#Dracula coach driver

[skeletonsloverockcandy]

Holy shit the May 5th entry hits so different because I’m sitting here marking all the things Dracula does that are simply bad vibes

First of all, hats off to that first driver trying so hard to speed Jonathan through so he would miss his appointment and then lying to the Count’s face about it, we Stan a man who tried

Second off, Dracula-as-Driver immediately packing all Jonathan’s things into his carriage and “helping” Jonathan in with a death grip on his arm so Jonathan knows exactly how strong he is and how easily he could crush him

And then the thing that made me extremely uneasy was Dracula offering Jonathan that wine for the road (knowing how he drugs the Brandy later for the housemaids at Lucy’s house) and then driving deliberately in circles just rubbed me all the wrong way because I know and you know and Dracula knows, that that’s so Jonathan (if he were to escape) wouldn’t know where he was and would have an even harder time fleeing from the Castle, or finding it again, and ooo I am so uncomfy just thinking about it

And I bet Dracula summoned those Wolves just to freak Jonathan out and show he has control over them when he dismissed them (that motherfucker)

Layers of subtle power imbalances and manipulations, again with the vice-grip of when Jonathan first gets to the Castle

Of deliberately keeping Jonathan up late, so he’s on Drac’s schedule and then later blaming Jonathan for being too interesting and making them talk until morning, shifting the blame to Jonathan and not the Count

It’s so odd, but the scariest things about the Count in these early chapters are not the supernatural elements of his nature, but his role as a manipulative abuser with power over his captive. It’s very unsettling how accurate and menacingly Stoker portrays it and it only becomes more oblique as the days draw on and Jonathan can no longer excuse to himself that he’s imagining things 😰

[thatsbelievable]

[antidiluvianobservatory]

(sorry for the quality of this. The image I'm not bothered about but for whatever reason my phone's image editor seems to have made the text match the resolution of the original image and it's too much effort to boot up my pc to make a higher quality edit for a shitpost for me today. Image description is in the alt in case you can't read it)

[mistress-elizabeth]

e

The last place where I would have thought to find a study in kindness is Dracula

But Mina is kind and Jonathan is kind and Mr. Swales is kind and Sister Agatha is kind and the people of Bistritz are kind and the Captain of the Demeter is kind and Count Dracula is monstrous because he is a bully who loves to fuck with people and Lucy is kind and Quincey is kind and the people on the train from Klausenberg took Jonathan too, even though he was in a state!

It is Human Kindness vs Monstrous Villainy, this book.

[vickyvicarious]

I know it's been said before, but... I'd like to take a little time to really point out all the many ways the locals are trying their hardest to be kind to Jonathan and to help him however they can, even at risk to themselves.

The innkeeper's wife breaks her silence enough to tell him not to go, and when he won't agree, to warn him about the eve of St. George's Day and ask him to delay. When that fails too, she gives him her crucifix. That's probably her personal protection she's giving up to him.

She's not done. She tells the driver of the coach about Jonathan, and I think asks him to rush through the pass so Dracula can't pick him up tonight.

The people nearby who overhear her look at Jonathan with pity. While they don't directly try to assist here, I can't help but notice that they're on the bench "which they call by a name meaning "word-bearer"" and talking loud enough/repetitively enough that Jonathan is able to look up their words about various supernatural threats. They outright say the word for "vampire", making it the first mention in the book. If we assume they subscribe to a belief where you don't name the evil lest it come after you, that could be them trying to indirectly get him some warning.

The whole crowd try to protect Jonathan from the evil eye when he's about to set out.

That one guy pointed out God's Seat to Jonathan... maybe trying to bring his attention to something nicer, maybe some kind of religious protection? A kind gesture regardless.

The driver makes a fairly black humor joke about dogs that seems to be hinting at wolves coming after them. I wonder if he's half-expecting Dracula to send wolves to hunt them down. Regardless, even though he arrived late to pick everyone up, he pushes really really hard the whole time to try and rush them through before Jonathan would be picked up. He succeeds well enough that they're a whole hour early, even.

As it gets dark, everyone else on board also starts urging the driver to go faster, and watching out the windows for Dracula's approach. They're invested in this too.

When they enter the Borgo Pass, they all start giving Jonathan protective gifts. I suspect those were meant to keep themselves safe as they pass close by Dracula's castle, but they insist he take them all instead.

They sigh in relief at their early arrival, and not seeing Dracula. The driver does the smallest most halfhearted pretense of trying to get Jonathan there, before declaring they'd better leave now since he's not getting picked up.

They obviously can't directly oppose Dracula when he arrives, but I have to mention the guy who quotes Lenore. That's maybe stupidly open about what Dracula is but it's still pretty ballsy even if he didn't really expect the Count to hear him.

They're just... doing their absolute best to help him. I love them so much.

[spookyboogieanarchist]

Doing Dracula Daily for the first time reminds me of the impression I gained reading Dracula originally, that Stoker is attempting to convince the reader initially that Dracula is a werewolf.

The locals, speaking of him, say vrolok and vlkoslak meaning werewolf or vampire

The wolves slowly encroach on and eventually encircle the coach

The coach driver (Dracula) can control the wolves

And he has a thick brown beard and eyes that shine red in the light

He's also immensely strong, with a grip like a vice

The count has hairs in the centre of his palms and sharp nails and teeth

Dracula even speaks of his "ancestors" bearing down on the native peoples til they "felt as if the werewolves had come"

It's an interesting red herring to see from such a vantage point in history that Dracula is the vampire

[georgiacooked]

For The Dead Travel Fast...

Dracula Daily sketches for May 5th. You get two today for the separated chapters.

In which Jonathan has a completely normal coach ride with a completely normal driver, and meets his completely normal employer.

[origami-trust]

Dracula, dashing into his castle and ripping off the fake beard: And anyway, that was my OC, 'Coach Driver,' a faithful servant who would do anything his master wished of him, and who desires nothing more than to faithfully serve. Dracula: Not to bludgeon the moral point, but can one of you please answer the door while I change so the solicitor doesn't wander away into the forest and also so I don't have to carry his bags myself, which might be strange to him. Brides: no Dracula: ....All right.

[spider-xan]

Thinking about how the Dracula play manuscript that Bram Stoker wrote himself opens with Jonathan saying, 'Hi! Hi!' to Dracula when he's disguised as the coach driver and there was a grand total of two people in the audience bc it was advertised only half an hour before it started and the show lasted six hours with a prologue and five acts for a total of forty scenes and there was only one performance bc it wasn't actually a real play so much as a script reading for copyright protection and Henry Irving, one of the possible inspirations for Dracula himself, allegedly gave Stoker a one word review of 'dreadful' when asked for his opinion 😔

[ramblesandrambling]

I bought the Re: Dracula audiobook and I'm listening from the beginning and....

Jonathan really doesn't understand how hard the peasants at the beginning were trying to help him. We always laugh at how if the locals were all pressing charms into our hands and blessing us, we might think twice about going where we're going. But no one talks about the coach driver:

"There is no carriage here. The Herr is not expected after all. He will now come on to Bukovina, and return tomorrow or the next day, better the next day." [.......] Then, amongst a chorus of screams from the peasants and a universal crossing of themselves, a caleche, with four horses, drove up behind us, overtook us, and drew up beside the coach. [.......]They were driven by a tall man, with a long brown beard and a great black hat, which seemed to hide his face from us. I could only see the gleam of a pair of very bright eyes,which seemed red in the lamplight, as he turned to us. He said to the driver, "You are early tonight, my friend." The man stammered in reply, "The English Herr was in a hurry." To which the stranger replied, "That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend. I know too much, and my horses are swift."

The kindness and the balls of the coach driver. He fucking knew the foreigner headed for Dracula's castle wasn't going to listen to them, so he tried to fake out both Jonathan and Dracula to save Jonathan's life. Putting himself in harm's way. Can I hear a round of applause for our unnamed coach driver? Yeah, it didn't work, but he should sure as fuck get credit for trying to save this total stranger from Dracula, especially when he was putting himself at risk by (metaphorically) sticking his own neck out!

[skeletonsloverockcandy]

Man, each year I get to it, I love the May 5th entry and what it means. I take something new from it each time. Like last year I noticed the sacrifices and efforts the Driver and the other passengers made to try and save Jonathan, a stranger to them, by showing up early, by giving him gifts, by blessing him, despite the danger that puts them in. Especially when Dracula, as the driver, points it out to the Driver of the first coach, what he was trying to do, and scares him by pointing out what he said (despite it being heard far out of normal earshot and over the sound of horses galloping).

This year though, I notice that, but I see some of the smaller details too. Like how the mountains are full of blooming fruit trees, and how we are so used to the “gothic” aesthetic we almost forget it’s Spring. How Jonathan takes notice and comfort in the view, despite the growing unease he feels because of the people around him. He is trying to distract himself from how scared he’s getting based on their warnings. Warding him from the Evil Eye.

"No, no," he said; "you must not walk here; the dogs are too fierce"; and then he added, with what he evidently meant for grim pleasantry—for he looked round to catch the approving smile of the rest—"and you may have enough of such matters before you go to sleep."

I also take notice of this from the driver, as it’s almost a morbid gallows humor that he clearly knows to expect the wolves, and knowing what happens later, I’m sure the people here have a horrible fear of them, knowing what Dracula can do…and what he does to that poor mother later.

There were dark, rolling clouds overhead, and in the air the heavy, oppressive sense of thunder. It seemed as though the mountain range had separated two atmospheres, and that now we had got into the thunderous one.

We also get here what might be our first indication that the Count can control the weather to an extent.

They were driven by a tall man, with a long brown beard and a great black hat, which seemed to hide his face from us.

All I can imagine is Dracula in a fake beard now lol.

"You are early to-night, my friend." The man stammered in reply:—

"The English Herr was in a hurry," to which the stranger replied:—

"That is why, I suppose, you wished him to go on to Bukovina. You cannot deceive me, my friend; I know too much, and my horses are swift."

But God, this must have been terrifying for the driver and the passengers. What would Dracula do to punish them for trying to escape him? Would he dare make an example in front of the Englishman right now, or would he grant them mercy to say nothing else as Jonathan is unsuspectingly led to his doom, so they think.

"Denn die Todten reiten schnell"— ("For the dead travel fast.")

The strange driver evidently heard the words, for he looked up with a gleaming smile.

It feels like they’re all in on some sick joke that they know the punchline to, but Jonathan doesn’t, so with the dramatic irony, it feels like we the readers are the same peasants, trying to do anything to save or warn Jonathan but it’s already too late.

I also notice how quickly Dracula tries to shift the power dynamic with Jonathan, and have him doubt his sanity so soon, and he’s not even in the castle yet.

He drives him in circles to try and disorient Jonathan and make him feel even more lost, also keeping him out for far later and making Jonathan question if he’s dreaming or if what he’s seeing is real. I’d also bet more than anything that wine he offer Jonathan on the coach that Jonathan didn’t end up taking was drugged. Because it’s far easier to disorient an unconscious passenger in the dark than it is to disorient a conscious passenger. But he still does a pretty darn good job.

Then there’s the blue flames, which Jonathan doesn’t know how to react to as they seem supernatural and he doesn’t know how to rationalize it yet, so he takes it as if he’s dreaming.

This gave me a sort of shock, for I suppose the general superstition about midnight was increased by my recent experiences. I waited with a sick feeling of suspense.

Jonathan also has already felt the fear and nerves associated with the supernatural and superstition after what all of the townsfolk have told him, and later he tries to brush this off and rationalize again, try not to get too scared, but a part of him already realizes something is wrong.

Then a dog began to howl somewhere in a farmhouse far down the road—a long, agonised wailing, as if from fear.

I also want to point this out, as it’s right before the wolves surround the coach, but it’s the second time a “dog” has been mentioned howling in the night, and with this evidence, I bet Dracula uses the wolves as a threat to keep the peasants and townsfolk in line, as he can’t munch down on everyone. But it shows how powerful he is and what a threat he poses. I wonder who the wolves kill in the night.

Also how Jonathan, as an Englishman where there were no more native wolves, can’t even imagine that’s what they were and thinks they are dogs.

And it makes sense now that earlier when Jonathan was getting out his good ol’ polyglot dictionary, how the two words mean the same thing.

"vrolok" and "vlkoslak"—both of which mean the same thing, one being Slovak and the other Servian for something that is either were-wolf or vampire.

As Dracula, as we see later, can transform into a wolf himself, and so there is probably less distinction between the two in this culture than we have tried to establish in the modern day.

Once there appeared a strange optical effect: when he stood between me and the flame he did not obstruct it, for I could see its ghostly flicker all the same.

Ah, I wonder if this is an early indication that Dracula cannot be depicted through traditional means? Like how he can’t be seen in the mirror. Certain lights just, pass through him.

I shouted and beat the side of the calèche, hoping by the noise to scare the wolves from that side, so as to give him a chance of reaching the trap.

We also see Jonathan taking an active and proactive approach, in this manner trying to be helpful and aid his (what he assumes human) driver. With these sorts of actions already, I can see signs of the man who will pick up a shovel to try and do what needs to be done. Who takes a knife and vows action, not hesitating.

He is polite right now, he’s on business. He doesn’t know what’s coming. But regardless, that person is still in him, and he’s capable of taking great action and doing great things for the sake of survival and doing what he thinks is right.

And Dracula commanding the wolves to stop as the driver, and the cloud passing overhead, I feel is like a subtle display of power and threat to Jonathan. He’s still playing pretend, but when Jonathan does figure out he was the coach the whole time, and he plays coy, the Count knows Jonathan will remember this threat, and it feels that much more sinister.

Jonathan still questions and thinks he fell asleep, as he doesn’t see how he’d have missed the approach of the castle otherwise, but I think he was awake because it was dark, and the count was intentionally taking him a winding and confusing path under a lot of fear. Though if he did fall asleep, I’m that much more terrified about how Dracula was driving him about, now secure in the knowledge that Jonathan would be thoroughly isolated and lost.

And the thing that nearly gives Dracula away twice as the driver is the strength of his grip on Jonathan’s hand, also lacing a subtle threat.

through these frowning walls and dark window openings it was not likely that my voice could penetrate.

Well this is just scary knowing how trapped Jonathan becomes later, knowing he wouldn’t be able to hear the outside world, and how the outside world might not be able to hear him, and how he’s already acknowledging that.

The time I waited seemed endless, and I felt doubts and fears crowding upon me. What sort of place had I come to, and among what kind of people? What sort of grim adventure was it on which I had embarked?

He already is expressing doubts and fears, he isn’t ignorant of what situation he might be in, and it’s only later when he tries to rationalize with the count and is given the comforts manipulation of food and sleep, that he tries to dismiss these fears and take the Count at his word.

Was this a customary incident in the life of a solicitor's clerk sent out to explain the purchase of a London estate to a foreigner? Solicitor's clerk! Mina would not like that. Solicitor—for just before leaving London I got word that my examination was successful; and I am now a full-blown solicitor!

Okay, this is just really cute. Mina said You passed the Bar, you Deserve to call yourself a Solicitor Jonathan <3

Also explains a lot that Jonathan is a fresh faced baby lawyer who just passed the bar and needs this assignment. He’s probably hoping that after this pay day he can marry Mina and have enough for them to start making a life together. Also says a lot for Dracula’s strategy to him to get someone young, inexperienced, and unfamiliar with the area, who might be seen as “expendable” so that Jonathan’s sudden “disappearance” might go unremarked by those in charge (though Mina would notice).

I began to rub my eyes and pinch myself to see if I were awake. It all seemed like a horrible nightmare to me, and I expected that I should suddenly awake, and find myself at home, with the dawn struggling in through the windows, as I had now and again felt in the morning after a day of overwork. But my flesh answered the pinching test, and my eyes were not to be deceived. I was indeed awake and among the Carpathians. All I could do now was to be patient, and to wait the coming of the morning.

Again, those early signs of doubt and fear from Jonathan, showing his unease already at the situation. We did not deserve to be clowning on him so much when this book club first started. It’s not his fault he’s not genre aware 😔 I’m sorry Jonathan.

And when Drac does show up to open the door:

"Welcome to my house! Enter freely and of your own will!" He made no motion of stepping to meet me, but stood like a statue, as though his gesture of welcome had fixed him into stone.

I wonder if he’s like that because he needs to be invited into places to be there, so if it’s almost like a supernatural hold of importance for him to offer the same thing. Almost like a subtle joke or curse with the knowledge that after Jonathan enters, he won’t be allowed to leave of his own will

holding out his hand grasped mine with a strength which made me wince, an effect which was not lessened by the fact that it seemed as cold as ice—more like the hand of a dead than a living man.

I also like how all the clues are there, and since Jonathan has written them down and taken note of them, the expression on them must be some of the things he’s piercing together about his own fears as well that he’s afraid to voice aloud or in his journal, because if he voices his suspicions, they might become more real to him.

The strength of the handshake was so much akin to that which I had noticed in the driver, whose face I had not seen, that for a moment I doubted if it were not the same person to whom I was speaking

See? He knows what’s up, he’s just afraid to say it.

I also didn’t pick up that Jonathan’s room is octagonal for some reason. I wonder if there’s any reason for that or symbolism with the 8 sides?

Also the letter from Mr. Hawkin’s feels very ominous in retrospect knowing what’s coming and how Dracula will treat Jonathan:

"I must regret that an attack of gout, from which malady I am a constant sufferer, forbids absolutely any travelling on my part for some time to come; but I am happy to say I can send a sufficient substitute, one in whom I have every possible confidence. He is a young man, full of energy and talent in his own way, and of a very faithful disposition. He is discreet and silent, and has grown into manhood in my service. He shall be ready to attend on you when you will during his stay, and shall take your instructions in all matters."

I feel like Dracula knew to take advantage of that, and also this feels like him basically reading the menu for an ideal victim once his business is said and done, so I get shivers, brrrrr.

Hitherto I had noticed the backs of his hands as they lay on his knees in the firelight, and they had seemed rather white and fine; but seeing them now close to me, I could not but notice that they were rather coarse—broad, with squat fingers. Strange to say, there were hairs in the centre of the palm. The nails were long and fine, and cut to a sharp point. As the Count leaned over me and his hands touched me, I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which, do what I would, I could not conceal.

I also like that while Jonathan is describing Dracula, he notice his hands. And I am also struck with how little it is brought up that he has hair on his palms, and I can see the more wolf-like nature of this vampire mythology. I wonder if Bram Stoker intended for werewolves and vampires to be the same thing in his novel? They are certainly compared and have similar powers and weaknesses, so it’s possible I guess.

Also Dracula has corpse-breath lol. Nasty.

I saw the first dim streak of the coming dawn. There seemed a strange stillness over everything; but as I listened I heard as if from down below in the valley the howling of many wolves.

Ah ha! Also the first foreshadowing we get for the importance of dawn and dusk in the novel, as we know later how important timing becomes for our protagonists, so seeing its affects already make me smile at the recognition of the signs so early.

"Listen to them—the children of the night. What music they make!" Seeing, I suppose, some expression in my face strange to him, he added:—

"Ah, sir, you dwellers in the city cannot enter into the feelings of the hunter."

And ah, an iconic line. Though I just get second hand angry and uncomfortable at Dracula’s insistence that he’s a “hunter” 🤢. God I just hate him haha.

I am all in a sea of wonders. I doubt; I fear; I think strange things, which I dare not confess to my own soul. God keep me, if only for the sake of those dear to me!

And literally Day 1 of being in the castle and Jonathan is already questioning his sanity and piecing things together he’s afraid to even voice in his journal. This is the second time in as many days he has already wished that those around him find this journal and laments should anything bad happen to him. It creates the impression of one who knows they’re walking into danger but must go on anyway.

But I love Jonathan so much, and I definitely really like the May 5th entry, and it does so much work to set up what happens later.

[greypistacchio]

i swear that this entry is my fave part of the book? memes aside, jonathan is unable to keep avoiding what he knows to be full-on CREEPINESS from the count, and there's such a dramatic shift in his writing. he goes from being all "haha that was weird but ok anyway!!" to connecting the dots QUICKLY. in a single entry he writes down all of these realisations:

Count Dracula is very much aliven't ("I fear I am myself the only living soul within the place")

He's also the only person in this one-man bed and breakfast ("I went cautiously to my own room and found him making the bed. This was odd, but only confirmed what I had all along thought - that there were no servants in the house. (...) If he does himself all these menial offices, surely it is proof that there is no one else to do them.")

As such, HE was the carriage driver that did all the mindfuckery he could think of to creep Jonathan out ("It must have been the Count himself who was the driver of the coach...")

ALSO HOLY SHIT HE HAS SUPERNATURAL POWERS OUCH ("What does it mean that he could control the wolves, as he did, by only holding up his hand in silence?")

but hey he's a tad narcissistic so there's that to play with ("To-night he may talk of himself, if I turn the conversation that way.")

Right now he can't get out even if he tries ("The castle is a veritable prison, and I am a prisoner!)

Drac very deliberately imprisoned him in his B&B Castle ("Of one thing only am I certain; that it is no use making my ideas known to the Count. He knows well that I am imprisoned; and as he has done it himself...")

With each reread I understand less and less why people thought Jonathan wasn't observing or even mildly clever, the man has literally cracked what took the Polycule WEEKS to realise

[serene-sun]

𝕿𝖍𝖊 𝕸𝖎𝖓𝖎𝖘𝖙𝖗𝖞 𝕺𝖓 𝕿𝖍𝖊 𝕸𝖔𝖚𝖓𝖙𝖆𝖎𝖓, 𝕻𝖆𝖘𝖙 𝖙𝖍𝖊 𝕽𝖎𝖉𝖌𝖊 𝖁𝖎𝖑𝖑𝖆𝖌𝖊

Summary: After a multitude of wrong doings at your catholic church, you and four other nuns are sent on a mysterious transfer to a ministry nobody dares speak of. On behalf of the Count Copia, you are welcomed after a suspenseful journey. Author Note: This is the first chapter to my new series based on some of my favorite movies like Dracula, The Phantom Of The Opera and Labyrinth. You might even get some references to some others as well as a few ghost lyrics. This is going to be a build up to smut, and this will be a romance one obviously but beware this is major corruption kink coming your way. If you need some help, the ghoul in this chapter is Aether, and half of this is quite literally the exact script of Dracula. You can even look it up and see! Please enjoy, all feedback in my inbox is greatly appreciated.

Chapter one of my new series, “𝕽𝖔𝖘𝖊 𝕲𝖆𝖗𝖉𝖊𝖓 𝕱𝖚𝖓𝖊𝖗𝖆𝖑 𝕺𝖋 𝕾𝖔𝖗𝖊𝖘”

In a Coach in the Carpathian Mountains, a young woman reads to four passengers from a travel brochure.

“Among the rugged peaks that frown down on the Borgo Pass are found crumbling castles of a bygone age.” The woman is knocked from her seat by a bump in the dirt rural road.

“I say, driver, a bit slower!” Another woman says, her black veil crooked as she shakes in the mobile. 

“No, no! We must reach the mountain before sundown!” The driver says, a crack in his voice as the silent erie sound of the forest starts to swallow all sounds.

‘And why, pray?” One of the female passengers asks, closing the bible in her lap.

“When the sun sets the demons start evoking the mountain side like raging wolves and hyenas, desperate for any vulnerable being to feast upon!” The driver replies as they are enveloped in a cloud of fog, the steep road getting more bumpy.

You held tight onto the rosary in your hands, a charm of Jesus Christ on the cross between your palms as you listen to the man speak.

As the vehicle stops in the center of the small village on the ridge, the passengers eagerly step out of the transport and into the rich moist soil. This is a small village of three homes and one or two inns, mainly farmland and water sources as it fits in a small acre. 

A woman from the nearest inn steps out of the entrance as chickens follow, her hair is in a messy bun and there is soot smudged across her face and clothes with a few patches holes in her dress and apron.

“Oh dear, let me help with your luggage sisters.” She says, wiping her hands on her sides to rid of the grim.

“Oh do not worry madam, we are to arrive up top the mountain by tonight.” you say as she grabs a leathery bag.

“Tonight? But the sun is already half set? The gate keeper, he is afraid. Good fellow, he is. Wants me to ask if you can wait to go on after sunrise.” She says as she sets the luggage back into the trunk.

“Im dearly sorry but im afraid we have specific orders from our adviser to be there by sundown, and I fear we are already late.” You reply, hands still clasped together.

Was what the driver said true? Why would it? Perhaps he was only trying to scare the group of young women.

“And who needs you on the mountain? Who sent you faithful young holy women to the dark abbey?” The innkeeper says in disbelief, she studies the very christian and catholic constant theme on the luggage and clothes.

“Count Copia, I assure you, we are here on holy deeds.” You say, willingly ignoring the description of the abbey, surely it was not truly an unholy place, it was an abbey after all.

‘Count Copia? And to the ministry?” She hides her hands in her apron pockets with her brows knitting.

“Yes.” You nod slowly, unsure of what she means, is he not the holy man they were sent to serve? 

“No, you mustn't go there. We people of the mountains believe at the castle there are devils. Count and his ghouls!  They take the form of wolves and bats, goats and succubi. They leave their coffins at night, and they feed on the blood of the living.” She says, placing her hands on your shoulders and eagerly rushing you inside, “Look at the sun! Its already gone, come we must go indoors.”

“But thats all superstition. Why I…I cant understand why…” You try to reason as the door is slammed shut after the other nuns enter.

“But wait, I mean, just a minute. What im trying to say is that im not afraid. I've explained to the driver that its a matter of holiness and god filled right, We've explained it and we must arrive soon.” You say as she pokes at the fire, letting out a cough into her hand.

“If you must go then take this for your mothers sake,” the innkeeper hands you a small vile of blood, “This will protect you..”

‘W-what is it?” You ask, the other sisters surrounding you in curiosity.

“The blood of christ!” She says, eyes wide with fear.

For a moment you feel the need to call help for the woman, she must be a poor paranoid soul. And there is no way she of all people would have the blood of christ.

The sisters gather back into the small mobile and quickly ride upon the foggy dark mountain as the red piercing sun drowns in the horizon. 

When the car stops in the pitch black court yard, the car hurriedly drives away.

“Wait! Driver! Our luggage!” 

The groups attention is brought back to the stone path to the large entrance doors as it is lined with lit candles that come of flame. The dancing red light illuminates them to follow, you take the lead, as you seem to be the least terrified. 

You push open the large black doors and step into the Obsidian floor of the main castle. Its dark just like outside and candles suddenly egnite.

The nuns look around the room, taking in the shadowed paintings, murals, and stained glass.

A footstep spooks you as the sound comes from a taller man at the top of the main stair case.

“G-Good evening.” You bow your head slightly in respect as you can only make out his shape.

“I am…Count Copia..” He says, thick italian accent in his voice as he begins stepping down the long stairs.

“Its very good to see you. I don't know what happened to the driver and our luggage and…well…with all this..I thought I was in the wrong place.” You say, hoping to not sound rude, but there wasn't a cross in sight and the stained glass showed depictions of devilish things instead of virgin mary and jesus.

“I bid you welcome.” The count says,

Outside the large windows, there the howl of a wolf.

“Listen to them…children of the night. What music they make!” He smiles hauntingly.

The older man starts walking off down a corridor lined with paintings and candles. The hall is painted dark red with black trim. One candle stick is consumed with spider webs, it catches your attention as you follow.

“A spider spinning his web for the unwary fly. The blood…is the life, Ms…” He invited you to say your name.

“Ah of course, My name is Sister _, from the western Catholic church of god.” You say with another pleasing bow.

The man hums, his eyes darkening, “Im sure you will find this part of the ministry more inviting.” He says as he opens the doors to a larger room, it has five beds, dressers, nightstands and even an chest at the foot of every bed. Theres two couches on either side of a coffee table in the center of the room, accompanied with a vase of dead roses, a fire place, and two other chairs of black leather. What is most questionable is why the room is a circle, not one corner.

‘Oh rather! Its quite different from outside. Oh, and the fire! Its so cheerful.” You say with a smile.

“I took the liberty of having your luggage brought up. Allow me.” He says as he takes the groups wool capes, he hangs them on a coat rack.

‘Oh yes, thank you.” One of the sisters says as she sits on the neatly made bed. 

The room is painted a deep purple, black trims and wall designs. The curtains over the large windows were a pitch black, and the beds were of black steel and neatly covered with purple silk sheets and purple cotton. The room was lit with candles and a chandelier.

You pick up the letter on the bed, but you accidentally cut your finger on the sharp note card.

As a droplet of blood rolls down your finger, the man quickly turns away.

“Oh dear im sorry, its just a paper cut, I didn't know you were squeamish.” You apologize as you grab a napkin cloth and hold it.

“The infirmary is on the main hall to the left, I hope you shall never need it.” He says as he holds his hands behind his back.

“Thank you,” You smile.

‘I will have a ghoul take you there, and get a bandage.” He says with a large swallow. 

You tilt your head, “ghoul?” You ask, what is with this odd abbey?

Suddenly, out of the darkness of the room, a masked entity approaches you. His silvery devil mask shines in the candle light, through the slit shines his piercing white eyes, pupils so thin and slit like a snake your unsure if they're even there or if its the shadows playing tricks on you. Hes in a nice suit attire, a skull tie and button up pants. His dark hair is slightly wavy and is cut short at his ear and neck, he has a calming presence and you notice his ears are long and pointed. You take in the fact that this man was not infant human, but rather a demon. 

So the innkeeper was correct? About unholy ghosts here?

He leads you to the infirmary, the walk there is silent as you continue to study his form. He has a spaded tail, and his hands are a pale muted purple and his veins are visible in a lighter white color. The ghoul had long sharp claws too, as well as a thicker build. 

He opened the door to the infirmary, he lets you sit down as he gathers materials to address the minor cut.

As he comes back, he kneels in front of you and takes your hand. The pads of his fingers are rough but smooth, hes very gentle and has a calming affect to him.

You swallow, your afraid to speak.

The ghoul parts his lips, like hes about to speak but doesnt know what to say, “Your heart is racing.” he says, deep voice like a deep cave filled with echos and shadows. Its warm and heart filled, he truly means no harm.

Your hands tremble as you shiver, “w-what?”

‘Ah uh…sorry…I meant that your frightened and there is no need too be.” He quickly blurts out, like he hasn't talked to a stranger in years.,

“This is not what i was expecting..” You say as you start to ease up.

“Nobody does, don't worry, you are safe.” He says as he cleans the wound. 

“This…is not a place of god is it..?” You finally ask as he lets go to cut a piece of gauze to use.

“No. It is not.” He looks into your eyes.

You had the feeling that when your church said they were moving you, that it wasn't because you were the best sister of god there. You had started asking to many questions and you always knew that when they transferred people it was never for the better but to rather rid of the so called delinquents that questioned god. In a way you knew you would be thrown out, but not like this and to the wolves.

“Im sorry…I just…I don't want to die..” you start to tear up, ‘I don't want to burn for eternity.”

The ghoul quickly looks up at you, ‘no no no don't worry,” He chuckles, “Your not going to die here and you wont burn for eternity, I doubt god even knows you exist.” 

Your taken aback some, “But don't you eat people? Kill us for blood? Sacrifices and such?” 

“Your demonology books are far outdated…” He says as he wraps your finger.

“So….you ghouls are…kind?” You say, standing up.

He nods, “yes, everyone here is.”

You look down at your feet, “I apologize, I feel I need to introduce myself and start over.” 

The ghoul stretches his hand out, “You may call me Nameless Ghoul.”

You take his hand, “Im Sister _, I hope we can be friends.”

[vickyvicarious]

It's kind of striking how Jonathan already is expressing doubts and fears, he isn’t ignorant of what situation he might be in, but when the Count gives him food and a bed, he dismisses these fears as his mind playing tricks.

The warm hearth, the meal, all this transferred him from the darkness and the snarling, howling wolves outside, to the light and the safety of Castle.

So Jonathan stepping from the outside, is trembling, shocked, but now this powerful old man is giving him a warm fire, security, and food. He's now putty in his hands.

In retrospect then, Dracula manipulates Jonathan from the beginning, putting him in grave danger, and leaving him alone in the cold and surrounded by wolves. Later, he plays the kind host, providing Jonathan with food and shelter. Jonathan is now like a grateful puppy, completely dependent on Dracula for his basic needs, but he is unable to recognize this due to the carefully orchestrated emotional roller coaster Dracula has just put him through.

From the start, Dracula is doing textbook abusive, gaslighting codependent tricks to manipulate Jonathan, one could say...

I feel like as readers, it can be easy to dismiss just how easy it would be for characters to dismiss their fears and doubts once somewhere warm and well lit. Unless someone is truly already a believer in the supernatural, anyone would probably try to talk themself down, just because... well, the idea seems kind of silly, doesn't it? Sure, there were scary stuff happening, but - really, my host is impersonating his own coach driver? Why? Spontaneous fires in the woods that can be seen through a solid human form? Wolves that are driven off by a commanding gesture alone? What kind of ghost story is this? Jonathan sticks to his guns fairly well, being firm about what he's certain he did see, but he admits to having fears and doubts he's not going to mention because they aren't logical, they're fearful speculation about things that for the most part, probably are things he's always considered impossible.

So, yeah. Leaving Jonathan outside in the courtyard alone for a while, to really marinate in his fear and distress at realizing he's trapped alone, surrounded by wolves and who knows what else, and has no idea where to go to seek help... by doing so, Dracula not only has time to run around and take off his disguise, but he primes Jonathan to see his invitation inside as a welcome relief. At least it's better than being exposed to the threats outside. (Though interestingly, it seems it still took several invitations before Jonathan actually came all the way in.) It's setting Dracula himself up as a welcome savior. He brings Jonathan inside, out of the cold and dark to somewhere well-lit and warm. He feeds him, he's courteous and friendly, he shares Mr. Hawkins' praise with him. Jonathan gets to smoke a cigar and relax a bit. He gets to tell the whole story to an interested audience. * Of course he feels better than before. And it's thanks to Dracula. Dracula is the one who can protect him from all that scariness out there, who can make him feel comfortable again. It's a good way to build trust and influence quickly, by positioning himself as a friend/protector.

But Dracula can't restrain himself. He pushes too much, too soon, and Jonathan feels rightfully creeped out:

As the Count leaned over me and his hands touched me, I could not repress a shudder. It may have been that his breath was rank, but a horrible feeling of nausea came over me, which, do what I would, I could not conceal. The Count, evidently noticing it, drew back; and with a grim sort of smile, which showed more than he had yet done his protuberant teeth, sat himself down again on his own side of the fireplace. We were both silent for a while; and as I looked towards the window I saw the first dim streak of the coming dawn. There seemed a strange stillness over everything; but as I listened I heard as if from down below in the valley the howling of many wolves.

As soon as Dracula touches Jonathan, he feels repulsed. Part of this may be some kind of instinctive reaction to Dracula's supernatural nature. Maybe it's related to the memory of how incredibly strong his grip was earlier. Maybe it's simply because Dracula is being an overfamiliar creep - that would be plenty of reason on its own. (And I'm sure his terrible breath doesn't help matters.) But regardless, Dracula hasn't established enough trust between them here for Jonathan to welcome this touch. And he's not quite established a fearful enough power dynamic for Jonathan to force himself to accept the touch. Politeness is the only reason Jonathan doesn't move away, but his feelings are made obvious by his shudder.

Dracula pulls back, tries to play it off, but they still fall into a silence that is clearly a lot less comfortable than before. And the atmosphere around them reflects the sudden distance too: Jonathan notices dawn coming (presaging a physical separation as well, but also Dracula's power waning right after this blunder lessens his emotional power over Jonathan). Eerie elements creep back in: Dracula's frustrated smile shows his teeth more than all his deliberately charming ones have done before. Wolves are howling, which pleases Dracula and upsets Jonathan - the final exchange which they have before Dracula sends Jonathan off to bed, and one which seems to bring Jonathan right back to a much more distressed state of mind as he relives the night's experiences over again.

Dracula spoils his own fun a little bit here, because he puts Jonathan back on guard. And I think it's clear he's a little annoyed at himself for it. He finds Jonathan so interesting/enticing that he's having difficulty playing a long game. At least a part of him wants to jump right in to more intimate/threatening actions, and though he mostly restrains himself, the mask still slips and his victim notices. Which is lucky, as Jonathan needs that guard up to keep himself safe.

* I just realized that Jonathan does say that he "told [Dracula] by degrees all [he] had experienced" on his journey. I hope to god that doesn't include him mentioning the crucifix lady's gift with any kind of specificity, or else I fear very much for her life.

[aethersea]

love how dracula clearly had this whole spooky approach to the castle timed, they were going to reach the turnoff just as the midnight howling began (you know, the annual midnight howling on the feast of st george, when all the evil things in the world have full sway) and drive along that narrow passage as the wolves’ voices echoed all around them. but then the mean old coach driver went so fast that it threw his schedule off entirely! god, so rude, peasants have no sense of drama!!

but not to worry, not to worry. the count has just the solution: he’ll just drive around in circles until it’s time.

[another-chaotic-bisexual-vampire]

Was just reading the Sherlock Holmes story "The Final Problem" - and to escape some tenacious henchmen hot on their trail - Sherlock has Watson take a very specific coach "driven by a fellow wearing a heavy black cloak"

This Coach Driver is later revealed to be none other than Sherlock's brother in disguise

This story was first published in 1893

Bram Stoker was outlining, drafting, writing, & rewriting Dracula between 1890 and 1897

Dracula as Thinly Disguised Coach Driver is inspired by Sherlock Holmes