST LIVE ON
YEARNING FOR LIGHT, BUT AFRAID OF THE SUN
AND WE CAN'T FIND SATISFACTION
BUT WE WILL ALWAYS TRY
THE THINGS THAT WE LIVE FOR
THIS WORLD MUST DENY
ENDLESSLY LIVING
UNABLE TO DIE

THE VAMPIRES FADE into the mist and KROLOCK'S COFFIN is SHROUDED IN DARKNESS

Krolock:
O, perfect!

KROLOCK FADES INTO DARKNESS. SARAH is left standing alone.

Blackout. Scene Change.

Scene One: Heidelberg. The University three years later.

Three Years Later, in Heidelberg

THREE LOUD, ECHOING BANGS OF A GAVEL are heard as a SINGLE, STRONG DOWNWARD CONE OF LIGHT isolates PROFESSOR ABRONSIUS. Solid darkness surrounds him

Voice:
Professor Abronsius
Abronsius:
I am Abronsius
Voice:
The Governors of the University of Heidelberg have
reached a verdict. You are hereby stripped of all
professional duties and dismissed
Abronsius:
Dismissed…? This is an outrage!

GAVEL.

Voice:
You, sir, once a great and a noble intellect, have
thrown away a brilliant career
Abronsius:
But I tell you—
Voice:
SILENCE! Your ridiculous writings and insane theories
are a mockery! A crime against science! Monsters and vampires.
Supernatural creatures —
Abronsius:
But these things exist — I can prove it!

GAVEL.

Voice:
This is the modern age, Professor. Learn from it — and begone.
You'll never teach in this town again
Abronsius:
Is there no one who will stand up for me?
After all these years, am I so totally alone?

A young man emerges from the dark into light: ALFRED

Alfred:
You still have me, Professor.
And I will not let thim do this to you
Abronsius:
Alfred…
Alfred:
I'll defy them. I'll protest under their windows
Abronsius:
But the university will expel you —
Alfred:
I don't care. I've never learned or believed in anyone
as much as you. You're my teacher. You're my guide.
You're all the family I've got. I'd do anything you ask and
I'd follow you anywhere
Abronsius:
Anywhere…?
Alfred:
To the highest mountain — if I had to carry you on my back
Abronsius:
That won't be necessary. But we must leave Heidelberg.
I found one, Alfred!
Alfred:
Found one, found what…?
Abronsius:
A village of vampires. In the last place you'd ever
expect a vampire: Transylvania
Alfred:
It sounds beautiful
Abronsius:
No, it's a great wilderness
Alfred:
Well — so am I
Abronsius:
So are we all — if we're not careful. We leave tonight
Alfred:
Tonight? But…
Abronsius:
We must get there before the total eclipse of the moon, in 66 days.
On that night, a vampire seeks the blood of an 18-year-old virgin…
You're not an 18-year-old virgin, are you?
Alfred:
Nineteen
Abronsius:
Good for you
Alfred:
But why the total eclipse of the moon?
Abronsius:
There's no time now. Come!

ABRONSIUS starts out while ALFRED stays behind, lost in thought

Alfred:
Into a great wilderness…
Abronsius:
Alfred, these vampires aren't getting any younger.
Now that I think of it, they're not getting any older, either…
But we must hurry!

ROUSING, SKIRLING MUSIC RISES as ALFRED and ABRONSIUS EXIT and the SCENE CHANGES.

Scene Two: An Inn.

An Inn, toward sunset, full of PEASANTS who are drinking, dancing, eating, cooking. GARLIC hangs everywhere in huge strands. A PEASANT ON A LADDER strings GARLIC up in the eaves. During the following number we meet "CHAGAL," the nervous, desperate scurrying Innkeeper, overseeing everything;
MAGDA, the lusty, crass kitchen maid waiting on tables constantly clutched at by Chagal;
and REBECCA, Chagal's ample wife, constantly — compulsively — eating.

Peasant on Ladder (under music):
The hanging of the Garlic is complete!
Second Peasant:
Now we're protected!
Third Peasant:
Now we are safe!

Song: Garlic

Peasants (hysterically - in solos, duets, trios and full ensemble):
TOBACCO, BEER AND VODKA
AND AN OLD WOODCHOPPER'S SONG
A TABLE IN
A COUNTRY INN
SOME CHUMS TO SING ALONG
IS THERE MORE A MAN CAN ASK FOR?
WHEN A HARD DAY'S WORK IS DONE?

YES, A CRISPY DUCK
WITH BONES TO SUCK
AND A TANG THAT TURNS YOU ON!
AND A TANG THAT TURNS YOU ON!

GARLIC GARLIC
THAT'S THE NOURISHMENT WE CRAVE
GARLIC GARLIC
FOR THE TIMES ARE DARK AND GRAVE
TRANSYLVANIA IS SCARY
AND ONE CANNOT BE TOO WARY
BUT WITH GARLIC WE ARE SAFE
WITH GARLIC WE ARE SAFE

Chagal:
WE LIVE IN CONSTANT DANGER
THERE'S EVIL IN THE AIR
SOME PEOPLE PRAY
SOME RUN AWAY
GO CRAZY WITH DESPAIR

Peasants:
BRING US ONE MORE BOWL NOW
WE WANT MORE
YOU GOT THE GOODS
AND ANOTHER BOTTLE RIGHT AWAY
WE'LL FORGET
WHAT'S IN THE WOODS
WE'LL FORGET
WHAT'S IN THE WOODS

GARLIC GARLIC
THAT'S HOW WE'LL STAY ALIVE
GARLIC GARLIC
THAT'S WHY WE WILL SURVIVE
WHAT IS LONG IS GETTING LONGER
PUT SOME GARLIC ON YOUR KNIVES
PUT SOME GARLIC ON YOUR KNIVES

DANCE INTERLUDE: A high-energy "peasant" dance which is so extreme and frantic it becomes an industrial-strength exaggeration of Eastern European show-offy "folk" dance troupes like the Moiseyev. But there's a reason for all this high-octane craziness; these people are letting off steam, they've got cabin fever and are climbing the walls dancing to drown out the "terrors" outside.

Rebecca:
THE DAYS ARE DISAPPOINTING
AND THE NIGHTS ARE EVEN WORSE
THE COWS ARE SCARED
AND THE SHEEP ARE WARY
AND THE PEOPLE ALL ARE CURSED

Peasants:
WE DANCE AS IF WE'RE HAPPY
WE SING AS IF WE'RE FINE
BUT THE SIMPLE FACT
IS SIMPLY THAT
WE'VE GONE AND LOST OUR MINDS
WE'VE GONE AND LOST OUR MINDS

GARLIC GARLIC
THE SECRET OF STAYING YOUNG
GARLIC GARLIC
THAT'S WHY WE'RE SO WELL HUNG
WHAT'S STRONG IS GETTING STRONGER
WHAT'S LONG IS GETTING LONGER
WITH GARLIC ON YOUR TONGUE
WITH GARLIC ON YOUR TONGUE

GARLIC GARLIC
THAT'S THE NOURISHMENT WE CRAVE
GARLIC GARLIC
FOR THE TIMES ARE DARK AND GRAVE
TRANSYLVANIA IS SCARY
AND ONE CANNOT BE TOO WARY
BUT WITH GARLIC WE'LL BE SAVED
WITH GARLIC WE'LL BE SAVED
WITH GARLIC WE'LL BE
GARLIC WE'LL BE
GARLIC WE'LL BE SAVED
GARLIC!

When the MUSIC ENDS, A CRY IS HEARD and everyone freezes with fear

Voice Outside:
Help! Please help us!
Rebecca:
Don't let anyone in! Don't open that door!

THE DOOR BANGS OPEN and ALFRED ENTERS, carrying ABRONSIUS on his back

Alfred:
Help me! Help me, good people! He's freezing to death!

PEASANTS gather round

Professor! Professor, wake up!
Chagal:
Rebecca, get me some hot water!
Rebecca:
Magda! Hot water!
Magda:
Chagal, hot water
Chagal (subservient and flirtatious):
Boiling right up, my beauty!
Alfred:
Professor…? —
I had to carry him halfway on my back - Professor!

While ABRONSIUS continues to thaw out, CHAGAL, MAGDA and REBECCA go into a conspiratorial huddle

Rebecca:
We have to get rid of these people.
We don't want to upset…
Chagal:
Shhh! Shhh! Not a word. Not a name
Magda:
They look like they've got money.
I say we keep them here and squeeze them dry
Rebecca:
Yes, you — you'd squeeze a corpse to get
the coins on its eyes
Chagal:
Ladies, ladies…
Magda:
You want to get out of this hole?
You want a dowry for your daughter?
Chagal:
Yes, yes, Rebecca. We have to think of Sarah.
What else do we have here? Rats in the basement.
Dust in the flour. Sarah's all we have, she's everything
Magda:
So let's pawn her
Chagal:
You may not speak of my daughter that way.
Oh, why did we ever leave Warsaw.…?
Rebecca:
It's true, it's true. We have nothing! Nothing!
Magda:
So how did you get so fat?
Chagal:
Ladies, we have to protect Sarah
Abronsius:
Alfred… have we arrived?
Chagal:
At your service, sir. Chagal. Polish innkeeper

REBECCA nudges him

And my lovely wife, Rebecca

MAGDA nudges him

And our beautiful hostess, Magda

REBECCA nudges him

Our scullery maid, Magda
Abronsius:
Abronsius. German vampiricist

PEASANTS GASP COLLECTIVELY, shrinking away

And Alfred, my faithful factotum

Rebecca:
"Factotum" — ?
Chagal:
If that's what I think it is, they can leave right now
Abronsius:
Mr. Chagal, I am fascinated by all this garlic
Peasants (GASPING collectively):
Garlic…?
Abronsius:
Is there a reason for such abundance?

Chagal (obviously covering up, making this up as they go along):
GARLIC CURES A LOT OF ILLS
Rebecca:
LIKE FLATULENCE
Chagal:
TOOTHACHE
Rebecca:
BOILS
Magda:
OR CHILLS
Chagal:
FOR SCABIES
Rebecca:
HAIR LOSS
Magda:
SWEATY FEET
Chagal:
FOR EVERYTHING THAT'S HARD TO TREAT
All:
COLITIS, GOUT OR A NERVOUS TWITCH
FROM A FEMALE CRAMP TO A RECTAL ITCH

GARLIC GARLIC
THE KEY TO A GREAT CUISINE
GARLIC GARLIC
HAVE A TASTE, SEE WHAT WE MEAN
EVEN IF THE MEAL'S SUSPICIOUS
THEY WILL SAY IT'S DELICIOUS
IF YOU PUT SOME GARLIC IN!
IF YOU PUT SOME GARLIC IN!

Abronsius (interrupting):
Stop! I'm not convinced. Mr. Chagal, is there
anywhere hereabouts a Castle Von Krolock?
Chagal (with typical sweaty desperation):
I have said too much already
Abronsius:
You haven't said anything
Chagal:
Good point. A castle? In this neighborhood? Absurd!
Village Idiot
Th — there — isssss — a castle…

OTHER PEASANTS grab the VILLAGE IDIOT and shuffle him away

Chagal:
You see, sir? No castle. But we do have a village idiot
Village Idiot (breaking away from the people holding him):
No — no — Cas — stle Von Kro — lock…

Again, the PEASANTS usher the VILLAGE IDIOT away

Chagal:
He must be going now. He's very busy.
He's not only our village idiot, he's the idiot for
the next village over
Abronsius:
But that man knows something!
Chagal:
Of course — he's an idiot-savant.
But I have said too much already
Peasant
Sunset!

THE PEASANTS EXIT, tumbling out of the inn fearfully, at top speed

Abronsius:
Is there something particularly fearful about sunset?
Chagal:
It's the wolves, sir. The wolves come out at sunset

The door opens and MME. VON KROLOCK ENTERS — A forbidding old woman draped in black

Mme. Von Krolock:
Good evening, Mr. Chagal

CHAGAL, REBECCA and MAGDA bow - and stay bent in fear

Chagal:
Madame Von Krolock
Mme. Von Krolock:
Has the silk arrived that I ordered?
Chagal:
Yes, Madam Von Krolock. Of course. Rebecca — the silk
Rebecca:
Magda — the silk
Magda:
Silk, Chagal
Chagal:
Yes! Yes!
Mme. Von Krolock: (as her eyes come to rest on ABRONSIUS and ALFRED):
Such busy times in the village…
And how is your daughter, Mr. Chagal?
The beautiful Sarah
Chagal:
My prize?
Mme. Von Krolock
She comes of age in two days, does she not?
Chagal:
Yes and may she have many more birthdays. Long life!
Mme. Von Krolock:
On the night of the total eclipse of the moon…
Abronsius:
Do you hear, Alfred…
Mme. Von Krolock (to REBECCA, who quivers and bows with fear):
Still suffering from those pains, Mrs. Chagal?
Do you still cry out in the night? Does anybody hear you?
I do. And you, Miss Magda, still having those nightmares?
Congratulations. A good nightmare comes so rarely

Likes Mrs. Danvers in "Rebecca":

Ah, yes. Look at that silk.
Why, you can see your hand right through it.
Made by the nuns in France… I hate nuns!
Chagal:
Yes, Madam. Who doesn't?
Mme. Von Krolock:
Tell your daughter to mind herself, Mr. Chagal.
The wolves, you know. They have a heartless appetite.
But then — don't we all…

MME. VON KROLOCK EXITS

Abronsius:
And who was that?
Rebecca:
Gentlemen, gentlemen —
Sometimes it's better to let things lie
Abronsius:
I do not trade in lies, madam. I am a merchant of truth
Magda:
In this market — may God help you

SARAH'S MELODY IS HEARD FROM UPSTAIRS

Alfred:
Mr. Chagal, what is that wonderful singing?
Chagal:
Singing? It was the wind, sir
Alfred:
Then the wind is more sublime than I ever dreamed
Abronsius:
Alfred, that could be the very virgin we've been looking for!

CHAGAL takes their bags and leads them out as THE SCENE CHANGES.
SARAH is heard SINGING HER MELODY AGAIN…

Scene Three: Upstairs at the Inn.

Upstairs at the inn. Split scene: two bedrooms,
Sarah's at right, with a connecting door between them.
SARAH's in her robe and nightgown, brushing her hair at the window.

Sarah:
The moon is watching the sky,
the sky is watching the moon.
Nothing will ever happen.

CHAGAL leads ALFRED and ABRONSIUS into their adjoining room

Chagal:
Welcome to our luxury suite. Nothing like it till Serbia.
Before you leave you'll be a different person.
But if you prefer to be the same person,
don't go out before sunrise! And by the way,
don't eat the mints on the pillow. They're not mints.

CHAGAL EXITS

Abronsius:
Are you taking this in, my boy?

Sententiously, as if he's quoting a proverb:

Where there is smoke I know there's a campfire —
where there's fear of the sunset, I know there's a vampire! —
I'll be in the toilet.

ABRONSIUS EXITS into bathroom. SARAH starts humming again

Alfred:
That voice again…

ALFRED opens the connecting door just as SARAH is dropping her robe. They see one another.
MUSIC CONTINUES AS UNDERSCORING

Alfred:
I'm sorry. Hello
Sarah:
Hello
Alfred:
I'm…
Sarah:
Sarah. And I'm…
Alfred:
Alfred. So — what are you doing here?
Sarah:
I live here. Obviously you don't
Alfred:
No, we just got in from Heidelberg
Sarah:
Heidelberg! It sounds heavenly
Alfred:
Heidelberg's got nothing as heavenly as you.
My God, the streets there would be filled with duels,
the men would slice each other to ribbons if they saw you
Sarah:
My father would kill you if he saw you here
Alfred:
Then I'd die happy, having seen you

Smiling, imatating CHAGAL:

But I have said too much already
Sarah:
I'm nobody, trapped in a place where nothing ever happens.
I do nothing. I'm allowed nothing
Alfred:
I'm allowed everything, and I still do nothing
Sarah:
I turn 18 in two days.
What could possibly happen after 18?
Alfred:
Something's bound to happen, sooner or later
Sarah:
Sooner or later's never going to come.
When something exciting does happen,
you start to think you dreamt it.
A man in a graveyard. A wolf with red roses…
Alfred:
A graveyard… A wolf…
Sarah:
Tell me. The women of Heidelberg —
do they wear red velvet boots? Do they dance till dawn?
Alfred:
Come back with me and see
Sarah:
Come back…?
Alfred:
It'd be safer for you there
Sarah:
Safer? Than there?
There's nothing to be protected from here but falling ice
Alfred:
So you don't know
Sarah:
Don't know what?
Alfred:
There's a terrible — I don't know any other word —
there's a terrible evil that could be after you
span class="char">Sarah:
Evil? What do you mean, evil…? Really?
Alfred:
On the night of the total eclipse of the moon…
But it's fairy tales. The boogeyman

Sarah:
Sometimes we need the boogeyman

CHAGAL ENTERS through the bedroom door, furious

Chagal:
What's all this? How did you get in here?
You, sir, will leave my daughter's room
Alfred (to SARAH as he's exiting):
Come back with me. I adore you
Chagal:
Out! — Sarah, I'm going to make sure you stay right where you are!

ALFRED EXITS back into his side of the door

Abronsius:
You're flushed, my boy
Alfred:
I'm not surprised. I'm dumbstruck. I'm in love.
Abronsius:
Fast work. Or — at your age — perhaps not.
Alfred:
It's true. How could it be love so fast?
It's not possible Abronsius:
Watch her closely, Alfred.
The blood of an 18-year-old virgin, if offered willingly,
and if drunk at the total eclipse of the moon, is more
nourishing to a vampire than the blood of 500 humans
taken by force. Her neck — is nectar. Think of that
Alfred:
How could I ever forget it?

CHAGAL has returned to Sarah's room with a HAMMER and BOARDS:

Chagal:
I know you don't understand. But the world Sarah —
you don't know this world, how it can crush a person.
But not you. Never you. So fragile, so breakable.
Oh, you had the tiniest fingernails.
I remember every face you ever made
Sarah (turned away; to herself):
Heidelberg…!

During the following, CHAGAL hammers the door shut on Sarah's side

Song: Don't Leave Daddy

Chagal:
WHEN A MAN HAS GOT A PRETTY DAUGHTER
THEN HIS LIFE IS PRETTY FILLED WITH PAIN
CAUSE SHE NEVER DOES THE THINGS HE TAUGHT HER
IT'S ENOUGH TO DRIVE A MAN INSANE

IT'S A PITY THAT I MUST CONCEAL YOU
THOUGH YOU'RE LOVELY AS A BUDDING ROSE
BUT THERE'S ALWAYS SOMEONE OUT TO STEAL YOU
YOU CAN'T SEE THEM, BUT YOUR FATHER KNOWS

(Hammering in rythm: BANG-BANG-BANG-BANG)

SLEEP MY LITTLE DARLING (BANG-BANG-BANG-BANG)
DREAM MY TENDER STARLING
NO ONE MUST DARE WAKE YOU
NO ONE MUST DARE TAKE YOU
YOU'RE NOT READY
I'M NOT READY
WE'RE NOT READY
DON'T LEAVE DADDY

NOW YOU'RE LOOKING FORWARD TO YOUR BIRTHDAY
YOU STILL THINK THAT IT IS FUN TO GROW
BUT TO ME YOUR BIRTHDAY IS A CURSED DAY
CAUSE IT MEANS YOU'RE OLD ENOUGH TO GO

AND YOU'LL ALWAYS FIND FORBIDDEN WATERS
AND DO THINGS TO MAKE ME FEEL SO SAD
WHEN A MAN HAS GOT A PRETTY DAUGHTER
HE MUST LOCK HER UP OR ELSE GO MAD

(BANG-BANG-BANG-BANG)

SLEEP MY SWEET CONFECTION (BANG-BANG-BANG-BANG)
PAPA'S YOUR PROTECTION
NO ONE MUST CONFUSE YOU
NO ONE WILL ABUSE YOU
YOU'RE NOT READY
I'M NOT READY
NO ONE'S READY
DON'T LEAVE DADDY

(spoken)

I'm doing this for you…

CHAGAL exits. SARAH and ALFRED, in their rooms, get into bed. ABRONSIUS is already in bed, as are MAGDA and REBECCA.
Much happens during the following scene, and the young lovers' ardor is contrasted with the farcical goings-on of the adults, which we follow as we see through the walls of the inn into several rooms. Everything is precisely timed to the music, and it seems almost as if we're looking into a big cuckoo clock, with all the inhabitants of the clock scampering, sneaking, scurrying, tiptoeing, retreating, all with the precision of a Feydeau farce.

A GIRL AS BEAUTIFUL

Alfred:
A GIRL AS BEAUTIFUL AS SHE
I HAVE NEVER SEEN
Sarah:
A BOY AS SINGULAR AS HE
REALLY, I HAVE NEVER SEEN

Both:
I'M TOO EXCITED
TO COUNT SHEEP
I'M AWAKE
YET I DREAM
MY HEART'S IGNITED
WITH A DEEP
BURNING ACHE
AND I DREAM
A LOVELY DREAM…

Alfred:
A GIRL AS BEAUTIFUL AS SHE…
Sarah (overlapping):
A BOY AS SINGULAR AS HE…
SO DISARMING
Alfred:
CHARMING
Both:
I'VE NEVER SEEN

As they sing, CHAGAL slips out of his bed and goes down the corridor toward MAGDA's room

Alfred:
THERE'S NEVER BEEN A NIGHT LIKE THIS
SINCE MY LIFE BEGAN
Sarah:
THE THINGS I'D DO FOR JUST ONE KISS
I MIGHT NEVER UNDERSTAND

Both:
LORD IF I EVER FALL IN LOVE
LET IT BE
Alfred:
A GIRL AS BEAUTIFUL
Sarah (overlapping):
A BOY AS SINGULAR
Both:
SOMEONE AS RAVISHING AS SHE/HE

ABRONSIUS hears CHAGAL in the corridor and thinks it's a vampire

Abronsius:
Did you hear that, boy?
Alfred:
What?
Abronsius:
Someone's on the stairs!
I'll investigate and you stay here
Alfred:
Fine
Abronsius:
I'll find out who's there

ABRONSIUS goes out into the corridor to investigate while CHAGAL arrives at the door of Magda's room

Chagal:
SWEET MAGDA, TELL ME HOW YOU FARE
Magda:
FINE
Chagal:
WELL THAT MAKES ME GLAD
CAUSE A MAID AS BEAUTIFUL AS YOU
I HAVE NEVER EVER HAD!

As CHAGAL sings to MAGDA, ALFRED and SARAH sing to each other through the nailed-up door

Alfred, Sarah, Chagal:
I AM DELIGHTED
HEAVEN SENT
YOU TO START
SOMETHING NEW
I TRY TO FIGHT IT
BUT I CAN'T
FOR MY HEART
IT LONGS FOR YOU
FANTASIES COME TRUE

Rebecca:
THAT FAT CONNIVER SNUCK AWAY
AND I KNOW JUST WHERE
TAKE CARE!
A MAN AS LECHEROUS AS HE

REBECCA goes off in search of CHAGAL

Chagal:
A GIRL AS BEAUTIFUL AS SHE
Alfred (overlapping):
A GIRL AS RAVISHING AS SHE
Sarah (overlapping):
A BOY AS SINGULAR AS HE
Alfred, Sarah, Chagal:
SO DELIGHTFUL
Rebecca (looking through the key hole of Magda's door):
FRIGHTFUL
Magda (overlapping with REBECCA):
FRIGHTFUL

REBECCA stomps back and stands at the stairs leading to her room

Alfred, Sarah, Chagal, Rebecca, Magda:
I HAVE NEVER SEEN

An outburst, raising her fist and raging at her absent husband:

Rebecca:
YOU SWORE AN OATH YOU'D BE FAITHFUL
BUT NOW YOU'VE BROKEN YOUR PROMISE!
DON'T YOU KNOW
SOON YOU'LL HEAR THE DEVIL'S BELL
CHEATING HUSBANDS
GO TO HELL!

ABRONSIUS mistakenly comes up the stairs and REBECCA hits him over the head with a salami

SEXTET

Sarah (still alone in her room):
I'M TOO DELIGHTED
I CAN'T KEEP COOL AND CALM
WHEN YOU'RE NEAR
I'M SO EXCITED I CAN'T SLEEP

LORD IF I EVER FALL IN LOVE
LET IT BE JUST FOR ME
LORD IF I EVER FALL IN LOVE
LET IT BE SOMEONE
AS GLORIOUS AS HE
AND ETERNALLY
I'LL WAIT BREATHLESSLY
LET IT BE

Alfred (counterpoint, in his own room):
I'M TOO DELIGHTED
I CAN'T KEEP COOL AND CALM
WHEN YOU'RE NEAR
I'M SO EXCITED I CAN'T SLEEP

LORD IF I EVER FALL IN LOVE
LET IT BE JUST FOR ME
LORD IF I EVER FALL IN LOVE
LET IT BE SOMEONE
AS GLORIOUS AS SHE
AND ETERNALLY
I'LL WAIT BREATHLESSLY
LET IT BE

Counterpoint to CHAGAL, rejecting him and pushing him out of her room:

Magda:
DON'T YOU UNDERSTAND
THE ONLY RENDEZVOUS FOR YOU TONIGHT
IS WITH YOUR RIGHT HAND

Alone:

I'M SO DISGUSTED
THAT I KNOW I SHAN'T SLEEP
THERE IS NO ONE FOR ME
I'LL SPEND THE WHOLE OF MY LIFE
JUST LONELY AND EMPTY
LONELY, LONELY, EMPTY

Rebecca (Counterpoint to herself):
WHAT HAVE I DONE, OY!
I HIT THAT OLD GOY
MY HUSBAND'S GOING TO PAY
THIS IS JUDGMENT DAY
I WISH I NEVER FELL IN LOVE
WITH A FOOL LIKE HIM

To CHAGAL, as he reenters the room:

I SHOULD HAVE KNOWN THE DAY WE MET
THE SLEAZY THINGS THAT YOU WOULD DO
BUT I STILL NEED YOU
MY LITTLE YOINE
I'LL STAY WITH YOU

Chagal (Counterpoint to MAGDA):
I'M TOO DELIGHTED
I CAN'T KEEP COOL AND CALM
WHEN YOU'RE NEAR
I'M SO EXCITED I CAN'T SLEEP

Moments later, back in his room, to REBECCA:

I STILL NEED YOU
I'M YOUR LITTLE YOINE
I'LL STAY WITH YOU

Counterpoint, woozily wandering back to his bed, to himself:

Abronsius:
I'M SEEING STARS
BUT THERE'S NO SKY
I'VE BEEN BRUTALLY ATTACKED
AND I DON'T KNOW WHY
WHAT A DREAM I'M HAVING NOW

The entire ensemble ends on an ethereal high note as all get back into their own beds and go to sleep.

MUSIC CHANGES TO A SPOOKY UNDERSCORE. DARKNESS THICKENS around SARAH's room, isolating her. A sense of excited dread.
Now SARAH'S ROOM BEGINS TO CHANGE: the walls shift and become translucent, intimating something between the walls — or strange creatures just beyond them…

Sarah (sitting up in bed):
What's happening? What is happening to me?

As if from the walls — a sibilant, fugal whispering, sometimes in unison, sometimes overlapping:

Unseen Chorus of Voices:
What's happening, what is happening to me
What's happening, what is happening to me…

Sarah:
What is that? Who's there?

Unseen Chorus of Voices:
What is that, who's there, what is that, who's there…

THE BED BEGINS TO MOVE

Sarah:
Oh my God…!

Unseen Chorus of Voices:
God has left the building
God has left the building
God has left the, God has left the
God has left the building

HUNDREDS OF BLOOD-RED ROSE PETALS RAIN DOWN ON SARAH

MUSIC CLIMAXES and KROLOCK APPEARS, swooping down into the room from above in a SWIRL OF FLAME. Throughout the following scene, KROLOCK is constantly transforming himself in his style of speech and mannerisms, morphing from one persona to the next, often back and forth

Krolock:
GOOD EVENING SARAH
PLEASE DON'T BE AGHAST
I AM YOUR LORD
A VOICE FROM THE PAST
CONGRATULATIONS
IT'S MY PLEASURE
TO TELL YOU, MY DEAR
YOU ARE INVITED
TO THE BALL OF THE YEAR

With rapturous reverence:

YOU'LL BE A GODDESS

With sudden impatient scorn:

I'VE GOT NO TIME FOR FEAR

MUSIC CONTINUES - CHANGING AND RE-INVENTING ITSELF CONSTANTLY UNDER THE TEXT

Sarah:
So you weren't a dream…!

Krolock:
I'm a dream all right. I am your deepest dream.

Like Alain Delon or Marcello Mastroianni, a continental Casanova:

And we have a rendezvous, remember? The woods

Sarah:
Yes…

Krolock:
The graveyard

Sarah:
Yes…

Krolock:
Your basket of mushrooms. My rambunctious friends

Sarah:
The total eclipse of the moon

Surging romantic, with a touch of nobility - like Ronald Colman, or
Olivier as Heathcliff:

Krolock:
And the ball at my castle, tomorrow night.
Would you like to come? There'll be dancing till dawn

Sarah:
Dancing till dawn…

Krolock:
Then we sleep till sunrise… and live all over again…

ALFRED sits up in bed in the adjoining room

Alfred:
Did you hear something, Professor…?

Abronsius:
Wolves, my boy. Just wolves

Krolock:
People want you innocent, Sarah.
But you want… ecstasy. Abandon.
You want to pound the floor in red velvet boots

Sarah:
Red velvet boots…?

Krolock:
You would look so commanding

THREE STUNNINGLY BEAUTIFUL AMAZONIAN VAMPIRES emerge from the walls

Three Vampire Women:
Commanding

Krolock:
So would you like to come to my ball?

Sarah:
I — I don't know —

An abrupt change — a different voice — suddenly viscious and sneering

Krolock:
You pathetic little peasant! Do you think I've got time for a miserable nothing like you?

Abruptly changing tone again

I'm sorry. I've got nothing but time — for you

Alfred (sitting up in bed again):
I did hear something!

Krolock:
There's an evil that's after you, Sarah

Sarah:
Evil, what evil?

THE MUSIC KEEPS TRANSFORMING UNDERNEATH, SHADOWING THE WORDS:

Krolock:
The worst of evils. Normality. Boredom. Heidelberg.
Children, church and chopping garlic. I see the damage already.
Listen! I can hear your heartbeat from here

WE HEAR an AMPLIFIED ELECTRONICALLY ENHANCED HEARTBEAT

So sluggish. Like mud. Like sludge.
Make it run faster, Sarah. Make it match mine

WE HEAR a SECOND HEARTBEAT — his own — pulsing under hers but faster, the two playing off each other rhythmically

Can you hear my blood…? Boo! — You look scared

Sarah:
I — I am scared

Krolock:
Feels good, doesn't it

MUSIC EXPLODES

Song: Invitation to the Ball

Krolock:
LISTEN! YOUR BLOOD IS LIKE LIQUID LIGHTNING
I CAN HEAR IT RACE THROUGH YOUR BODY
LIKE A CHOIR ON FIRE
ABLAZE WITH THE SOUNDS OF A THRILLING EXULTATE
YOUR HEART IS BURNING BRIGHTLY
LIKE A NEVER ENDING PYRE
I KNOW WHAT IT'S LIKE FOR YOU NOW… HERE…

SOMETIMES IT SEEMS AS IF THE NIGHTS GO ON FOREVER
SOMETIMES IT SEEMS AS IF THE DAYS ARE DRY AS DUST
SOMETIMES IT SEEMS AS IF YOU CAN'T HOLD BACK THE FEVER
SOMETIMES IT SEEMS LIKE ALL YOUR DREAMS HAVE TURNED TO RUST
SOMETIMES IT SEEMS AS IF YOU'VE BEEN AN ANGEL ALL YOUR LIFE
WOULDN'T YOU LIKE TO KNOW WHAT IT FEELS LIKE TO BE DAMNED?
WELL, THINGS DON'T HAVE TO BE THE WAY THEY SEEM
AND WHAT THAT REALLY MEANS IS
SOMETIMES WE NEED THE BOOGEYMAN!

THE WOMEN VAMPIRES, Krolock's acolytes, swirl around Sarah — Reaching, grasping, groping, caressing, stroking, touching

LOOK AROUND DARLING AT THIS PITIFUL PLACE
ALL THE WINDOWS ARE BOLTED
THE DOORS HAVE BEEN SLAMNED
BUT I CAN OPEN THEM ALL IN THE BLINK OF AN EYE
AND TAKE YOU A CASTLE ON THE EDGE OF THE SKY
SOMETIMES WE NEED THE BOOGEYMAN!

The WOMEN VAMPIRES perform a magical choreographed make-over of SARAH, transforming her into what she might look at the ball. A RED DRESS appears. RED VELVET BOOTS appear. A RUBY NECKLACE and DIADEM. In a FULL-LENGTH MIRROR, SARAH sees herself as she would look in those things as everything around her keeps swirling

THE THRILL OF THE CHASE
THE HEAT OF THE FIRE
THE HOWLS OF THE WIND
AS IT TEARS AND WHIPS

He grabs her

LOOK AT MY FACE AND WHAT DO YOU SEE?
READ MY APOCALYPSE!
READ MY APOCALYPSE!

THE BEAUTY OF DARKNESS
THE MAGIC OF FLIGHT
THE ENDLESS ADVENTURES
MIRACULOUS TRIPS
LOOK AT MY FACE AND WHAT DO YOU SEE?
READ MY APOCALYPSE!
NOTHING SMALL OR DOMESTIC
OR BORING OR TRITE
AN END TO THE YEARNING
THAT TEARS YOU AND RIPS
JUST USE YOUR EYES AND WHAT DO YOU SEE?
READ MY APOCALYPSE!
READ MY APOCALYPSE!

KROLOCK LEVITATES SARAH. Her body writhes in the air, wreathing around his in a stunning aerial pas de deux

AND IT'S ALL FOR YOU
IT'S ALL FOR YOU
IN THE CASTLE ON THE EDGE OF THE SKY
IT'LL SOON COME TRUE
IT'LL ALL BE FOR YOU
COME TO THE CASTLE ON THE EDGE OF THE SKY
COME TO THE CASTLE ON THE EDGE OF THE SKY

Spoken — excitedly, intensely:

Listen, Sarah! Your heartbeat. It's faster now. Yes.
Our bodies rhyme. We rhyme

Sings

SOMETIMES YOU KNOW WHAT YOU FEEL
THOUGH YOU DON'T EVER UNDERSTAND
GO BEYOND WHAT THEY TELL YOU IS REAL
SOMETIMES WE NEED THE BOOGEYMAN!!!

TWO POOLS OF LIGHT isolate them as KROLOCK goes to the MIRROR and SARAH stands ten feet away. THE MUSIC PULSES and CHURNS SOFTLY BUT SENSUOUSLY UNDERNEATH as KROLOCK erotically "touches" SARAH'S REFLECTION in the mirror during the following. They both seem to be in a mutual trance.

I've been dreaming up a storm lately

A LIGHTNING FLASH BLAZES, without thunder

About mirrors — millions of mirrors
Mirrors out of control
Reflecting people to death
The mirrors keep getting larger and larger
And I have to keep filling them up
Feeding them
Because the mirrors have become vast
And beautiful
And very, very hungry
They won't obey me anymore
The mirrors decide themselves what they would like to reflect
They create a reflection
Then I have to go out and find the real thing that matches it
And when I put the real thing in front of the mirrors
It is never as beautiful as the reflection that came first
Then I have to destroy the real thing
And go out looking again
You can help me, Sarah
The mirrors want you
Before I ever saw you they gave me your image
They need only one more thing to fill them up
And if it were you I feel they would be satisfied
As I would
You have such a beautiful reflection
Don't ever waste it

Erupting:

THIS IS YOUR CHANCE! THIS IS YOUR TIME!
BREAK ALL THE CHAINS AND GIVE ME YOUR HAND!
SOMETIMES IT'S THERE RIGHT IN FRONT OF YOUR EYES!
SOMETIMES WE NEED THE BOOGEYMAN!
SOMETIMES IT'S THERE RIGHT IN FRONT OF YOUR EYES!
I'LL DO IT ALL, YOU DO WHAT YOU CAN
COME TO THE CASTLE ON THE EDGE OF THE SKY
SOMETIMES WE NEED THE BOOGEYMAN!

KROLOCK moves toward her neck.
ALFRED has leapt out of bed, shirtless, and now peeps through the keyhole

Alfred:
Professor! Professor, somebody's in there!
Abronsius:
Don't go in there, my boy!
Alfred:
Don't go IN???
Abronsius:
No, no, no, no, no

ABRONSIUS looks through the keyhole

Alfred:
Is it a…?
Abronsius:
Ja. It's a vampire, all right. The purple-caped Austro-Hungarian vampire.
Alfred:
What do we do?
Abronsius:
We are scientists. We do not interfere. We observe
Alfred:
Observe?!

Krolock:
Observe, Sarah: I do not force you

Abronsius:
Do nothing
Alfred:
Nothing?!

Krolock:
I do nothing

Abronsius:
Don't you see? She has to go to him!

Krolock (smoothly sinister, almost like Vincent Price):
You have to come to me. Tomorrow night when the church bells ring midnight — or never

Abronsius:
Do you really think any girl will say yes to an obvious vampire?

Krolock:
Just say yes

Abronsius:
She's a clever girl

Krolock:
You're a clever girl

Tempted again, he moves his teeth toward her neck again

Alfred (moving toward the door):
I can't stand it anymore!
Abronsius:
No! No!

Krolock (pulls back):
No. Tomorrow…

Abronsius:
She's not in danger until tomorrow night. The total eclipse of the moon.

Krolock:
You might be frightened tomorrow, Sarah

Spoken — with clipped smoothness, like Noel Coward reciting lyrics:

THE NIGHT WILL BE DARK AND OMINOUS
YOU MIGHT FEAR YOU'LL NEVER FIND YOUR WAY BACK
BUT YOU'LL NEVER SURRENDER
IF YOU ALWAYS REMEMBER
EVERYTHING GOES WELL WITH BLACK

Alfred (looking through the keyhole):
Sarah! Sarah!
Abronsius:
Do nothing, boy!

Sarah:
Tomorrow when the church bells ring midnight - or never…

HUGE MUSIC

Krolock (explodes anthemically in blazing rock and roll):
THE NIGHT WILL BE DARK AND MYSTERIOUS
YOU'RE AFRAID THAT YOU'LL NEVER GET BACK
BUT YOU'LL NEVER SURRENDER
YOU'LL ALWAYS REMEMBER
THAT EVERYTHING GOES WELL WITH BLACK
THAT EVERYTHING GOES WELL WITH BLACK
(Repeat)

KROLOCK DISAPPEARS IN A SWIRL OF FLAME

Alfred:
He's gone! Vanished into thin air
Abronsius:
Be strong, Alfred. We have nothing to fear — yet
Alfred:
I'm standing guard right here. To the end of time if I have to!
Abronsius:
In this case — that might be necessary. Good night, my boy. Be strong.

ABRONSIUS gets back into bed as ALFRED stands watch

Sarah:
Tomorrow — or never. Tomorrow — or never…

Chorus of Unseen Voices (fading):
Tomorrow or never, tomorrow or never, tomorrow or…

Alfred:
Dear God — look down on us tonight

All he gets in response is a DISTANT, ECHOING ROAR OF KROLOCK'S LAUGHTER

Scene Change.

Scene Four: Outside the Inn, the next morning.

Outside the inn. Morning. CHAGAL, REBECCA and MAGDA are cheerfully at work, doing tasks.

Song: Everything's Fair

Rebecca:
EVERYTHING'S FAIR
IN THE LIGHT OF THE WINTER SUN
Magda:
OUT IN THE AIR
EVEN LABOUR CAN FEEL LIKE FUN
Chagal:
MIDAFTERNOON
THERE'S NO FEAR OF THE SUNSET
Rebecca:
DISEMBOWELLING A GOOSE
IS AS GOOD AS IT CAN GET

Chagal, Magda, Rebecca
EVERYTHING'S FINE
IN THE COLD OF A FROSTY DAY
LIFE IS DIVINE
AND OUR WORK IS A GAME TO PLAY

Chagal:
OH HOW EXCITING
THE SMILE OF A WIFE IS
Chagal, Magda, Rebecca
ISN'T IT AWESOME
HOW WONDERFUL LIFE IS?

KOUKOL, the local hunchback, ENTERS

Koukol:
Greshnashnookel!
Chagal (fawning):
Good morning, Mr. Koukol. You're looking well today
Koukol:
Hongungosh!
Chagal:
Well — as well as could be expected

ABRONSIUS looks out of his window and observes with interest

Koukol:
Blefeldenshmirt!
Chagal:
Yes. Very well put. How may I be of service?
Koukol:
Kh-kkhh-andl-aarrgh…
Chagal:
Candles. Well, that's a problem. We're short of candles ourselves.
Koukol:
Graha-baba-goongi-blingi-BLABADABEEGONG!
Chagal:
That's easy for you to say…
Koukol:
UHROOGABACH!
Chagal:
All right, Mr. Koukol! Calm down! I'll see what's left.
Rebecca — candles!
Rebecca:
Magda — candles!
Magda:
Would you get me some candles, sweetie?
Chagal:
I'm burning already, my flame

CHAGAL, REBECCA and MAGDA EXIT into the house. SARAH looks out her window and KOUKOL motions to her

Koukol:
Yough — Ca-stle — Count — Too-naaght
Mid-night — Ding, dong, ding, dong!

CHAGAL, REBECCA and MAGDA ENTER with CANDLES

Chagal:
Here you are! Two dozen dripless. Please give my regards to his excellency, and you might remind him about those outstanding bills
Koukol:
Badabingbadaboom!
Chagal:
I erase them this moment!

ABRONSIUS ENTERS from the house, accompanied by ALFRED

Abronsius:
Just one moment, Mr. Chagal.
A most interesting visitor you have here
Chagal:
Professor Abronsius — Mr. Koukol Von Krolock
Abronsius:
Come from the castle, are you, Mr. Krolock?
Chagal:
Castle…?
Abronsius:
And looking for candles. Is there some festivity in the offing? Perhaps — a ball?
Koukol:
Gaaagh flocka morgenshtern!
Abronsius:
Ippta oongamagong — epflagoon shlooshdamashtick!
Koukol (bowing deeply in awe):
Hoongameisda! Hoongameisda!
Abronsius:
You see, you just have to know how to talk to these people. Trust me, gentle friends, I can see to the murky bottom of what's happening here

Song: A Man of Science

Abronsius:
YOU THINK I HAVEN'T GOT A CLUE
YOUR CRINGING MAKES ME WEARY
IT'S TIME I INTRODUCE TO YOU
MY FUNDAMENTAL THEORY
LOGIC, LOGIC
THE WORLD IS BASED ON LOGIC

PUT ME TO THE TEST AND YOU WILL FIND
YOU CAN'T MESS WITH THIS PROFESSORS' MIND
LOGIC AND REASON WILL WIN THE DAY
I'M GOING TO FIND YOU OUT ANYWAY

From this point on, the song is a tongue-twisting, rapid-fire, virtuoso "patter song," accelerating wildly and careening at full-speed to a pyrotechnical ending

WHEN I WAS BUT A LITTLE TOT
A-SITTIN' ON MY MAMA'S KNEE
A VISIONARY THOUGHT I GOT
AS PURE AS TRIGONOMETRY:
IT'S LOGIC
THE ANSWER IS LOGIC!

SO TO HEIDELBERG I TRAVELLED
AT THE TENDER AGE OF SEVEN
ALL MY COURSES I UNRAVELLED
BY THE TIME I TURNED ELEVEN
USING LOGIC
I BECAME PEDAGOGIC!

MY REASON'S CLEAR, MY THINKING'S FIRM
EVASIONS WON'T DELUDE ME
THIS EARLY BIRD WILL GET HIS WORM
YOU SIMPLY CAN'T ELUDE ME
YOU BEHAVE AS THOUGH I'M DEAF AND BLIND
BUT NEVER MESS WITH THIS PROFESSORS' MIND

Magda, Chagal, Rebecca:
EVERYTHING'S BLISS
AND WHAT'S NOT
YOU CAN'T REARRANGE
HAPPINESS IS
TO ACCEPT
WHAT WE CANNOT CHANGE
EVERYTHING'S SUNNY
AND EVERYTHING'S ROSY
UNLESS SOME OLD DUMMY
SHOWS UP WHO'S NOSY

Abronsius:
WITH A LOGIC UNMISTAKABLE
IN RATIONAL REALITY
YOUR STUBBORNNESS I'LL SHAKE
AND BREAK YOUR CONFIDENTIALITY
MY SKILL IS UNSURPASSABLE
MY THINKING TRULY AWESOME
YET I DO BECOME IRASCIBLE
WITH PEOPLE PLAYING POSSUM LIKE YOU DO!

TO DETECT THE UNDETECTABLE
IS WHAT YOU CAN EXPECT OF ME
DISSECTING THE RESPECTABLE
JUST LIKE AN APPENDECTOMY
MY BRAIN IS LIKE A RAZOR
CUTTING QUICK INTO CONFUSION
RIPPING DEEP INTO THE HAZE OF LIFE
ELUDING ALL ILLUSION, THIS IS TRUE!

YOU MAY BE A SIMPLE PIGEON
BUT YOU'D FLY LIKE A TOBOGGAN
IF YOU ONLY HAD A SMIDGEON
OF THE KNOWLEDGE IN MY NOGGIN
I'LL DEDUCE YOUR TOUGHEST QUERY
WHILE I EXECUTE A HIGH KICK
AND ELUCIDATE A THEORY
WITH A LOGIC ALMOST PSYCHIC, UNLIKE YOU!

I'VE BEEN STICKING OUT MY NECK
WITH SUCH IMPECCABLE DETECTION
WHILE DEFLECTING ALL THE DRECK
WHICH YOU INFLICT IN MY DIRECTION
I CAME ALL THE WAY FROM HEIDELBERG
TO UNDERTAKE MY FINAL QUEST
TO SAVE YOUR SUICIDAL BERG
I'LL DO MY LEVEL-HEADED BEST FOR YOU!

Magda, Chagal, Rebecca, Alfred (simultaneous and overlapping):
OH, HIS THINKING WAS SO LOGICAL
IT CAUSED A REVOLUTION
HE WAS NAMED A DEMAGOGUE
OF PEDAGOGICAL POLLUTION
AND HIS THEORY IS SO RADICAL
HIS SERMON SO FAR-REACHING
THAT A PERMANENT SABBATICAL
NOW KEEPS HIM FROM HIS TEACHING WHAT IS TRUE!
IF YOU HAVEN'T GOT A CLUE
HE WILL TEACH YOU WHAT TO DO
ALL ILLUSION HE'LL POOH POOH
DO IT LOGICALLY TOO
THOUGH HIS THEORY IS NEW
PEDAGOGICALLY TRUE
OUR PROFESSOR IS TABOO
AND HIS FAME IS OVERDUE

Abronsius (simultaneous and overlapping):
I DO MY BEST, SIR
DON'T SECOND GUESS, SIR
I'M A PROFESSOR WHO IS LOGICAL AND TRUE
OH I'M THE BEST, SIR
AND NEVER MESS, SIR
WITH A PROFESSOR WHO IS LOGICAL AND TRUE
WHO IS LOGICAL AND TRUE!
WHO IS LOGICAL AND TRUE!
WHO IS LOGICAL AND TRUE!

Magda, Chagal, Rebecca, Alfred (simultaneous and overlapping):
OUR PROFESSOR IS A PIP
EVER SHOOTING FROM THE HIP
WHEN WE NEED TO GET A GRIP
INTO LEARNING HE WILL DIP
THOUGH HE REALLY IS A PAIN
AND A TINY BIT INSANE
HIS GOOD NAME IS DOWN THE DRAIN
BUT HIS LOGIC WILL REMAIN

Abronsius (solo):
WHEN I SEE A GOOSE THAT'S PLUCKED
I KNOW IT'S OVEN BOUND
WHEN THERE'S AN AXE THAT'S RAISED
I KNOW IT WILL COME DOWN
I'M SO ALERT, ERUDITE AND QUITE FACILE
WHEN I SEE A HUNCHBACK
I KNOW THERE'S A CASTLE!

I POKE AND PROD AND PRY A LOT
AND FIND OUT WHAT IS JUICY
FAR SIGHTED AS A HOTTENTOD
I SEE MUCH MORE THAN YOU SEE!
LOGIC, LOGIC
I SEE IT ALL THROUGH LOGIC
THOU SHALT NOT MESS THIS PROFESSOR!

Simultaneously, overlapping with the others

TO DETECT THE UNDETECTABLE
IS WHAT YOU CAN EXPECT OF ME
DISSECTING THE RESPECTABLE
JUST LIKE AN APPENDECTOMY
MY BRAIN IS LIKE A RAZOR
CUTTING QUICK INTO CONFUSION
RIPPING DEEP INTO THE HAZE OF LIFE
ELUDING ALL ILLUSION, THIS IS TRUE!
I DO MY BEST, SIR
AND NEVER MESS, SIR
WITH A PROFESSOR WHO IS LOGICAL AND TRUE
WHO IS LOGICAL AND TRUE!
WHO IS LOGICAL AND TRUE!
WHO IS LOGICAL AND TRUE!

Magda, Chagal, Rebecca, Alfred (simultaneous and overlapping):
IF YOU HAVEN'T GOT A CLUE
HE WILL TEACH YOU WHAT TO DO
ALL ILLUSION HE'LL POOH POOH
DO IT LOGICALLY TOO
THOUGH HIS THEORY IS NEW
PEDAGOGICALLY TRUE
OUR PROFESSOR IS TABOO
AND HIS FAME IS OVERDUE

OUR PROFESSOR IS A PIP
EVER SHOOTING FROM THE HIP
WHEN WE NEED TO GET A GRIP
INTO LEARNING HE WILL DIP
THOUGH HE REALLY IS A PAIN
AND A TINY BIT INSANE
HIS GOOD NAME IS DOWN THE DRAIN
BUT HIS LOGIC WILL REMAIN

All:
HE'S GOOD AND TRUE!

Scene Change.

Scene Five: Sarah's Bedroom, that evening.

Evening. Sarah's bedroom. We hear the TWO THROBBING ELECTRONIC HEARTBEATS pulsing rhythmically as SARAH paces frantically. In the next room, ALFRED paces more regularly, holding watch, keeping an ear out for SARAH

Feverishly, to herself, half mad with excitement and doubt, alternating between urgent confusion and sudden outbursts:

Sarah:
When the churchbells ring midnight…
When the churchbells ring midnight…

That sibilant, fugal whispering of before, surrounding her:

Unseen Chorus of Voices:
Sarah… Sarah…
Sarah:
Now or never…
Unseen Chorus of Voices:
Now or never, now or never…
Sarah:
Sooner or later…
Unseen Chorus of Voices:
Now or never…
Sarah:
I'm not ready, no one's ready, don't leave Daddy, don't leave Daddy…
Unseen Chorus of Voices:
Come — come — come…
Sarah:
Sooner or later's never going to come…
Unseen Chorus of Voices:
Come… come… come…
Sarah:
Come when the churchbells ring Heidelberg… No, not Heidelberg — yes, yes, Heidelberg. —Alfred. Wonderful beautiful Alfred who adores me - who'll protect me…
Unseen Chorus of Voices:
Come… come… come…

THE HEARTBEATS GROW IN INTENSITY

Sarah:
But sometimes we need the boogeyman…
Unseen Chorus of Voices:
Sometimes we need the boogeyman, the boogeyman…
Sarah:
A boy as ravishing as he…
The things I'd do for just one kiss
The things I'd do for just one kiss I might never understand…
Unseen Chorus of Voices:
The wolf with red roses…
Sarah:
The wolf with red roses…
Unseen Chorus of Voices:
Feed the mirror…
Sarah:
Feed the mirror…
Unseen Chorus of Voices:
Feed the mirror, Sarah…

SARAH again sees herself in the mirror in the RED OUTFIT

Come, come, come, come…
Sarah:
The sky is watching the moon, the moon is watching the sky
Nothing will happen, nothing will happen…

In the next room:

Abronsius:
He may try to lure her tonight, Alfred.
Don't let your guard down for a moment

Sarah:
I'm choking. I need a…

She pounds on the LOCKED DOOR of her room

Let me out! Father! Let me out!

The LOCKED DOOR OPENS OF ITSELF and SARAH RUNS OUT

Alfred (looking through the keyhole):
She's gone, Professor!

He rushes to the door of his own room — but it won't open, as if it's locked.

Damn it. Damn it.

He wrestles with it and kicks the door open, then runs out after her

SARAH…!

Scene Changes.

Scene Six: Outside the Inn.

Night. Outside the inn. SARAH runs out and stands panting, crazed with shock. A SINISTER FIGURE suddenly steps out of the shadows behind her and puts a hand on her shoulder

Sarah (A startled cry):
Who's that?
A Voice:
Good evening, my child

He steps forward. We see that it's a PRIEST in a long black cassock

Did I frighten you?
Sarah:
Oh — a priest…

Priest:
Good evening. Father Von Krolock
Sarah:
I've never seen you on Sundays at church
Priest:
I'm not much of an early riser, and I've been travelling… to and fro on the earth
Sarah:
Father, I need a priest right now
Priest:
Yes, child, I know. I can read your soul like a Baptist pamphlet. Would you like to confess your sins?
Sarah (noticing):
But — you have no cross, no crucifix
Priest:
Why be a slave to clerical fashion?
Why be a slave to anything? Or anyone? Except, of course…

Motions upwards, to God

You know…

A harsh outburst, still looking upwards

And even then, why? Kneel to me

Sarah (kneels and start to cross herself):
In the name of —
Priest (stopping her):
In the name of heaven — don't cross me with cliché's, child!
Sarah:
But our Good Lord —
Priest:
Good Lord, he was a fine man, but he's not with us tonight. Let me confess your sins for you. Bless you, child, for you have desired. So have we all — it's how we prove we're alive. You have been proud. As you deserve to be. Anger. You've been angry, yes, because they've kept everything out of your reach. Gluttony. Yes, because there's a feast waiting for you and you haven't gotten a taste. You want to leave this place. Who wouldn't? It stinks of cabbage and corruption. But you, Sarah…
Sarah:
How do you know my name is Sarah?
Priest:
You smell of youth. You smell of perfumed thighs and glistening sweat and powdered breasts. For your penance — powder them again
Sarah:
Who are you really…?
Priest:
I have been sent to you with a gift

He motions, and a SPOTLIGHT COMES UP on a BUNDLE downstage

Open, when the moment is ripe
Sarah:
How will I know when that moment is?
Priest:
There's nothing wrong with now. There's never anything wrong with now…

THE PRIEST slinks out. SARAH opens the BUNDLE and finds A PAIR OF RED VELVET BOOTS

Sarah:
The moon is watching the sky, the sky is watching the moon.
Nothing will ever happen…

ALFRED runs out of the house and SARAH steps away from the boots

Alfred:
Sarah! Sarah, thank God I caught you!
Sarah (still lost in her own thoughts):
I learned that as a little girl…
Alfred:
What are you talking about?
Sarah:
The moon is watching the sky. It was a nursery rhyme, like a prayer that always made me feel safe. But no place is safe. Where can I be safe?
Alfred:
You're safe right here, with me
Sarah:
Will you protect me, Alfred?
Alfred:
Yes
Sarah:
Can you protect me?
Alfred:
Yes
Sarah:
But I'm almost 18. Tomorrow night. And I want something to happen
Alfred:
Something has happened
Sarah:
Why should I want to be safe?
Alfred:
Sarah, you and I happened
Sarah:
But you and I aren't safe. We'll never be safe
Alfred:
We just have to be brave
Sarah:
Brave…
Alfred:
Braver than we are
Sarah:
If I was braver than I am I'd run away right now
Alfred:
Then run with me
Sarah:
There's nothing holding me back
Alfred:
If I was braver than I am I'd make you run
Sarah:
If I was braver than I am I'd burn this whole place to ashes
Alfred:
If I was braver than I am I'd light the match
Sarah:
I'd stop crying, I'd stop waiting, I'd stop stopping myself
Alfred:
If I was braver than I am, I'd —

ALFRED grabs her and KISSES HER LONG AND PASSIONATELY

Sarah:
Yes
Alfred:
Let's run
Sarah:
Yes
Alfred:
Let's run right now. I don't care where we go. We've got the whole world to run to
Sarah:
Yes. Yes. But will you hold me? Will you hang onto me with all your strength?

Song: Braver Than we Are

Alfred:
I WILL NEVER SLEEP
EVERY NIGHT I'LL BE WITH YOU
THERE IS SO MUCH ON YOUR MIND
THAT I DON'T KNOW

FEELS LIKE I'M ON FIRE
AND THE FLAMES HAVE GOT NO MERCY
THE FEVER'S NEVER-ENDING
ALL IT SEEMS TO DO IS GROW

Sarah:
THERE ARE TIMES I WANT TO RUN
TIMES I WANT TO HIDE
THINGS I HAVEN'T DONE
Alfred:
THINGS I CAST ASIDE

Sarah:
SO MANY THINGS TO TRY
SO MANY THINGS DENIED
Alfred:
THERE'S NO DENYING —

Sarah:
SOONER OR LATER I KNOW I COULD RUN NOW
SOONER OR LATER HAS FINALLY COME NOW!

HOW CAN WE FLY
LIKE THE ANGELS IN THE SACRED AIR?
HIGHER AND HIGHER
ABOVE THE WORLD AND ALL ITS CARES

Alfred:
EVERYBODY'S READY TO FLY
BUT THE STORMS ARE NEVER SO VERY FAR
AND I WISH MY LIFE WAS SHINING LIKE A STAR
BUT THE FEARS ARE NEVER VERY FAR AND —
WE ALWAYS SEEM SO MUCH BRAVER THAN WE EVER ARE
WE ALWAYS DREAM WE'D BE BRAVER BUT WE NEVER ARE

Sarah:
I NEED YOU SO MUCH
Alfred:
I NEED YOUR TOUCH

Sarah:
I AM SICK
OF THIS PLACE
AND THIS COLD
I DON'T WANT
TO GET OLD
WITHOUT LIVING
I AM TIRED
DOING JUST
WHAT I'M TOLD
I WANT MORE
THAN WHAT
ANYONE'S GIVING

Alfred:
THERE ARE SO MANY WOUNDS WE CAN'T HEAL
Sarah:
SO MANY NIGHTMARES ARE TURNING TOO REAL
Alfred:
SO MUCH OF PARADISE LOST
Sarah:
AND YOU ADD UP THE COST
Alfred:
BUT THERE'S NOTHING TO BE SORRY FOR!
Sarah:
NOW WE CAN HAVE SO MUCH MORE!
Alfred:
NOW I CAN BE CLOSE TO YOU!
Both:
NOTHING THAT WE'RE SCARED TO DO!

WHY SHOULD WE CRY
IF WE CAN BE WHAT WE MIGHT HAVE BEEN
NO QUESTIONS WHY
WE SHOULD LET THE FUTURE NOW BEGIN

Sarah:
YOU SEE ME AS SO VERY STRONG
BUT THE DOUBTS ARE NEVER SO VERY FAR —
Alfred:
AND I WISH MY LIFE WAS SHINING LIKE A STAR
BUT THE TEARS ARE NEVER VERY FAR
Both:
THE FEARS ARE NEVER VERY FAR AND —
WE ALWAYS SEEM SO MUCH BRAVER THAN WE EVER ARE
WE ALWAYS DREAM WE'D BE BRAVER THAN WE EVER ARE
LET'S RUN AWAY
GO TOO FAR

THUNDERBOLTS. A sudden change in the music. A rhythmic pulse. A STRANGE, RUBY GLOW SURROUNDS THE RED BOOTS and PULSES — Unnoticed by ALFRED but seen by SARAH

Alfred:
What's the matter?
Sarah:
Nothing…
Alfred:
You're shaking
Sarah:
Yes, I've got shivers down my spine. Alfred, would you get my coat?
Alfred:
Your coat — and then we're off
Sarah (mesmerized by the PULSING GLOW on the RED BOOTS):
Yes. Yes…

ALFRED EXITS into the inn. SARAH puts on the BOOTS:

Sarah:
I WILL NEVER SLEEP
NOW MY HEART HAS BEEN AWAKENED
TO FEEL THE YEARNING FOR
A SINGLE PERFECT TOUCH

I CAN'T AFFORD TO WAIT
ALL THE MAGIC WILL BE TAKEN
I DON'T WANNA LOSE IT
THERE CAN NEVER BE TOO MUCH

THERE ARE TIMES I'VE GOT TO RUN
TIMES I'VE GOT TO HIDE
THINGS I'VE LEFT UNDONE

THINGS I CAST ASIDE
SO MANY THINGS TO TRY
SO MANY THINGS DENIED
AND ALL I KNOW IS
SOONER OR LATER I WANTED A CHANCE NOW
SOONER OR LATER IS HERE
I CAN DANCE NOW!

DANCE: THE RED BOOTS BALLET

The entire Inn seems to explode outward, revealing the gorgeous vision of SARAH'S BALLROOM FANTASY. CHANDELIERS swoop in and swirl. Dashing young vampires, men and women, dance in all formations — men with women, men with men, women with women. The music gets more feverish. Her fantasy is getting out of control. [A DANCE DOUBLE FOR SARAH APPEARS, as SARAH continues to sing, and soon a KROLOCK DOUBLE APPEARS.] The dancing is virtuosic, high-pitched, ecstatic, stunning

Sarah:
WEIGHTLESSLY FREE
I'LL BE REBORN IF I ONLY DARE
LIMITLESSLY
THERE'LL BE NO MORE BOUNDARIES ANYWHERE

We hear Krolock's voice, echoing around. SARAH looks around wildly for him

Krolock's Voice:
DO WHAT REASON DOES NOT PERMIT
AND DON'T ASK IF YOU'LL REGRET IT TOMORROW

Sarah:
AND MY LIFE IS FINALLY SHINING LIKE A STAR!
I CAN LEAVE THOSE FEARS RIGHT WHERE THEY ARE
LEAVE THOSE FEARS RIGHT WHERE THEY ARE NOW

DANCE CONTINUES

Sarah & Krolock:
HOW CAN WE FLY
LIKE THE NIGHTBIRDS IN THE DARKENED AIR
HIGHER AND HIGHER
ABOVE THE WORLD AND ALL ITS CARES
WE'LL GET AWAY!
AWAY FROM HERE!

There is a final triumphant instrumental statement as the DANCERS EXIT rapturously in all directions. DANCER KROLOCK forces DANCER SARAH'S body downwards and gives her a sexually charged kiss. She abruptly twists him around, exchanging positions, and she, now dominant, is the one who makes him submit to a grand kiss. THEY EXIT in a blur of movement. SARAH is left onstage alone as the music changes dramatically

Perhaps during the following, the Inn appears behind Sarah far upstage and seems to slide forward as the "prayer" progresses. SARAH remains down center, her head in her hands, transfixed mesmerized, torn, until she sings her own soaring counterpoint in this "battle for her soul"

Rebecca (a candle is lit in her room,
as she appears at her window):

WHEN TEMPTATION COMES TO CALL
THEN THE SOUL CAN LOSE ITS WAY
AND THE ANGELS START TO FALL
ONLY PRAYER CAN SAVE THE DAY

Magda (CANDLE ignites in Magda's room,
as she appears at her window):

SAY A PRAYER FOR THOSE WHO CRAWL
SAY A PRAYER FOR THOSE WHO RUN
SAY A PRAYER SO AFTER ALL
THERE'S A BETTER LIFE TO COME

ALFRED now looks out a window

Rebecca, Magda, Chagal:
SAY A PRAYER FOR THOSE ALONE
SAY A PRAYER FOR THOSE APART
ALL THOSE HUNGRY BOYS AND GIRLS
THE CRUSADERS OF THE HEART

VILLAGERS are seen, adding to the prayer, as one candle after another is lit. They are crowded into the inn, but as if in a cathedral. Their music begins wordlessly, then soars into powerful, defiant, fervent statements

REBECCA, MAGDA, CHAGAL, ALFRED, VILLAGERS:
SAY A PRAYER FOR ALL THE LOST
IN ADDICTION TO DESIRE
IT'S THE YOUNG WHO PAY THE COST
THEY ARE DRAWN INTO THE FIRE

SAY A PRAYER FOR THOSE OBSESSED
SAY A PRAYER FOR THOSE ENSLAVED
SAY A PRAYER THAT THEY'LL BE STRONG
FROM THE CRADLE TO THE GRAVE

SAY A PRAYER TO ALL THE SAINTS
LET THE BLESSED LIGHT RUSH IN
ALL THE RULES MUST BE OBEYED
LET THE TERROR NEVER WIN

POWERFUL BEAMS OF LIGHT BLAZE FORTH, and shine from behind the Inn, shooting straight through it and beaming right at us

Sarah (in counterpoint to the last three cycles):
WHY SHOULD I CRY
IF I CAN BE WHAT I MIGHT HAVE BEEN
NO QUESTIONS WHY
I MUST LET THE FUTURE NOW BEGIN

KROLOCK appears now, on the roof of the Inn

HOW CAN WE FLY
LIKE THE NIGHTBIRDS IN THE DARKENED AIR
Sarah & Krolock:
HIGHER AND HIGHER
ABOVE THE WORLD AND ALL ITS CARES

Alfred (calls from the window):
I can't find your coat, Sarah!
Sarah:
It doesn't matter. I'm sorry, Alfred, I'm sorry!

SARAH runs off

Alfred:
Sarah! No!

CHAGAL comes out of the inn

Chagal:
What the hell is going on here!
Alfred:
Sarah's gone!
Chagal:
Gone? Gone where?

ALFRED, ABRONSIUS, MAGDA and REBECCA run out

Chagal:
Her shoes! They've got her. Oh, the bastards, the bastards. Don't worry, Sarah! Papa's coming!

CHAGAL runs off

Rebecca:
Yoine! It's after sunset! Don't go!

She runs off after CHAGAL

Magda:
Chagal! You can't leave me like this!

MAGDA now runs off after CHAGAL

Alfred:
Professor —
Abronsius:
This is excellent! She'll lead us right to him! Come, boy!

ALFRED and ABRONSIUS EXIT. VILLAGERS SPILL OUT FROM BEHIND THE INN, desperate search party, their candles having turned to TORCHES. The PERCUSSION plays an almost military tattoo

Hushed and mysteriously, with wonder, but building in intensity:

Villagers
BEHOLD THE BLOODSHOT MOON
AS IT RISES EVER HIGHER
ALL THE YOUNG THEY RUN TOO SOON
THEY ARE DRAWN INTO THE FIRE

Very big, with awe

BEHOLD THE BLOODSHOT MOON…!

They spread out into the wilderness to look for SARAH as the SCENE MAGICALLY CHANGES TO THE FRONT GATES OF THE CASTLE. The MUSIC CHANGES and we hear the VAMPIRES…

Scene Seven: Before Krolock's Castle.

At the gate before Krolock's castle. SARAH runs in, breathless. Seeing it, she stops, frightened — not noticing that she's being watched by VAMPIRES

Vampires:
ISN'T SHE PRETTY?
ISN'T SHE DEAR?
DAUNTLESSLY CURIOUS
AND FOOLISHLY SINCERE
SEE HER
SKIN IS LIKE VELVET
HER LIPS ARE SO RED
SHE'S SO ALIVE NOW
BUT SOON SHE WILL BE DEAD
BLOODLESS!

SARAH ENTERS THE CASTLE and THE GATES BEGIN TO CLOSE. CHAGAL, REBECCA and MAGDA scurry in and scuttle under the gate, just before it closes.

VAMPIRES APPEAR now in the audience, surrounding it, and THE THEATRE BEGINS TO TRANSFORM INTO THE CASTLE as ALFRED and ABRONSIUS ENTER

Vampires:
TURN AROUND
LOOK AT THOSE TWO GENTLEMEN
SO CIVILIZED THEY SEEM TO BE OUR PEERS
TURN AROUND
WHAT A PLEASANT CHANGE
FROM ALL THOSE VULGAR FOOLS
WE'VE SEEN THROUGH THE YEARS
TURN AROUND
NOW'S THE TIME TO WITNESS ANOTHER
LUBRICIOUS AND MEPHISTOPHELEAN CRIME
TURN AROUND
WHAT A RELIEF
AT LAST WE'RE GIVEN SOMETHING
TO KILL OUR TIME

Alfred:
Too late! No! Professor, we're too late!

KROLOCK APPEARS

Krolock:
Not at all, gentlemen. Visitors! What a delicious treat. Welcome
Abronsius:
How very kind, sir. Do I note the emblem of the Krolock family?
Krolock:
Indeed, sir — I am the fifteenth of that line, and first in your service. With whom do I have the pleasure?
Abronsius:
Abronsius. Formerly of Heidelberg
Krolock:
Not the Abronsius?
Abronsius:
You've heard of me?
Krolock:
Of course! I've read your book on bats. It's brilliant. Why, by the time I'd finished I felt those bats were family.
Alfred (erupting in anger):
You dog. You butcher! If you touch Sarah, I'll kill you. I swear, I'll kill you — if you can be killed
Krolock:
Bravo! And who is this impetuous young gallant?
Abronsius:
Alfred, my factotum.
Krolock:
Alfred, you must meet my son, Herbert. He could use a good… factotum.

Breezily, with a smile:

And we'll both have someone to kill — the time. Koukol!

KROLOCK leads them into the amazing inner court of the castle

You've met my valet?
Abronsius (aside):
The valet of the shadow of death.
Krolock:
He will show you to your chambers. Gentlemen — Bless the generous darkness that spilled you at my door. Who knows what other delights the darkness holds in store

ALFRED, with a look of hatred at KROLOCK, accompanies ABRONSIUS as KOUKOL [A DOUBLE] leads them inside. The three disappear. A CHANGE IN THE MUSIC as KROLOCK moves downstage to address us and the broad night in a passionate invocation.

Song: Carpe Noctem

Krolock:
COME WITH ME AND BLESS THE NIGHT
LET THE DARKNESS BE YOUR SALVATION
CURSE THE DAY, ESCAPE THE LIGHT
BREAK THE CHAINS OF IMAGINATION

COME WITH ME AND SEIZE THE NIGHT
NOW'S THE TIME FOR SOME INSPIRATION
LEAVE THE DAY AND LOSE THE LIGHT
NO TABOOS, ONLY NEW SENSATIONS!

Over the course of AN EXTENDED CHOREOGRAPHIC SEQUENCE, VAMPIRES SWARM TOWARD THE STAGE from the flies, from the wings, from the columns — in an excited and ecstatic convocation. It's part bacchanal, part celebratory witches' sabbath, part awesome military rally as KROLOCK reviews the armies of the night coming together. There are displays of power, sexuality and revelry. Some of it is grand ritualized movement and some is pure thrilling dance. On the final title lines, "Carpe noctem," VAMPIRES / MONKS march in procession down the theatre aisles swinging CENSERS smoking with church incense

Krolock & Vampires:
IN THE SHADOWS OF THE CASTLE
NOW'S THE TIME TO HEED THE CALL
AND ALL THE DEVILS ARE WAKING UP
AND ALL THE ANGELS START TO FALL

IN THE SHADOWS OF THE CASTLE
WE'RE DYING FOR A THRILL
WE'RE GOING OUT OVER THE EDGE
WE'RE MOVING IN FOR THE KILL

YOU'VE GOT TO CURSE THE DAY
IT'S NOTHING BUT A MERCILESS LIGHT
SO OPEN UP YOUR ARMS
AND THEN YOU GET DOWN ON YOUR KNEES
YOU SUCK IN ALL THE DARKNESS
AND YOU'RE READY NOW TO SEIZE
SEIZE THE NIGHT!

Vampires Group 1:
SEIZE THE NIGHT!

Vampires Group 2:
DIES IRAE, KYRIE, LIBERA ME, DOMINE!
DIES IRAE, KYRIE, REQUIEM DA, DOMINE!
DIES IRAE, KYRIE, LIBERA ME, DOMINE!
DIES IRAE, KYRIE, REQUIEM DA, DOMINE!
DIES IRAE, KYRIE, LIBERA ME, DOMINE!
DIES IRAE, KYRIE, REQUIEM DA, DOMINE!
DIES IRAE, KYRIE, PIE AGNE, DOMINE!
EXULTATE KYRIE, SANCTUS, SANCTUS EXULTATE!
DIES IRAE, KYRIE, LIBERA ME, DOMINE!
DIES IRAE, KYRIE, SANCTUS, SANCTUS EXULTATE!

Krolock & Vampires Group 1 (simultaneously):
BLESS THE NIGHT
BEFORE IT HAS A CHANCE TO PASS
SEIZE THE NIGHT
YOU DO WHAT IT TAKES TO MAKE IT LAST
BLESS THE NIGHT
BEFORE IT HAS A CHANCE TO PASS
SEIZE THE NIGHT
YOU DO WHAT IT TAKES TO MAKE IT LAST
BLESS THE NIGHT
SEIZE THE NIGHT

Vampires:
BLESS THE NIGHT
BE FREE!

Krolock & Vampires:
LET YOUR DREAMS OUT OF THEIR CAGES
EVERY PASSION AND DESIRE
LET YOUR VISIONS BE OUTRAGEOUS
SET YOUR FANTASIES ON FIRE

EVERYTHING WILL BE PERMITTED
THERE'LL BE NOTHING LEFT TO FEAR
YOU'VE GOT THE MAGIC IN YOUR BODY
YOUR INHIBITIONS DISAPPEAR

YOU'VE GOT TO CURSE THE DAY
IT'S NOTHING BUT A MERCILESS LIGHT
SO OPEN UP YOUR ARMS
AND THEN YOU GET DOWN ON YOUR KNEES
YOU SUCK IN ALL THE DARKNESS
AND YOU'RE READY NOW TO SEIZE
SEIZE THE NIGHT!

Vampires Group 1:
SEIZE THE NIGHT!

Vampires Group 2:
CARPE NOCTEM, LAMIA! DECET DIEM EXSECRARI!
SANGUEM SUGA, BELUA! DEBET PRAVUM EXSEQUARI!
INQUIEM PERPETUUM DONA NOBIS, SATANAS!
BESTIA DIABOLI, DONA NOBIS DAMNATIONEM!
CARPE NOCTEM, LAMIA! DECET DIEM EXSECRARI!
SANGUEM SUGA, BELUA! DEBET PRAVUM EXSEQUARI!
INQUIEM PERPETUUM DONA NOBIS, SATANAS!
BESTIA DIABOLI, DONA NOBIS DAMNATIONEM!
SANGUEM SUGA, BELUA! DEBET PRAVUM EXSEQUARI!
CARPE NOCTEM, LAMIA! DECET DIEM EXSECRARI!

Krolock & Vampires Group 1 (simultaneously):
BLESS THE NIGHT
BEFORE IT HAS A CHANCE TO PASS
SEIZE THE NIGHT
YOU DO WHAT IT TAKES TO MAKE IT LAST
BLESS THE NIGHT
BEFORE IT HAS A CHANCE TO PASS
SEIZE THE NIGHT
YOU DO WHAT IT TAKES TO MAKE IT LAST
BLESS THE NIGHT
SEIZE THE NIGHT

Vampires Group 3:
CARPE NOCTEM! CARPE NOCTEM!
CARPE NOCTEM! CARPE NOCTEM!
CARPE NOCTEM! CARPE NOCTEM!
CARPE NOCTEM! CARPE NOCTEM!

The DANCE comes to an explosive climax and there is a sudden switch to rhapsodic, soft texture in the music. The MUSIC BUILDS IN INTENSITY

Krolock (speaking as much to us as to the assembled armies):
COME WITH ME
AND WE KNOW LOVE
WE WILL SHOW YOU AND
WE WILL TEACH YOU
TAKE MY HAND
AND LEARN FROM US
WE WILL TOUCH YOU AND
WE WILL REACH YOU

COME WITH ME
AND YOU'LL KNOW LOVE
I'LL HEAL YOU
OF YOUR FALSE AMBITIONS
LEAVE YOUR BORING LIFE BEHIND
AND BELIEVE IN THE WILDEST VISIONS
AND YOU WILL LIVE FOREVER
AND YOU WILL LIVE FOREVER MORE!
FOREVER MORE!!!

As KROLOCK holds a ringing high note, the CHORUS COMES IN and sings underneath:

Vampires:
COME WITH US
AND WE KNOW LOVE
WE WILL SHOW YOU AND
WE WILL TEACH YOU
TAKE OUR HAND
AND LEARN FROM US
WE WILL TOUCH YOU AND
WE WILL REACH YOU

MUSIC SOARS ECSTATICALLY. KROLOCK'S eyes sparkle with the glow of triumph, then his face glares with majestic power and excited anticipation. Surrounded by an awesome battalion of lights, KROLOCK ENTERS THE INNER SANCTUM and closes the heavy doors behind him, creating a subterranean rumble.
THE CURTAIN FALLS

END OF ACT ONE

Scene One: Portrait Gallery, then a Topiary Garden. Night.

NOTE: after the first act curtain, when the audience reentered the theatre lobby, they found it transformed into a gothic vampire wonderland. During the intermission, the transformation of the theatre itself into the Castle Von Krolock has been completed.

Curtain up on SARAH in the castle's portrait gallery. It's the middle of the night

Vampires:
ISN'T SHE PRETTY?
ISN'T SHE DEAR?
DAUNTLESSLY CURIOUS
AND FOOLISHLY SINCERE
SEE HER
SKIN IS LIKE VELVET
HER LIPS ARE SO RED
SHE'S SO ALIVE NOW
BUT SOON SHE WILL BE DEAD
BLOODLESS!

The ANCESTRAL PORTRAITS on the wall call out to SARAH:

Total Eclipse of the Heart

Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT LONELY
BUT I DON'T KNOW WHAT I MISS
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT ANXIOUS AND WONDER
WHAT IT IS I DESIRE
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT NERVOUS THAT THE TIME OF WAITING
WILL NEVER END
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT TERRIFIED AND DRAWN BY SOMETHING
I CAN'T WITHSTAND

Ancestors:
TURN AROUND, BRIGHT EYES!
Sarah:
EVERY NOW AND THEN I HEAR A VOICE
Ancestors:
TURN AROUND, BRIGHT EYES!
Sarah:
EVERY NOW AND THEN I HEAR —

Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT RESTLESS
AND I DREAM OF SOMETHING WILD
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT HELPLESS
AND I'M LONGING LIKE A CHILD TO BE LOVED
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT CURIOUS
WHAT IT'S LIKE TO BE A WOMAN AND FREE
Ancestors:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I GET A LITTLE BIT TERRIFIED
OF ALL THE HAZARDS WAITING FOR ME

KROLOCK descends a grand, ornate, silver staircase

Krolock & Ancestors:
TURN AROUND, BRIGHT EYES!
Sarah:
EVERY NOW AND THEN I HEAR A VOICE
Krolock & Ancestors:
TURN AROUND, BRIGHT EYES!
Sarah:
EVERY NOW AND THEN I HEAR A VOICE

Krolock:
TURN AROUND, THIS IS THE NIGHT
NOW I NEED YOU MORE THAN EVER
AND IF YOU'LL ONLY HOLD ME TIGHT
WE'LL BE HOLDING ON FOREVER
AND WE'LL ONLY BE MAKING IT RIGHT
CAUSE WE'LL NEVER BE WRONG TOGETHER
WE CAN TAKE IT TO THE END OF THE LINE
MY LOVE IS LIKE A SHADOW ON YOU
ALL OF THE TIME
I DON'T KNOW WHAT TO DO
AND I'M ALWAYS IN THE DARK

Sarah:
I'M LIVING IN A POWDER KEG
EXPECTING THE SPARK

Sarah & Krolock:
I REALLY NEED YOU TONIGHT
FOREVER'S GONNA START TONIGHT
FOREVER'S GONNA START TONIGHT

Sarah:
ONCE UPON A TIME
I DREAMED OF FALLING IN LOVE
NOW I'M SCARED OF FALLING APART
THERE'S NOTHING I CAN DO
A TOTAL ECLIPSE OF THE HEART
ONCE UPON A TIME LIFE WAS SIMPLE AND BRIGHT
NOW THERE'S ONLY LAYERS OF DARK
THERE'S NOTHING I CAN DO
A TOTAL ECLIPSE OF THE HEART

The SCENE CHANGES while the action continues — to A TOPIARY GARDEN shaped from hedges and thorns, and STATUARY which come to life, taking over the part of the ancestors

Statues:
TURN AROUND!
Sarah:
EVERY NOW AND THEN
I THINK I'D BETTER RUN AWAY FROM YOU
BEFORE IT'S TOO LATE
Statues:
TURN AROUND!
Sarah:
BUT EVERY NOW AND THEN
I KNOW I MUST GO WHERE YOU LEAD ME
I'LL GO WITH YOU THROUGH THE GATES OF HELL
Statues:
TURN AROUND!
Sarah:
EVERY NOW AND THEN I KNOW
THERE'S NO ONE IN THE UNIVERSE
AS MAGICAL AND WONDROUS AS YOU
Statues:
TURN AROUND!
Sarah:
EVERY NOW AND THEN I KNOW
THERE'S NOTHING ANY BETTER
AND THERE'S NOTHING THAT I JUST WOULDN'T DO

Krolock & Statues:
TURN AROUND, BRIGHT EYES!
Sarah:
EVERY NOW AND THEN I HEAR A VOICE
Krolock & Statues:
TURN AROUND, BRIGHT EYES!
Sarah:
NOW I KNOW I NEVER HAD A CHOICE

Sarah & Krolock:
AND I NEED YOU NOW TONIGHT
NOW I NEED YOU MORE THAN EVER
AND IF YOU ONLY HOLD ME TIGHT
WE'LL BE HOLDING ON FOREVER
AND WE'LL ONLY BE MAKING IT RIGHT
CAUSE WE'LL NEVER BE WRONG TOGETHER
WE CAN TAKE IT TO THE END OF THE LINE
MY/YOUR LOVE IS LIKE A SHADOW ON ME/YOU
ALL OF THE TIME

Krolock:
I DON'T KNOW WHAT TO DO
AND I'M ALWAYS IN THE DARK

Sarah:
I'M LIVING IN A POWDER KEG
AWAITING THE SPARK

Sarah & Krolock:
I REALLY NEED YOU TONIGHT
FOREVER'S GONNA START TONIGHT
FOREVER'S GONNA START TONIGHT

Sarah:
ONCE UPON A TIME
I DREAMED OF FALLING IN LOVE
NOW I'M SCARED OF FALLING APART

Sarah & Krolock:
THERE'S NOTHING I/YOU CAN DO
A TOTAL ECLIPSE OF THE HEART

ONCE UPON A TIME
LIFE WAS SIMPLE AND BRIGHT
BUT NOW THERE'S ONLY LAYERS OF DARK
THERE'S NOTHING I/YOU CAN DO
A TOTAL ECLIPSE OF THE HEART
THERE'S NOTHING I/YOU CAN DO
A TOTAL ECLIPSE OF THE HEART

Sarah:
THERE'S NOTHING I CAN DO
A TOTAL ECLIPSE OF THE HEART

SARAH falls into his arms. Spoken:

How do you have all you have? How did you become what you are?
Krolock:
Once upon a time — long ago — An innocent boy of fifteen took a walk in the woods… And he came upon a graveyard where he met a wolf with red roses…

He seems almost amazed at how moved he is

That innocent boy vanished and was never heard from again. And now, once-upon-a-time will never, ever end…

KROLOCK moves his teeth toward her neck, but gently pushes her back. Sings:

I'VE BEEN WAITING FOR YOU
EIGHTEEN YEARS NOW
WE MUST NOT LOSE OUR HEADS
WE HAVE GIVEN OUR VOW
AND EVERY
HOUR OF WAITING
STILL ENHANCES DESIRE
THE TIME HASN'T COME YET
BUT THE MOMENT IS NEAR
THAT MOMENT COMES LATER
AT THE BALL OF THE YEAR

LIGHTS DIM on KROLOCK and SARAH as THE SCENE CHANGES.

SCENE CHANGES

Scene Two: Alfred's Bedroom. The next morning.

Alfred's bedroom. In a huge four-poster bed, ALFRED tosses in his sleep.

Dance: Alfred's Nightmare

ALFRED has a nightmare that begins as VAMPIRES APPEAR from above and beneath his bed and DANCE out his dream. Even the carvings of the bedposts come alive. This dance is in the tradition of film-noir-like dance nightmares ("Lullaby of Broadway," "Limehouse Blues," "Slaughter On 10th Avenue," and all of "All That Jazz".) At the core of the nightmare, ALFRED dreams that A SARAH DANCER is tempted and seduced by a series of men and he is unable to reach her. He tries to interfere but in the end he and SARAH DANCER are both bitten

SONG TO BE WRITTEN

As the MUSIC ENDS, ALFRED sits up in bed, terrified

Alfred:
No…! Sarah! No!

The VAMPIRES disintegrate

They're gone. It's over. Just a dream — I hope…

ABRONSIUS ENTERS

Abronsius:
Up, Alfred, up! You've slept right through the day!
Alfred (gets out of bed and starts to dress):
Have you found Sarah?
Abronsius:
Sarah? No! I've been combing the castle for coffins — and have uncovered not so much as a headstone. The Count must be casketed somewhere

Checks his POCKET WATCH

And we only have two hours to sunset!

Alfred:
Yes, but what about Sarah?
Abronsius:
As for Sarah — I have no idea. Undoubtedly a prisoner somewhere in this maze.
Alfred:
And the total eclipse of the moon?.
Abronsius:
Tonight at 10:47
Alfred:
Oh, God…!
Abronsius:
Don't worry, my boy.
Alfred (feverish with worry):
You don't understand, you don't understand…
Abronsius:
Alfred, do you think I can't see into your heart? I was you, once upon a time — when love beckoned like the gleaming apples of Eden. Ja, Ja, I too have danced in Cupid's beer garden. For you and your Sarah, may the great polka never end!
Alfred (kisses ABRONSIUS's hand and cries out):
God bless you, Professor Abronsius!
Abronsius:
He already has, through you. But first things, as Hegel rather stupidly says, first. To the crypt! If we can find it…

ABRONSIUS EXITS. ALFRED stands alone but resolute

For Sarah

Alfred:
THERE ARE GHOSTS IN THE AIR
EVIL EYES IN THE DARKNESS
AS I SEARCH
FOR SARAH
DEMONS LURK EVERYWHERE
BUT HOWEVER MUCH THEY SCARE ME
I WILL NOT BE DETERRED

I'LL BE TOUGH, I'LL BE SLY
THERE IS NOTHING I WOULD NOT DO OR BE
FOR SARAH
I WILL STEAL, I WILL LIE
THERE'S NOTHING I WON'T TRY
TO GUARD AND SAVE HER

THERE'S A DREAM KNOWN AS HOME
HOW I LONG TO GO BACK, BUT I MUST STAY
FOR SARAH
THROUGH THESE NIGHTMARES I ROAM
DESPERATE, SHATTERED, LONELY
BUT I MUST NOT GIVE UP

I WILL SLASH, I WILL BURN
THERE IS NOTHING I WOULD NOT DO OR BE
FOR SARAH
THERE'S NO SCAR I WON'T EARN
I'LL DO ANYTHING IT TAKES
TO FIND AND HOLD HER

WE'LL BE BOLD, WE'LL BE BRAVE
THERE IS NOTHING I WOULD NOT BE OR DO
FOR SARAH
I WOULD GO TO THE GRAVE
LIKE A SACRIFICIAL ANGEL
WHO WOULD NOT LET YOU FALL

I WILL FIGHT ALL MY FEARS
THERE IS NOTHING I WOULD NOT DO FOR YOU
OH SARAH
TAKE THIS BLOOD, SWEAT AND TEARS
TAKE THIS SACRIFICIAL ANGEL
WHO WILL SAVE YOU
SARAH…!

MUSIC CHANGES to a SPOOKY UNDERSCORE

Scene Three: The Search Through the Castle.

The Search Through the Castle: Orchestral Sequence

By the use of shifting projections and moving set-pieces, ALFRED and ABRONSIUS descend mazelike stairways and explore the labyrinthine corridors of the castle. We should get the sense that the castle itself has a life of its own as walls and sconces come to life. ALFRED and ABRONSIUS are in near darkness throughout this sequence, ALFRED leading the way carrying a bizarre, lighted candelabrum.
MUSICAL UNDERSCORING maintains the mood of ghostliness and dread and black humor

Abronsius:
This way, Alfred! Quickly!

MME. VON KROLOCK suddenly appears before them

Mme. Von Krolock:
Good day, gentlemen! Or is it night already? Lost your way to your rooms? I'm not amazed. When a young man loses his parents at such an early age — and in such a horrible way…
Alfred:
Stop, stop!
Mme. Von Krolock:
… he's easily lost. Oh — and if you hear someone weeping tonight, don't be surprised. Not in this world…

She has disappeared from sight among the shadows

Abronsius:
Down these stairs, boy! Onwards!

Again the scene shifts around ALFRED and ABRONSIUS as they penetrate deeper into the castle

FATHER VON KROLOCK abruptly stands in their way

Father Von Krolock:
My goodness, you frightened me. Do you seek the services of a priest, my children? Excommunication? Exorcism? Last rites? It's just a precaution. You never really know when someone is about to die. Though there is a very peculiar scent…

HE SNIFFS THE AIR as he FADES FROM VIEW

ALFRED and ABRONSIUS move on, the UNDERSCORING getting more and more intense

Abronsius:
Faster, Alfred, we haven't much time!
Alfred:
Professor, were they vampires?
Abronsius:
They couldn't be. It's not sunset yet

Suddenly ABRONSIUS is lost from sight

Alfred:
Professor? Professor? Where are you…?

HERBERT VON KROLOCK, the Count's gay young son, now steps into view

Herbert:
Hello there
Alfred:
Who are you?
Herbert:
I think you met my father — The Count? Well — I'm Herbert, the sequel. Wait a minute. Are you this very sweet, very young Heidelberger I've been hearing about?
Alfred:
I'm Alfred. Factotum to Professor Abronsius
Herbert (boldly flirtatious):
Factotum…? If that means what I think it does, you can stay forever!
Alfred:
Get out of my way!

ALFRED pushes past HERBERT and moves on through multiplying shadows and corridors. MUSIC CONTINUES. Finally ALFRED comes up against a wall

Oh, no. No! A dead end!

A TRAP LIFTS at his feet and ABRONSIUS looks out

Abronsius:
Not quite, Alfred. Come! Descend!

Scene Four: The Crypt.

The castle's crypt. A RAISED, ORNATE COFFIN at center. Above the stage, a railed gallery where ALFRED and ABRONSIUS now appear

Abronsius:
Ah-ha. This certainly looks cryptic to me. Come, boy, we must work fast

They start to climb down

Alfred:
Did you bring a stake?
Abronsius:
A stake? For what?
Alfred:
To kill the Count Von Krolock. To pound through his foul heart.
Abronsius:
My boy, we are not here to kill a vampire. We will simply immobilize him.
Alfred:
Immobilize?
Abronsius:
Alfred. This is a rare and endangered species. We have come here to bring one back alive. For proof!
Alfred:
You're mad — !
Abronsius:
No. I'm caught.

His suspenders get caught on the railing, and he dangles ten feet above the floor. Throughout the following, ABRONSIUS comically struggles to free himself

Help me, will you
Alfred:
No… No!

A decision, since he's free while ABRONSIUS is hung up

If you won't kill him, I will
Abronsius:
No, my boy. No — Alfred, I forbid you! I forbid you! Oh you fool, you young fool!
Alfred:
A stake. A stake. Something for a stake

ALFRED tears a SHARP PIECE OF WOOD off the coffin

This should work

He sharpens it with his knife, but we notice SOMETHING MOVING IN THE SHADOWS UPSTAGE — someone stalking ALFRED, un-noticed

Abronsius:
Mein Gott, mein Gott… Alfred, let me down instantly!
Alfred:
This creature is filth and he's going to die like filth.
Abronsius:
But the needs of science —
Alfred:
To hell with science. To heaven with love.

The SHADOW CONTINUES to stalk ALFRED, un-noticed

Good. Now something to pound it in…
Abronsius:
Stop. Alfred! Stop! You don't know what you're doing!

ALFRED finds a STONE to use as a HAMMER

Do you want to leave here alive?
Alfred:
All right, now. Die!

He throws open the COFFIN. BIG CHORD FROM THE ORCHESTRA

Empty!
Abronsius:
Empty — ?
Alfred:
What the…?

WE JUMP as a HAND SUDDENLY REACHES OUT FROM BEHIND THE COFFIN and GRABS ALFRED'S THROAT. He lets out a cry, and struggles

Abronsius:
Alfred! Alfred! Umgotteswillen…!

CHAGAL staggers into view. It's his hand around Alfred's throat. CHAGAL is dead pale — eyes crazed — fresh blood spilling down his front from his neck

Chagal:
Save her…! Save her…! Sarah…!

CHAGAL topples and falls into the open coffin, face up

Alfred (shaking the body):
Mr. Chagal! Mr. Chagal! — He's dead.
Abronsius (still hanging by his suspenders):
Alfred, look at his neck. Are there two bloody holes?
Alfred:
Yes. He's been bitten.
Abronsius:
Are they fresh wounds?
Alfred:
Yes.
Abronsius:
Then it just happened.

Checks POCKETWATCH

My watch is stopped…!
Alfred (climbing up to the PROFESSOR):
Stopped? Stopped when?
Abronsius:
Four twenty-six. Hm. People always say it's later than you think. Now it actually is later than we think.
Alfred:
But how long ago did your watch stop?
Abronsius:
I don't know, my watch is stopped! That means it's after sunset. So those were vampires, we met…
Alfred (freeing ABRONSIUS):
What are we going to do?
Abronsius:
We do the only logical thing. We think

SARAH'S VOICE IS HEARD, singing her melody

Alfred:
That voice…! It's Sarah!

ALFRED runs out

Abronsius:
No, my boy — ! Wait!

ABRONSIUS follows ALFRED out above

Rebecca & Magda (O.S.):
Yoine! — Chagal! — Yoine, where are you?

REBECCA and MAGDA ENTER, below

Rebecca:
Oy, oy! Yoine, where are you?
Magda (seeing CHAGAL'S BODY):
Oh, no! No!
Rebecca:
Magda! Hot water!
Magda:
Hot water won't help him. He's dead
Rebecca:
Oh, Yoine! Dead! Dead! He was always so afraid…

Sings:

I WON'T LET THEM PIERCE YOUR HEART, NO NEVER
THOUGH YOU'VE BROKEN HEARTS LIKE NO ONE CAN
I'LL PROTECT YOU FOR THE LONG FOREVER
REST IN PEACE FOREVER RESTLESS MAN
SLEEP MY LITTLE DARLING
DREAM MY TENDER STARLING

Spoken:

Magda, shouldn't I be crying?
Magda:
I'm not sure…

DEATH IS SUCH AN ODD THING

Rebecca:
HE WAS MY MASTER
HE WAS MY LORD
NOW EVER AFTER
HE'S STIFFER THAN A BOARD
DEATH IS SUCH AN ODD THING
DEATH IS SUCH AN ODD THING

Magda:
WHEN HE CAME NEAR ME
HE GROPED AND HE CLUTCHED
NOW I CAN TOUCH HIM
WITHOUT BEING TOUCHED
DEATH IS SUCH AN ODD THING

Magda & Rebecca:
DEATH IS SUCH AN ODD THING
WHEN HE LIVED THERE WAS REPULSION
PURE DISGUST AND THEN REVULSION
BUT AS A CORPSE HE'S CALM AND COY
LIKE A LITTLE SLEEPING BOY

Magda:
ISN'T IT FUNNY?
MAYBE IT'S NOT
BUT HE'S SO FRIGID
AND HE USED TO BE SO HOT

Rebecca:
DEATH IS SUCH AN ODD THING
Rebecca & Magda:
DEATH IS SUCH AN ODD THING

Rebecca:
IT'S SO IRONIC
Magda:
IT'S SO IRONIC
Rebecca:
TOTALLY DROLL
Magda:
TOTALLY DROLL
Rebecca:
HE USED TO USE ME
Magda:
HE USED TO USE ME
Rebecca:
Now I'm in control
Magda:
NOW I'M IN CONTROL

Rebecca:
DEATH IS SUCH AN ODD THING
Magda:
DEATH IS SUCH AN ODD THING
Magda & Rebecca:
DEATH IS SUCH AN ODD THING
WHEN HE LIVED HE WAS OFFENSIVE
HIS LIBIDO WAS INTENSIVE
AS A CORPSE HE'S SOFT AND FAT
LIKE A FINE ARISTOCRAT

ISN'T IT SENSELESS?
FILLS YOU WITH FEAR?
WE'LL GO ON LIVING
BUT HE'LL NEVER BE HERE
DEATH IS SUCH AN ODD THING
DEATH IS SUCH AN ODD THING
DEATH IS SUCH AN ODD THI…

CHAGAL sits up. Scream:

AAAAAAAAAH!

REBECCA faints to the floor

Magda (holding up a CRUCIFIX):
Stay away. Stay away. Jesus, protect me!
Chagal (thick Jewish accent):
Oy, have you got the wrong vampire!

He bites her, then howls wildly. MAGDA falls lifeless from his arms. He prods her. She doesn't move. He looks around like a little boy who's done something bad. REBECCA wakes up immediately

Rebecca:
Yoine…! I don't want to die.

CHAGAL moves toward her - she moves back

Chagal:
You're not ready… I'm not ready… No one's ready…

HE LUNGES toward her and bites her

Don't leave Daddy!

CHAGAL continues to suck hungrily as MAGDA wakes. When he's finished, CHAGAL falls back, dazed, not quite knowing what he's done

Magda:
Are you all right?
Rebecca:
Yes. That was amazing.
Magda:
Yes it was.

Rebecca & Magda (hushed, in wonderment):
ALL THOSE YEARS OF ENDLESS BOREDOM
WE DID NOTHING, WE IGNORED 'EM
WE'VE BEEN DEALT A WILD CARD
Chagal:
WHO KNEW DEATH COULD BE THIS… HARD

Rebecca & Magda:
WHO WOULD HAVE KNOWN IT
IT TAKES AWAY YOUR BREATH
THE ANSWER TO THE QUESTION
All Three
IS THERE SEX AFTER DEATH?

Chagal:
DEATH IS SUCH AN ODD THING
Magda:
DEATH IS SUCH AN ODD THING
Rebecca:
DEATH IS SUCH AN ODD THING
All Three
DEATH IS SUCH AN ODD THING

Hushed and deadpan, almost robotic:

Chagal:
I need a nice coffin. Rebecca, find me a coffin.
Rebecca:
Magda! Coffin!
Magda:
Sweetie, would you find a nice coffin?
Chagal:
Together again!

BLACKOUT.

DURING THE SCENE CHANGE: ALFRED searches the castle, following Sarah's melody and glimpsing her again and again (through the use of SARAH DOUBLES), always just missing her. Then SARAH goes behind a partition and ALFRED pursues her, close behind…

Voice from Behind Partition:
[SARAH'S MELODY]
Alfred:
Sarah — ?

Instead of SARAH, HERBERT steps into view

Scene Five: Herbert's Room.

Herbert's room: a vampire parody of a teenage boy's room. A WALL OF BATS hung up like school pennants. Weights. Armor

Herbert:
Don't you hate this castle? You never know where you are. Hi again.
Alfred:
Hello.
Herbert:
You want to see my room?.
Alfred (trying to go around HERBERT):
Actually, I was looking for a friend…
Herbert (blocking his way):
I'll be your friend.
Alfred:
A different friend.
Herbert:
I'm different. Let's be different together.
Alfred:
Excuse me —

ALFRED starts out, but HERBERT steps in his way

Herbert:
You and I are like two petals on the same funeral wreath. Needy. Lonely. Acne. We both hate our name.
Alfred:
How did you know…?
Herbert:
Try "Herbert". It's been uncool for 300 years. I bet you sit up reading Schiller.
Alfred:
I do read Schiller.
Herbert:
Kant drives you crazy?
Alfred:
Totally insane.
Herbert:
Don't get me started

Points to AN ENORMOUS AND RATHER BED-LIKE SPIDER WEB

You can sit down if you want?
Alfred:
On that?
Herbert:
Yeah, I spend like hours on the web.

Points to BATS on the wall

Those are my bats. You want to see my balls?
Alfred:
Maybe some other time.
Herbert:
Here's what I'm reading.

A BOOK FLINGS ITSELF into his hands, and he hands it to ALFRED

Alfred:
"We're Here, We're Dead, Get Used To It" — ?
Herbert:
Sorry. Wrong book.

ANOTHER BOOK FLINGS ITSELF into his hands

Alfred:
"Cooking With White Blood Cells" - ?
Herbert:
Sorry. Wrong book.

ANOTHER BOOK FLINGS ITSELF into his hands

Alfred:
"When Love Is Inside You". Look. I'm straight. I'm Catholic. I'm alive. But I do find you strangely attractive…
Herbert:
Read a page. See if it doesn't move you

Song: When Love is Inside You

Alfred (sings, as if reading from the Book):
"WHEN LOVE IS INSIDE YOU
YOU NEVER MUST BE SCARED
Herbert:
JUST LET YOUR HEART GUIDE YOU
AND YOU'LL BE WELL PREPARED

Alfred:
FOR THE ONE YOU ADORE
Alfred & Herbert:
JUST CANNOT IGNORE
THE LIGHT IN YOUR EYES

Alfred:
IT WILL BETRAY THAT
LOVE IS INSIDE YOU
AND NOW IT STARTS TO RISE

Herbert:
DON'T BE TOO SHY TO
LET YOUR ROMANCE BEGIN
WHEN PASSIONS IGNITE YOU
YOU MUST NOT LOCK THEM IN

Alfred:
SHOW THE ONE YOU ADMIRE
THAT YOU ARE ON FIRE
AND CHASE AWAY
ANY KIND OF DOUBT

Alfred & Herbert:
WHEN LOVE IS INSIDE YOU
YOU'VE GOT TO LET IT OUT..."

Herbert (spoken):
Sometimes a prick sure makes up for a thousand words.

Sings:

YOU MUST NOT BE FRIGHTENED
DEAR FRIEND, I'M ON YOUR SIDE
YOU'RE PALE, CAN IT BE THAT YOU'RE ILL?
Alfred:
I'M NOT ILL, I'M NOT PALE

Herbert:
YES, YOU ARE, YOU LOOK FEEBLE AND FRAIL
YOU MUST HAVE SOME REST NOW
RELAX, I'M ON YOUR SIDE
YOU SHAKE, CAN IT BE THAT YOU'RE SCARED?
Alfred:
I'M NOT SCARED, I DON'T SHAKE
Herbert:
YES, YOU DO, I'M CONCERNED FOR YOUR SAKE

Alfred:
ISN'T THERE
SOME KIND OF HAPPENING TONIGHT?
Herbert:
YOU
ARE SUCH A RAVISHING SIGHT
Alfred:
I'M NOT
Herbert:
BEAUTIFUL LASHES!
Alfred:
MY LASHES?
Herbert:
PHENOMENAL
THEY LOOK LIKE WONDERFUL THREADS OF GOLD
Alfred:
RIGHT
Herbert:
WE'LL HAVE A GLORIOUS TIME TONIGHT
HANDCUFFS AND WINE AND
CANDLELIGHT
AND WE'LL BE DANCING
ROMANCING
MY INNERMOST DREAMS WILL COME TRUE
WHEN I GET INTO YOU

They WALTZ TOGETHER. Only Alfred's reflection is in the mirror

WHAT IS IT
YOU'RE FEELING?
Alfred:
CONFUSED

Herbert:
IT MUST BE ME
YOUR POOR HEART IS REELING
YOU ARE IN LOVE I SEE
FUNNY, I'M IN LOVE TOO
IN LOVE WITH… GUESS WHO
YES, ALFRED, WITH YOU

Alfred & Herbert:
WHEN LOVE IS INSIDE YOU

ALFRED sees that Herbert's reflection is missing in the mirror

YOU'VE GOT TO LET
LET IT OUT!

HERBERT bends to bite ALFRED'S NECK, and ALFRED inserts the BOOK between Herbert's open jaws, temporarily stopping him. They wrestle on the floor and ALFRED gets away

Alfred (EXITING):
Sarah.…!

Forlorn, heartsick, HERBERT EXITS. SCENE CHANGE.

Scene Six: Sarah's Room

Sarah's room: a parody of a teenage princess' dream room. Strange toys. Weird stuffed animals. SARAH is luxuriating in a BUBBLE BATH

Sarah:
[SHE SINGS HER MELODY]
Alfred (O.S.):
Sarah…!

ALFRED ENTERS

Sarah! Thank God! You're alive!
Sarah (calmly):
Hello, Alfred. What are you doing here? Did you come for the ball?
Alfred:
The ball? I'm here to save you.
Sarah:
From whom? And do you always barge in when a lady is bathing?
Alfred:
Oh. I'm sorry

HE turns around. SARAH steps behind a partition to change into a ROBE

You'd better dress quickly before it's too late. We've got to leave for Heidelberg
Sarah:
Heidelberg…? I did dream about Heidelberg, once.
Alfred:
Or Berlin. Paris. America. Anywhere, but we have to escape!
Sarah:
Escape? I'm not a prisoner. Don't you love this room? And look at the gown I'm wearing tonight. Do you know who I'm going to dance with? The Count himself.
Alfred:
Oh, God, you don't understand.
Sarah:
Don't you see, Alfred? I've been chosen for something.
Alfred:
Yes. To be their victim.
Sarah:
To be really alive.
Alfred:
Sarah, that man killed your father. Or if not him, one of his pack did.
Sarah:
Papa's safe at thome, selling his garlic.
Alfred:
No, he's not! I saw his body! Drained of blood.
Sarah:
I don't believe you.
Alfred:
Sarah —
Sarah:
And I don't need to be saved. I'm being saved. Right here, tonight.
Alfred:
I've risked my life for you. I've challenged death itself.
Sarah:
But the Count —
Alfred:
The Count will use you and throw you away. Sarah, didn't you love me once? The minute we met, wasn't there a thunderbolt? You felt it, too. I know you did.
Sarah:
Yes. Yes. I did feel it…
Alfred:
In a single moment, you and I were transformed. I've got nothing to offer you. No family, no castle. I don't even have a home. Or was it just Heidelberg you wanted out of me?
Sarah:
No — no — it was you. You and your beautiful heart. It shone out of you as if you were made of glass

Song: Is Nothing Sacred

Alfred:
IF A LOVE AS STRONG AS OURS
COULDN'T MAKE IT ALL THE WAY
CAN ANYTHING MAKE SENSE AT ALL?
IF A LOVE AS DEEP AND TRUE
COULDN'T STAND THE TEST OF TIME
THEN MOUNT EVEREST COULD SLIDE
AND JERUSALEM COULD FALL

IS NOTHING SACRED ANYMORE?
IS "FOREVER" JUST ANOTHER WORD?
IS A PROMISE SOMETHING PEOPLE USED TO KEEP
WHEN LOVE WAS WORTH THE FIGHTING FOR?

IF WE CAN SAY GOODBYE
IF WE CAN SAY GOODBYE
IS NOTHING SACRED ANYMORE?

Sarah:
I'VE RELIVED OUR FINAL WORDS
EVERY SENTENCE THAT WAS SAID
DON'T KNOW WHAT TURNED OUR LIVES AROUND
DOESN'T MATTER WHO WAS RIGHT
THERE'S NO JUSTICE IN A DREAM

Alfred & Sarah:
NEVER THOUGHT A HEART COULD BREAK
WITHOUT MAKING ANY SOUND

IS NOTHING SACRED ANYMORE?
IS "FOREVER" JUST ANOTHER WORD?
IS A PROMISE SOMETHING PEOPLE USED TO KEEP
WHEN LOVE WAS WORTH THE FIGHTING FOR?

Sarah:
IF WE CAN SAY GOODBYE
Alfred:
IF WE CAN SAY GOODBYE
Sarah:
IS NOTHING SACRED ANYMORE?
Alfred:
IF WE CAN SAY GOODBYE
Alfred & Sarah:
IS NOTHING SACRED ANYMORE?
OUR LOVE WAS AS CERTAIN AS THE DAWN
AS SOLID AND SAFE AS ANY LOVE COULD BE
OUR LOVE WAS THE STAR YOU WISH UPON
AND YOU THOUGHT THAT I'D SAVE YOU
COULD HAVE SWORN THAT YOU'D SAVE ME

Sarah:
IS NOTHING SACRED ANYMORE?
Sarah & Alfred:
IS NOTHING SACRED ANYMORE?
IS "FOREVER" JUST ANOTHER WORD?
IS A PROMISE SOMETHING PEOPLE USED TO KEEP
WHEN LOVE WAS WORTH THE FIGHTING FOR?
IF WE CAN SAY GOODBYE
IF WE CAN SAY GOODBYE
IS NOTHING SACRED ANYMORE?
IF WE CAN SAY GOODBYE
IS NOTHING SACRED ANYMORE?

After the song:

Alfred:
All right, then, Sarah, here's what you have to do.

He sees she's not there

Sarah…? Sarah…? Where are you?

He goes off in search of her again.

SCENE CHANGE

Scene Seven: Castle Library.

The library, an Escher maze of books. ABRONSIUS is looking at them when KROLOCK appears behind him

Krolock:
How do you like my library, Professor?
Abronsius:
Mein Gott! It's a bibliophilical paradise!

Song: Books, Books!

Abronsius:
HERACLITUS AND EMPEDOCLES
NIKOMACHOS, DIOGENES
CALLIMACHUS, DEMOSTHENES
ANTIOCHUS, MAIMONIDES
THEY'RE SAGES
LIVING BETWEEN ALL THESE PAGES

AURELIUS AND AUGUSTINE
AND TACITUS AND PLATO
PEREGRINUS AND AQUINAS
CAESAR, CICERO AND CATO
ONLY BROWSING
IS STIMULATING AND AROUSING!

Krolock:
SPINOZA AND COPERNICUS
THE HUMANISTS AND TEACHERS
PARACELSUS, LEIBNIZ, CRUSIUS
THE KABBALISTS AND PREACHERS
HUME AND LOCKE AND HOBBES AND MEDELSSOHN
THE WARNERS AND BESEECHERS
AND DEFOE, DESCARTES AND JEFFERSON
AND ALL THE OTHER AUTHORS OF GREAT FAME

Abronsius:
ERASMUS, CAVALCANTI
AND THE SORDID MACCHIAVELLI
AND ANONYMOUS AND DANTE
AND THE MORBID MARY SHELLEY
AND THE SCIENCES OF PLINY
AND THE LAWS OF GUICCIARDINI
AND THE LIFE OF BEN CELLINI
MISSING OUT A SINGLE LINE WOULD BE A SHAME

BOOKS ON DREAMS AND MATHEMATICS
PROVOCATIONS AND ASSERTIONS
REVOLUTION AND DOGMATICS
ALL THE SEXUAL PERVERSIONS
ON APATHY, ATHLETICS
AND RELIGIONS AND REVERSIONS
THIS IS LIKE A DREAM COME TRUE

Both:
A BOOK ON EVERYTHING WE THINK OR DO

Krolock:
I'll lend you my library, if you like.
Abronsius:
When would I ever have time to read it all?
Krolock:
Very simple. In eternity. My gift to you — if you'll accept it.
Abronsius (realizing what KROLOCK is proposing):
Eternity…? A gift…? No — no, never that.
Krolock:
The nice thing about being one of us, is that it's never later than you think. And all this would be yours — forever. You're not a well man, Professor. How much time do you have left?
Abronsius:
Six months, they say.

Looks at his POCKETWATCH

My watch is stopped…

Krolock:
Well, I can give you endless time. And what about that dream you have?
Abronsius:
Dream…?
Krolock:
That nightly dream you can't escape from. You're lost. Lost and wandering…
Krolock & Abronsius (together):
… far and wide. Finally…
Abronsius (recalling it in a sort of trance):
… finally I came to a beach at the edge of the ocean. It seems as if the bright sun-white sky has shed the black ocean like a winter skin. Everything is so clear. I lie down and try to remember what it felt like to be young. I try to reassemble my youth in my mind, my brilliant mind. But it won't come back to my mind — because, after all, that's not where it happened. It happened in my body, in my flesh and my guts and my blood. And now all I can feel is the sands of the beach running out beneath me.
Krolock:
I taught at Heidelberg in 1606. I was you. Now look at us. I, a thriving Mephistopheles. You, a dying Faust. With your chance for true immortality. Why do you think you came here?
Abronsius:
And if I accept your offer, I victimize the poor and defenseless. I live off the living and suck them dry, like you.
Krolock:
There's always a price.
Abronsius:
And you think that I, Abronsius of Heidelberg, would twist my principles to pay it? So that I too could rip open the throat of — say — a poor preacher's daughter?

Seeing KROLOCK's surprise

Oh yes, I've done my research. There were journals. Diaries. Books. Did that innocent child remind you of something you would never have?
Krolock:
How dare you…
Abronsius:
What about the blinded soldier who befriended you? Did he see something you could not, is that why you took him? That elegant lady who made lace — did she have a purpose in life you had lost?
Krolock:
How dare you!
Abronsius:
You want me to be like this? Like you? Killing the things you pretend to love? Destroying what you can never be?
Krolock:
And what is that, pray?
Abronsius:
Alive. Truly live — because I am mortal. A creature who knows beauty, because he will die. A being with purpose because time is running out. An animal enjoying the light because he faces eternal dark. You have nothing but darkness.
Krolock:
Get out of my sight!
Abronsius:
You pollute the earth! You are a crime against nature!

Krolock (sings, erupting):
THIS IS OUR TIME
THIS IS OUR NIGHT
AND SOON IT WILL BE OUR DAY!

NATURE IS THE LADDER
WE HAVE CLIMBED UP BY
AND NOW WE KICK HER AWAY

ALFRED ENTERS, breathless from his chase

Alfred:
Professor — here you are
Abronsius:
I consecrate myself to the quest of my good friend Alfred: To preserve one drop of purity in the filth of this world. And eradicate you!
Krolock:
But what of the hundreds in the castle graveyard? Will you eradicate all of them?
Abronsius & Alfred
Hundreds.…?
Krolock:
Of my fellow creatures — Rest in peace, Professor

Sings, furiously

ONLY THE STRONG SURVIVE
THE PIOUS BE GONE
THE DAMNED WILL STAY
NATURE IS THE LADDER
WE HAVE CLIMBED UP BY
AND NOW WE KICK HER AWAY!

KROLOCK EXITS, and ABRONSIUS and ALFRED watch open-mouthed as AN ENORMOUS BANK OF GRAVES SWOOP DOWN and swings into place. ABRONSIUS and ALFRED stand and watch until the end of KROLOCK'S SOLILOQUY

Scene Eight: Castle Graveyard.

The Castle Graveyard. One of the gravestones begins to move, then another. One by one, the VAMPIRES crawl out of their graves and in an elaborate dance they come alive as if they were frozen and are thawing out, coming alive bit by bit from a deep sleep, forming an exultant group

Song: Eternity

Vampires:
ETERNITY
ISN'T ALL IT'S CRACKED UP TO BE
A CIRCLE OF CIRCLES
AN ENDLESS ENCORE
NO FUTURE, NO FATE
JUST RECURRING RECURRENCE
NOTHING FRESH OR UNTOUCHED
JUST THE SAME
LAME
ETERNITY
NOTHING NEW
IN THE GAME
JUST THE SAME
PAIN IN THE ASS
OF ETERNITY

ETERNITY
IS A HORRIBLE NUISANCE
WE'RE TREADING THE TREADMILL
THAT NEVER MOVES ON
NO FUTURE, NO PAST
JUST RECURRING RECURRENCE
NO SALVATION, NO SOUL
IN THE BLACK HOLE
OF ETERNITY
THERE'S NO STYLE
THERE'S NO CLASS
AND WE'RE STUCK IN THE MORASS
OF ETERNITY

OPEN THE GATES
TO THE ABYSS OF HORROR
LET'S TEACH THE HUMANS
WHO'S RUNNING THE WORLD
LET'S TORTURE THEIR SOULS
WITH REVULSION AND TERROR
LET THEM FEEL THE POWER
AND THE GLORY
THE GLORY OF
HELLFIRE
HELLFIRE
HELLFIRE
HELLFIRE
HELLFIRE

VAMPIRES EXIT as we realize that KROLOCK has been standing with them, among the graves. The following is his tortured mad scene. As he sings, he touched the individual graves — and ends by racing and crawling wildly among them.

Song: The Insatiable Appetite

Krolock:
WELL ALRIGHT
NO STARS TONIGHT
THE MOON MUST HIDE
CAN'T BEAR TO SEE MY FACE
SO MANY MOONS HAVE PASSED
SO MANY SUNS GONE DOWN
TOO MUCH BLOOD UNDER THE BRIDGE
TOO MANY WORLDS TURNED
UPSIDE DOWN

THE SKIES WERE PURE
AND THE FIELDS WERE GREEN
(IN) THE FADING SUMMER 1617
THE FIRST TIME I EVER DREW BLOOD
SHE WAS SUCH A BEAUTIFUL
AND INNOCENT CHILD

SHE NEVER KNEW
MY SOUL WAS CURSED FOR GOOD
I FOUGHT TO OVERCOME MY THIRST
I THOUGHT I COULD
BUT WHEN I KISSED HER LIPS
THEN I HAD NO CONTROL
AND THE FURIES ALL RAN WILD

AND WHEN I GRASPED FOR LIFE
I ALWAYS KILLED
THE THINGS FOR WHICH I YEARNED
I WISH TO BE A FLAME
AND REDUCED TO ASHES
BUT I HAVE NEVER BURNED

I LONG TO FLY IN TOTAL FREEDOM
AND YET THESE CHAINS KEEP DRAGGING ME DOWN
I WANT TO BE AN ANGEL
OR THE DEVIL HIMSELF
BUT I AM NOTHING BUT A
CREATURE!
LONGING FOR THE THINGS I CAN'T HAVE!

AND THE SPLIT GOES THROUGH MY VERY SOUL
IT'S A WOUND THAT NEVER MENDS
(AND) OUR DESIRES ARE ELUSIVE
AND THE HUNGER NEVER ENDS

WHEN THE WORLD HAS DRAWN IT'S FINAL BREATH
AND EXTINGUISHED ALL THE LIGHTS
THERE'LL BE NOTHING LEFT
BUT A LIFELESS WASTELAND
AND AN ENDLESS APPETITE
NOTHING LEFT BUT A SOUNDLESS HEARTBEAT
AND A RUTHLESS APPETITE

THE PREACHER'S DAUGHTER
LET ME IN HER ROOM
IN SEVENTEEN THIRTY-TWO
TO LOVE ME WAS HER DOOM
WITH HER SILKEN BLOOD
I WROTE A POEM OF LOVE
UPON HER IVORY SKIN

AND THE BASHFUL PAGE OF NAPOLEON THE GREAT
IN EIGHTEEN HUNDRED THIRTEEN
HE STOOD AT THE GATE
WHEN I RECALL HIS BODY
I CAN'T HELP BUT THINK
TO CONSUME HIM WAS A SIN

SO MANY VICTIMS WASHING ON THE SHORES
AN OCEAN OF PURE TEARS
SO MANY PLEAS FOR MERCY, HOWLS OF PAIN
INTOXICATING FEARS

I USED MY BODY JUST LIKE A BANDAGE
I USED THEIR BODIES JUST LIKE A WOUND
AND I'LL NEVER KNOW WHERE THEY DISAPPEARED
BUT I CAN SEE THEM RISING UP
OUT OF MY MEMORIES NOW
JUST LIKE THEIR DEMONS RISING UP FROM A TOMB!

AND THERE IS NO WAY EVER TO APOLOGIZE
REPENT OR MAKE AMENDS
NO RELEASE AND NO REDEMPTION
THE HUNGER NEVER ENDS…

THERE ARE THOSE WHO BELIEVE IN SCIENCE
AND THOSE WHO BELIEVE IN ART
THERE ARE THOSE WHO BELIEVE
IN POWER AND WEALTH
OR LOVE AND MATTERS OF THE HEART
THERE ARE THOSE WHO BELIEVE
IN VARIOUS GODS
IN NATIONS AND KNOWLEDGE
IN HELL AND IN HEAVEN
THE POWERS OF DARKNESS
THE ASSUMPTION OF THE LIGHT—!

BUT I BELIEVE
IN JUST ONE GOD
THAT OF ENDLESS
AND INSATIABLE
AMMORAL
INDESTRUCTIBLE
AND ALL CONSUMING
APPETITE!!!

THERE IS A PREDICTION THAT I NOW WILL MAKE
AND I'M SURE IT WILL BE RIGHT
WHEN THE NEXT MILLENNIUM FINALLY COMES
THE GOD MOST WORSHIPPED IN THIS WORLD
WILL BE THE GOD OF APPETITE

During the final moments of Krolock's Soliloquy, the graves rise up and swoop out just as they had appeared, and KROLOCK flies effortlessly and ecstatically above them. PILLARS and STAIRCASES appear as THE SCENE MAGICALLY CHANGES TO THE BALLROOM

Scene Nine: The Ballroom.

The ballroom. We see ALFRED and ABRONSIUS lying in wait as the VAMPIRES ENTER two by two as if to a diplomatic gala, in ancient costume and high wigs. ALFRED and ABRONSIUS grab two of them, and reappear moments later in their costumes

Abronsius:
The moment when the Count offers to bite and she refuses him. That's the moment of danger.
Alfred:
What will happen then?
Abronsius:
To put it very simply and precisely — I have no idea.

KROLOCK appears

Krolock:
WELCOME BRETHREN
ONCE AGAIN WE ARE HERE
IN THIS VERY ROOM
WHERE WE GATHERED LAST YEAR
AND THAT WAS SO DISAPPOINTING
THAT IT JUST MADE US MOPE
BUT REMEMBER I TOLD YOU
YOU MUST NOT GIVE UP HOPE
NEXT YEAR I PROMISED
YOU WOULD REVEL AND CHEER

WHEN YOU LIVE FOREVER
YOU'VE GOT TO FEED YOUR HUNGRY HEART
BUT WILL IT EVER BE ENOUGH?

Vampires:
YOU KNOW THAT IT'LL NEVER BE ENOUGH

Krolock:
EVERY TIME YOU THINK YOU END
IT'S JUST ANOTHER START
BUT WILL IT EVER BE ENOUGH?

Vampires:
YOU KNOW THAT IT'LL NEVER BE ENOUGH

IT'S NOT ENOUGH
GOD KNOWS WE'RE NEVER SATISFIED
WE'LL OWN THE WORLD
WE'RE NEVER GONNA DIE
IT'S NOT ENOUGH
WE'LL NEVER EVER LOSE OUR APPETITE

Krolock:
THINGS GET BETTER AND BETTER
AS TIME PASSES BY
I HAVE TOLD YOU I'LL GET HER
IT WASN'T A LIE
LOOK, I'VE GOT A NICE SURPRISE

MEET MY PRETTY LITTLE BELLE OF THE NIGHT
WHO'S BEEN WAITING FOR HER CALL
SHE DESERVES TO GET IT ALL
AT OUR MIDNIGHT BALL
SHE'S SURE TO HAVE THE TIME OF HER LIFE!
IT'S TIME TO MINE THOSE PRECIOUS VEINS

SARAH ENTERS. ABRONSIUS has to hold ALFRED back. VAMPIRES approach too, but KROLOCK stops them short

DON'T YOU TOUCH HER — SHE'S ALL MINE
NEVER MIND, YOU TOO WILL HAVE A GOOD FEED
YOU'LL GET ALL THE BLOOD YOU NEED
TWO MORE MORTALS
WHO WILL SATISFY YOUR LUST AND YOUR GREED
YOUR GREED

THE MOON is seen BEGINNING TO ECLIPSE

Vampires:
YOU'RE SUCH A BEAUTY
FUSED WITH FIRE AND ICE
YOU MUST OFFER YOURSELF
AS THE QUEEN OF THE NIGHT
IT'S YOUR CHOICE
YOU'RE SO EXQUISITE
YOU'LL BE FREE OF THE PAST
YOUR BLOOD MUST BE BOILING
AND RACING SO FAST
WILL YOU BECOME A GODDESS
AND BE WORSHIPPED AT LAST

The music climaxes. SARAH does offer herself to KROLOCK and he takes her in his arms and bites her

Alfred (as ABRONSIUS holds him back):
NO! NO! NO!

When KROLOCK has fed, he throws SARAH aside, triumphant and the other VAMPIRES paw and grab at her. SARAH is in shock, horrified

Vampires:
OH WHAT A WONDERFUL BITE
FOREVER'S GONNA START TONIGHT
FOREVER'S GONNA START TONIGHT

Krolock:
ONCE UPON A TIME YOU DREAMED
OF FALLING IN LOVE
NOW YOU'RE EVEN FALLING APART

Sarah, Krolock, Alfred:
THERE'S NOTHING I/YOU CAN DO
A TOTAL ECLIPSE OF THE HEART

Sarah:
ONCE UPON A TIME
LIFE WAS SIMPLE AND BRIGHT
Krolock:
NOW THERE'S ONLY LAYERS OF DARK

Sarah, Krolock, Alfred:
THERE'S NOTHING I/YOU CAN DO
A TOTAL ECLIPSE OF THE HEART

Dance: Minuet

ALL DANCE A MINUET, featuring groups of VAMPIRES which include CHAGAL, REBECCA and MAGDA. ABRONSIUS and ALFRED join in

Abronsius (aside, to ALFRED):
We can still save her, Alfred. If within three days, Sarah gets a transfusion with the blood of an 18-year-old virgin, all will be well.
Alfred:
Well — I'm a twenty-year-old virgin.
Abronsius:
Even better! Congratulations, my boy. Good work!

ALFRED dances closer to SARAH

Alfred:
Sarah. Sarah, it's me.
Sarah (numb):
Who are you.…?
Alfred:
It's Alfred. Don't be afraid.
Sarah:
Alfred, what's happening to me? Something terrible has happened to me.
Alfred:
We can still save you.
Sarah:
I want to go away, Alfred. I want to go home

They are separated

Abronsius:
At the count of three

The VAMPIRES realize that only ABRONSIUS and ALFRED are reflected in the huge ballroom MIRROR. They stop dancing

One. Two…
Krolock:
Boo!
Abronsius, Alfred, Sarah:
Three!
Krolock:
Sharpen your teeth! Let the sucking begin!
Abronsius:
Alfred, grab that candelabrum! I'll take this one!
Alfred:
What for?Abronsius:

Raise them high and make a cross.

ALFRED holds out a CANDELABRUM and ABRONSIUS holds out another so that they form a cross. That stops the VAMPIRES

In nomine argento Christi: vesperate!

Aside to ALFRED:

Good thing I remembered this. Join in, if you like.

Alfred & Abronsius
In nomine argento Christi: vesperate! In the silver name of Christ, go down like the sun in burning fire!

He and ALFRED continue to chant this, and the CASTLE BEGINS TO SELF-DESTRUCT. FIRE ERUPTS, WALLS CRUMBLE, and a RIVER OF BLOOD pours down the middle of the ballroom. The VAMPIRES SCREAM IN AGONY and EXIT

Abronsius:
Alfred, remember I told you abou the transformation at the total eclipse of the moon? As Hegel said on his deathbed, This is it.

Krolock (sings, in the midst of this Götterdämmerung:
THE CUT OF THE BLADES
THE HOWL OF THE WINDS
THE HEAT OF THE FIRE
THE LASH OF THE WHIPS
LOOK AT MY FACE AND WHAT D'YA SEE?
READ MY APOCALYPSE!

Spoken:

You idiots! You fools! We have lived here for hundreds of years, isolated and alone! We have preyed only on our own! But you had to come here with your pathetic thirst for knowledge! Prying into ancient secrets you had no right to possess! Now see the fruits of your quest! For I say that you will never keep us in your cages and your test tubes! I say that the plague you came to study will multiply among you! I say that a day will come when we will be indistinguishable from your very own children! Yes! Come destroy our world and we have no choice but to come live in yours — and conquer it!

Sings:

THE CURSE OF THE DARK
THE DEVIL'S REVENGE
THE PAIN OF THE WOUNDS
IT TEARS AND RIPS
LOOK AT MY FACE AND WHAT D'YA SEE?
READ MY APOCALYPSE!
THERE'S NO ESCAPE SO
READ MY APOCALYPSE!

THE MOON HAS NOW FULLY ECLIPSED TO A BLOOD RED DISK as KROLOCK IS TRANSFORMED in a burst of flame into AN ENORMOUS TERRIFYING SERPENT-LIKE CREATURE like th reature in "Alien," except that its face is a fanged, grinning rictus of death. It erupts out of the floor like a jack-in-the-box and towers over the stage and our heroes. ABRONSIUS takes notes furiously. ALFRED drags ABRONSIUS and the numbed SARAH out, as the CASTLE IS TOTALLY CONSUMED

Scene Ten: The Wilderness.

The wilderness again. Middle of the night. Full white moon. WOLVES HOWL. The MUSIC CHANGES to a romantic mood as ABRONSIUS, ALFRED and SARAH ENTER. ABRONSIUS is still scribbling in his notebook

Alfred:
WE'VE SURVIVED THE DREAD
NOW I'LL KEEP YOU IN MY ARMS
TILL THE MORNING SUNSHINE
MELTS OUR FEARS AWAY

GOOD LOVE CAN'T GO BAD
THERE IS NOTHING THAT CAN HARM US
HAVING BATTLED THROUGH A NIGHTMARE
WE WILL WIN THE DAY

Sarah:
I'LL BE YOURS
AND YOU'LL BE MINE
NEVER OUT OF LOVE
NEVER OUT OF LINE
WHAT A LUCKY START
Alfred:
WHAT A WAY TO END
Sarah:
WE WILL NEVER PART

Alfred:
BEYOND THE FOREST
OVER THE HOLLOW
I KNOW A PLACE
SO PEACEFUL AND JOYOUS

Alfred & Sarah:
LEAD ME, I'LL FOLLOW
NOW WE CAN FLY LIKE THE ANGELS
IN THE SACRED AIR
HIGHER AND HIGHER
ABOVE THE WORLD AND ALL ITS CARES

Alfred:
NOW WE'RE FINALLY READY TO FLY
BUT THE STORMS ARE NEVER SO VERY FAR
AND OUR LIVES ARE SHINING LIKE A STAR

Alfred & Sarah:
AND SALVATION'S NEVER VERY FAR
SALVATION'S NEVER FAR

We realize that SARAH has VAMPIRE TEETH

NOW WE CAN BE
SO MUCH BRAVER THAN WE EVER ARE
NOW WE CAN FLY —

SARAH BITES ALFRED as the MUSIC SOARS

Alfred (looking at something on his hand):
What is that?
Sarah:
Blood, darling. Lick it up.

ALFRED licks the blood

Alfred:
It's not bad…!

FINALE: DANCE OF THE VAMPIRES

Abronsius:
NOW WE ARE SAFE
WE HAVE MADE IT AFTER ALL
I WAS SMARTER
THAN THE FIENDS OF THE NIGHT!
THOSE FOOLS AT HEIDELBERG
WILL EAT THEIR HEARTS OUT
FOR THEY MUST ADMIT
I ALWAYS WAS RIGHT

ONCE AND FOR ALL
I HAVE PROVEN BEYOND DOUBT
THAT THESE CREATURES
ARE REAL AND ALIVE
THEY BELIEVE
IN THE POWER OF BLOOD
THEY'VE GOT A BITE
CUTTING THE SKIN LIFE A KNIFE

ABRONSIUS is so taken up with his philosophizing and note-taking, he doesn't see the ENSEMBLE GATHERING BEHIND HIM — or that ALFRED is now fitted out with VAMPIRE TEETH. ALFRED bites ABRONSIUS as the Finale takes off — pulsing softly at first, then louder, becoming a spectacular, swirling, increasingly aggressive dance sequence

BUT WE'VE GOT REASON AND SENSE
THEY CANNOT HURT US
SINCE WE'RE OUT OF THE DARK
FROM WHENCE THEY CAME

WE'RE VERY SURE OF OUR GOALS
AND KNOW WHICH PATH WE MUST TAKE
AFTER ALL WE ARE WIDE AWAKE
THE HUMAN RACE
IS IN MOTION
THE WORLD WILL NEVER BE THE SAME

Magda:
GO BREAK A HEART
OR YOUR HEART WILL BE BROKEN
GO BETRAY YOUR FRIEND
OR ELSE GET BETRAYED

GRAB YOUR CHANCE
BEFORE IT'S TOO LATE
IF YOU'RE FRIGHTENING
YOU MUST NOT BE AFRAID

Magda & Rebecca:
BETTER TO BATTER
THAN TO BE BEATEN
USE YOUR ELBOWS
OR GET JOSTLED YOURSELF

BETTER TO EAT
THAN TO FIND YOU'VE BEEN EATEN
NO ONE CARES FOR YOU
SO CARE FOR YOURSELF

By now the VAMPIRES are everywhere in the theatre, onstage, and in the auditorium. AN ENORMOUS MAP OF THE WORLD is PROJECTED on the back wall of the stage, and A RIVER OF BLOOD FLOWS from TRANSYLVANIA in central Europe, first to HEIDELBERG, then beyond to all of Europe, to America and Asia, to show the migration of the vampires till the WORLD IS ALL VAMPIRE

All:
NOW OUR LIFE IN THE DARKNESS IS OVER
WE'LL BE DANCING IN THE RINGS OF THE SUN
WE ARE SURE OF OUR GOALS
AND KNOW WHICH PATH WE MUST TAKE
WE DON'T LIVE, WE DON'T DIE
BUT WE ARE WIDE AWAKE

WE ARE IN MOTION
AND SOON THE WORLD WILL BE WON
BEFORE YOU KNOW IT'S BEGUN
SO ALL OF YOU
OUT THERE

WATCH OUT
HOW WE'RE GONNA ADVANCE
WATCH OUT
WE'VE GOT THE WORLD IN OUR HANDS
WATCH OUT
YOU'RE GONNA SEE THE VAMPIRES DANCE
YOU'RE GONNA SEE THE VAMPIRES DANCE

LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

LET THE DEVILS COME IN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE FECKLESS
AND THE PHONY-HEARTED

LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

LET THE DEVILS COME IN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE FECKLESS
AND THE PHONY-HEARTED

Group 1 & 4 (Women and Girls):
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS

Group 2 & 3 (Men and Boys) (simultaneously):
LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

LET THE DEVILS COME IN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE FECKLESS
AND THE PHONY-HEARTED

All:
WE ARE TIRED OF DARKNESS
NOW WE WANT TO HAVE FUN
SO, COME ON YOU FREAKS AND FRIENDS
OUR EVERLASTING DANCE
HAS BEGUN

Group 1 & 4 (Women and Girls):
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS

All:
NOW OUR LIFE IN THE DARKNESS IS OVER
WE'LL BE DANCING IN THE RINGS OF THE SUN
WE ARE SURE OF OUR GOALS
AND KNOW WHICH PATH WE MUST TAKE
WE DON'T LIVE, WE DON'T DIE
BUT WE ARE WIDE AWAKE
WE ARE IN MOTION
AND SOON THE WORLD WILL BE WON
BEFORE YOU KNOW IT'S BEGUN

SO ALL OF YOU OUT THERE
WATCH OUT
HOW WE'RE GONNA ADVANCE
WATCH OUT
WE'VE GOT THE WORLD IN OUR HANDS
WATCH OUT
YOU'RE GONNA SEE THE VAMPIRES DANCE
YOU'RE GONNA SEE THE VAMPIRES DANCE

LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

LET THE DEVILS COME IN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE FECKLESS
AND THE PHONY-HEARTED

Group 1 & 4 (Women and Girls):
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS

Group 2 & 3 (Men and Boys) (simultaneously):
LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

LET THE DEVILS COME IN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE FECKLESS
AND THE PHONY-HEARTED

All:
WE ARE TIRED OF THE DARKNESS
NOW WE WANT TO HAVE FUN
SO, COME ON YOU FREAKS AND FRIENDS
OUR EVERLASTING DANCE
HAS BEGUN

Group 1 & 4 (Women and Girls):
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS

All:
COME ON OUR FREAKS AND FRIENDS
OUR EVERLASTING DANCE HAS BEGUN
COME ON OUR FREAKS AND FRIENDS
OUR EVERLASTING DANCE HAS BEGUN
COME ON OUR FREAKS AND FRIENDS
OUR EVERLASTING DANCE HAS BEGUN
COME ON OUR FREAKS AND FRIENDS
OUR EVERLASTING DANCE HAS BEGUN

Group 1 & 4 (Women and Girls):
LET THE REVELS BEGIN
LET THE FIRE BE STARTED
THE WORLD IS FOR THE RECKLESS
AND THE STONYHEARTED

Group 2 & 3 (Men and Boys) (simultaneously):
WE DRINK YOUR BLOOD AND THEN WE EAT YOUR SOUL
NOTHING'S GONNA STOP US
LET THE BAD TIMES ROLL
WE DRINK YOUR BLOOD AND THEN WE EAT YOUR SOUL
NOTHING'S GONNA STOP US
LET THE BAD TIMES ROLL

WE DRINK YOUR BLOOD AND THEN WE EAT YOUR SOUL
NOTHING'S GONNA STOP US
LET THE BAD TIMES ROLL
WE DRINK YOUR BLOOD AND THEN WE EAT YOUR SOUL
NOTHING'S GONNA STOP US
LET THE BAD TIMES ROLL

All:
YOU'RE GONNA SEE THE VAMPIRES DANCE
WE'VE GOT THE WORLD IN OUR HANDS
WE'VE GOT THE WORLD IN OUR HANDS
WE'VE GOT THE WORLD IN OUR HANDS!

CURTAIN

END OF PLAY

© All rights reserved. Thanks to Ryan for typing it out.