It was decided that I, the head script writer, would do the final edit of the script as I felt it needed some added lines.
A Gothic Tale
Ex-Wife Character Development Scene
‘Twinkle Twinkle’
Centre Stage is completely blank, no angels, no bed, piano (to the side but not in position and out of view).
Stage Blackout, 20 seconds of music playing before anything begins, sound escalating (Twinkle Twinkle Bioshock song) When the glitches in the music are heard this is when the strobe light should come on in sync with the music.
A Loud Scream from the EX WIFE in darkness
During the strobe light sequences we will see the EX WIFE being thrown into the Bloody Chamber with other bodies around her, all masked and in different positions. We will see the count throw her in, a brief glimpse of his silhouette also (as a recurring image).
There should be 5 sequences of strobe lighting and the actors positions should be as follows
Strobe 1: dead bodies in the chamber
Strobe 2: dead bodies in the chamber and the silhouette of the count
Strobe 3: Scream from the EX WIFE and the COUNT dragging her through the chamber
Strobe 4: EX WIFE alone with the bodies, beginning to mumble to herself, agitated, hands in head trying to avoid looking at the bodies surrounding her.
Strobe 5: EX WIFE laying Downstage Centre, eyes wide open staring into the audience.
The final strobe position leaves it ambiguous to the audience on whether she is alive or not, allowing suspense for her later return in SCENE 3
SCENE 1
(The curtain opens to reveal a castle’s boudoir, the COUNTESS and HOUSEKEEPER are in the boudoir. The COUNTESS is sat on a chair in the middle of the room.)
HOUSEKEEPER: Oh you look wonderful; such a beautiful bride. (Pause) You’re so lucky, if I may say so. I bet today is like a dream come true.
(HOUSEKEEPER carries on brushing COUNTESS’ hair)
(Pause)
HOUSEKEEPER: He will look after you, you know. He has much to give! I know you’ll enjoy living here: there’s even a room put aside for you because he knows how much you love music. But you didn’t hear that from me! (pause) Oh, isn’t he a good man?
COUNTESS: (surprised) My own music room?
HOUSEKEEPER: (overexcited) Oh yes! He will dote on you as you are beautiful! The Master can never resist a pretty face. (Strokes her face and carries on brushing her hair) Oh I wish I could find a suitor like him: charming, handsome (pause) and wealthy. You’re so lucky!
COUNTESS: (Says as if she doesn’t believe it) Yes. I am.
(The COUNT enters)
(Silence)
HOUSEKEEPER: (Excited) Oh, doesn’t she look beautiful? You make such a fine pair if you don’t mind me saying! I know you’ll remember this for the rest of your lives. I know it’s just going to be perfect.
(COUNT nods, staring)
COUNT: Is she ready?
HOUSEKEEPER: Is she ready? Of course she is! (COUNT exits) Aren’t you dear?
(COUNTESS nods)
HOUSEKEEPER: Good! Now – Oh. Where’s he got to? Just a moment dear I’ll go and check.
(HOUSEKEEPER exits for a few moments. She walks back on and grabs the chair the COUNTESS is sat on)
HOUSEKEEPER: Come on, dear! We don’t want to keep your husband to be waiting!
(The COUNTESS stands up and the HOUSEKEEPER almost drags her off stage in a hurry to get her to the wedding. We hear wedding bells)
END SCENE
SCENE 2
(The COUNTESS enters.)
COUNTESS: I wasn’t sure about marrying him at first. I’m so young and he… But he could provide for me. What girl wouldn’t want that? And Father will be able to live comfortably now. I won’t have to worry about him anymore. (Pause) He is a lot older than me but he‘s still very handsome. It takes my breath away when I look into them dark eyes of his. I seem to be mesmerised by them and I can’t move. Why can’t I explain it? I must be crazy; there’s something about him and it just… I don’t know. I can feel his lust. (Pause) He had been married before; there’s been talk in the village. His previous wife had died a few months ago but nobody seems to mourn her. It’s almost as if she didn’t exist. Nobody seems to remember her name or even what she looked like, not that it matters now but it’s strange. She just seemed to disappear and that was the end no questions asked. (Pause) Today was beautiful; it almost seems too good to be true. (excited) I’m somebody’s wife. (perturbed) I’m somebody’s wife. I have so many questions and nobody to talk to: what if I make a mistake? What will he think? (Pause) He’s expecting so much. What can I do? How do you be a good wife? (Pause) It was hard saying goodbye to everyone but I knew it had to happen. The wedding…It was all so rushed. I felt like it all ended before I even had time to understand what was happening. The Count doesn’t seem to have much time. Then the day was over and everyone left. Then it was just us. (pause) Me and him.
(THE COUNT enters, marked by his silhouette from the doorway. He advances on her, she is still unaware that he is there.)
COUNTESS: (Shyly) My Lord, this room is amazing. The whole castle is amazing. I can’t believe I live here.
COUNT: Yes.
COUNTESS: Yesterday was just beautiful, I loved every moment of it. I don’t think anything will ever live up to that. I didn’t expect my wedding day to be so wonderful and all the guest just loved every moment especially my father. He… (The Count retrieves a necklace from the bedside table. He puts it on her and examines her. She is Surprised) What is this?
COUNT: A gift
COUNTESS: Thank you. I don’t have anything for you…
(The Count takes a step back admiring the form of the Countess, eying her lustfully in silence).
COUNT: …Shh. Come.
(The Countess, lead by The Count, goes over to the bed. COUNT stares at the
COUNTESS for a long time until she turns to find the Count glaring at her body)
COUNTESS: (Wary) is something wrong?
COUNT: (Greedily. He stares at her for a while) Take off your clothes.
(THE COUNTESS stutters)
COUNT: Take off your clothes.
(The Countess just stares at the Count. After a few moments she begins to take off her gown very slowly. In his impatience, the Count rips off her gown, leaving the Countess half naked)
(THE COUNT takes off his shirt. He slowly comes up behind her and begins to kiss her neck, biting gently as he does so. He seduces her. Initially she resists until she begins to enjoy it. She reciprocates. They begin to build up to making love as the COUNT begins to kiss her and take her over to the bed until she catches a glimpse of herself in the mirror. She starts to cry, shaking as she does. The Count slowly backs away)
COUNT: I suggest a walk to clear our heads.
(The Count picks up his shirt and begins dressing himself as he heads towards the door offstage. He stops and turns back round to the Countess before he goes off. He stares at her for a few moments)
COUNT: Get dressed; I’ll expect you downstairs shortly.
The Count leaves. The Countess cries.
(Blackout)
The doorframe light fades up and her silhouette slowly forms in the light taking the place of THE COUNT coming towards the mirror. She looks at herself in the mirror smiling wryly and begins to put on her makeup.
(Fade to black)
End Scene.
Count’s Character Development Scene
‘5 Stages of Grief’
Throughout all of this scene there is a voiceover from a ‘self-help: dealing with grief’ video. Building up through the 5 stages: Denial, Anger, Bargaining, Depression and Acceptance. Leading to a resolution in the voiceover.
However, in contrast to this we will need 6 spotlights spread across the stage each representative of a stage of grief, when each stage is mentioned 5 lights will come up in sequence, housing one of the counts dead wives. Representing how the count has dealt with his own personal childhood traumas.
Whilst the lights are coming up you will see the silhouette of the count slowly walking behind the bodies – to give the audience the feeling of his presence there.
In the end there should be a final resolving sentence in the speech and the final spotlight will come up on the count in the middle, surrounded by his 5 dead wives representing his five stages of grief. A Paradox is created between what we are hearing and what we are seeing.
The count is staring ahead blankly, almost on the verge of tears, to see a more emotional side of the count – contrasting with the character we are represented with in the play.
SCENE 3
The COUNT and COUNTESS are walking through a forest hand in hand. The COUNTESS looks as if she is puzzled and wanting to explain something to the count but she does not know how. The COUNT is looking at the snow and seems to be in his own world.
COUNTESS: I’m sorry about… It’s just I’ve never…
COUNT: Shh.
COUNTESS: But you must understand that I…
COUNT: (Said to shut her up but also nicely) …My darling do be quiet. It doesn’t matter.
(The COUNTESS looks upset as the COUNT has not let her talk/ explain. The COUNT is still looking at the snow)
COUNT: Isn’t this beautiful? I’ve always enjoyed a walk through the forest. My Father use to bring me here and he would tell me so many stories.
COUNTESS: You’ve never mentioned your father before.
COUNT: (Smiles to himself) He loved this forest. He always use to talk about the snow. I didn’t understand before but there is something so pure about an untouched blanket of snow.
COUNTESS: (Jokingly) Yes, it is beautiful but I do hope you don’t think it’s more beautiful then me…
(The COUNTESS stops and stands in front of the COUNT and begins to kiss him. It is almost like she is trying to show him she is not scared anymore due to what happened before)
SNOW CHILD: Help me. Anyone? Please. Help me.
COUNT: Stop. (The COUNT pushes the COUNTESS back and they stop kissing. He looks around but can’t see anyone) Did you hear that?
COUNTESS: (Slightly laughing) What are you doing? (She walks back up to him and tries to grab his hand but he pulls his hand away from her)
COUNT: I said quiet.
COUNTESS: Excuse me. I’d rather you not talk to me like that. I am your wife.
(COUNT places hand over COUNTESS mouth. The COUNTESS is utterly shocked)
SNOW CHILD: Someone please. Please help me.
COUNT: Can you hear that? (He Slowly removes his hand from her mouth)
COUNTESS: What do you think you are…
COUNT: (Sternly) Hush.
SNOW CHILD: (The SNOW CHILD sees the COUNT) Sir. Sir please. Please help me.
COUNTESS: (Irritated) I think we should leave. This could be a trick. I’ve heard rumours about people like this and they steal…
COUNT: (Angrily) …Quiet.
(The COUNTESS is taken back at how she is being spoken to)
COUNT: I can hear you. Where are you?
SNOW CHILD: Sir. Sir I am here. (The COUNT turns and sees the snow child on the floor)
(The COUNT runs to the SNOW CHILD and strokes her head and grabs her hand. The COUNTESS walks over to the SNOW CHILD but does not bend over as she is trying to show her status)
COUNT: (To the COUNTESS) She is like ice.
COUNTESS: She looks fine. She is just a little cold. Come.
COUNT: (To the SNOW CHILD) My child, are you okay?
(The SNOW CHILD is unable to talk but she looks into the COUNTS eyes. We see the COUNT look back and they stare at each other for a while)
COUNTESS: What are you doing? Don’t touch her.
COUNT: How long have you been out here? (He is holding the SNOW CHILDS hand. The SNOW CHILD does not talk)
COUNTESS: (Worried/Angry) My darling, something is not right here. We must go. Leave her.
COUNT: Can you not see this child is ill? What is wrong with you? (Pause)
COUNTESS: She looks fine. Can you not see that this could be a trick? We are out here alone and you are looking after a child.
COUNT: Do not be foolish. This child is sick. (Pause) Give me your coat.
COUNTESS: What?
COUNT: Give me your coat. She’s freezing.
COUNTESS: I shall do no such thing. This is hand made and was a wedding gift. The girl shall not come anywhere near it. Look at her! She’s a disgrace.
COUNT: (Glares at the COUNTESS. Said through gritted teeth) Give me your coat.
(The COUNTESS reluctantly gives her coat to COUNT. The COUNT wraps COUNTESS’ coat around the SNOW CHILD.)
COUNT: (To the SNOW CHILD) Here. This should warm you (Pause) Why are you out here alone?
SNOW CHILD: I was sent to collect fire wood. Our cottage is so cold and…
COUNT (Interrupting her) Shhh. I understand. (He keeps looking at her and touching her face and head) I’ll take care of you. I will make sure you get warm.
(The SNOW CHILD looks up at the COUNT into his eyes and he looks back into hers. He strokes her face)
COUNTESS: I think we should leave, darling. She will be fine now she has my coat.
COUNT: (Staring at the SNOW CHILD) She will not. She is ill. I will look after her.
COUNTESS: But darling I am getting cold. Surely you would want to keep me warm? Lets go home.
COUNT: (Snappy) No. I said am caring for the child.
COUNTESS: What?
COUNT: Go. I shall be home soon.
COUNTESS: No, I will wait with you. I’m sure I will be able to help.
COUNT: Go.
COUNTESS: Darling?
COUNT: (Angrily) I said GO!
(COUNTESS jumps and walks off towards the castle. She is in complete disbelief to what has just happened and walks off mumbling to herself)
COUNT: Where is your cottage?
SNOW CHILD: It is in the next village. It’s too far. I don’t think I will be able to walk back.
COUNT: No. You won’t be going back my child. I couldn’t let you. (The COUNT kisses the SNOW CHILDS head and lifts her into his arms. The SNOW CHILD places her head on his shoulder)
SNOW CHILD: Thank you sir… I…
COUNT: Shhh. Don’t talk. Save your strength. I will take you back to my castle and will care for you. I will do anything to make you better. I’m glad I found you when I did… I couldn’t see you for the snow. You almost blended into the blanket of it as you are so white. (He stares at the SNOW CHILD) My child… You are simply the most beautiful thing I have ever seen. (Pause) My love.
(The COUNT exits with the SNOW CHILD in his arms)
(COUNTESS comes back on stage but is representing her being further in the woods having walked off. On stage is EX WIFE collecting twigs on the floor)
COUNTESS: (Talking to herself) How dare he tell me to go? I am his wife. I do not know who he though he was talking to. How dare he choose a child over me. Especially after I said that I was… (The COUNTESS walks straight into the EX WIFE who is on the floor. She is twitching and playing with twigs throughout the scene) … Oh. I am sorry. I didn’t see you.
EX WIFE: Yes, yes. I see, I see. Didn’t see. Nothing. Nothing.
COUNTESS: Sorry? I don’t understand what you…
EX WIFE: Understand? (Laughs) No. No. I don’t understand. Why? Why? Why there? Why?
COUNTESS: Are you okay? Is everything okay?
EX WIFE: Okay? Okay? What is okay? Never okay. Not after…. Not after. (She puts her face in her hands)
COUNTESS: (The COUNTESS walks towards her and goes to touch her back to comfort her)
EX WIFE: (The EX WIFE sees her approaching through her hands) NO! (She takes her hands off her face) Do not touch. Never touch. Not again. Do not touch.
COUNTESS: Woman… Look at me. Are you okay? Is there anything I can do?
EX WIFE: Can do? Can do? Too late. Too late. I’ve seen it now. I’ve seen it now. I’ve seen everything. You don’t understand you never will.
(The EX WIFE looks up at the COUNTESS)
EX WIFE: You.
COUNTESS: Sorry? Do I know you?
EX WIFE: You. (The EX WIFE stands up and the COUNTESS begins to back away. The EX WIFE begins to laugh) You. (She stops laughing) Your the new one arn’t you? The new one? Yes, yes I’ve heard. I’ve heard all about you. The new one. The new one.
COUNTESS: What new one? What are you talking about?
EX WIFE: His new one. His new one.
COUNTESS: If you are talking about the count then yes I am his new wife. I am not the ‘new one’ though. He loves me and would do anything for me. (She is trying to persuade herself here due to what happened with the snow child)
EX WIFE: (She begins to walk towards the COUNTESS and goes to touch her face. The COUNTESS backs off as she walks closer. She laughs) I was the new one. I was the new one. Him. Him. I see him. I see it. I see him. He does not love you. HE DOES NOT LOVE YOU.
COUNTESS: (Angry) How dare you! You do not know what you are talking about. He loves me. (Pause) What do you mean you were the new one?
EX WIFE: The new one? Yes. Yes. I was the new one once. I see him all the time. I see what he did. All the blood. All the blood.
COUNTESS: You… You were married to the Count? But, I thought all of his wives had passed. I… I don’t understand. (Pause) The blood?
EX WIFE: The blood. The blood. I’m sorry. I’m sorry. Don’t put me back please. So much blood. I’m sorry! The blood.
(The COUNTESS begins to walk away but the EX wife grabs her and looks her right in the eyes)
COUNTESS: (Panicked) Let go of me.
EX WIFE: He will do it again. He will get you. Leave. Leave him now. Leave. He will do it again. LEAVE.
COUNTESS: (Scared) Please let go.
EX WIFE: He has secrets. Secrets. It will happen again. So many secrets. (Pause) The angel! The angel!
COUNTESS: I don’t know what you’re talking about. Please let go of me.
EX WIFE: (Said as if possessed as this is the only time she speaks in full sentances. She almost looks down/ through the countess) I escaped but he will get you. He will. I escaped but he is in my head and so is what he did. I see it all the time. I see it flashing across my eyes. I see them women. I see the blood and I smell that smell. It will never leave me and I will never stop till everyone knows what he is. What he does. He is a monster. He does disgusting things to the young and beautiful. He will get you. Do not stay. Leave. Now.
COUNTESS breaks free and runs off. EX WIFE is still shouting ‘Leave’.
END SCENE.
Countess’s Character Development Scene
‘A Dream’
The COUNTESS at the end of Scene 3 is still in the woods heading back to the castle.
There will be a huge shift in action during this scene from a bleak setting to a dream sequence. This is signalled to the audience through the beginning of ‘Mr. Sandman’ playing, it will seem so out of place it is almost comical. This is reverting back to a glimpse of a fairy tale setting, where the trees/statues will come alive, moving together with a pleasant atmosphere.
Smiling and waving to the countess, handing her flowers etc as she walks through the forest. She then finds the COUNT who is also acting out of character and like the traditional prince charming. This is representative of the life she could have had.
As the COUNT and the COUNTESS are waltzing through the forest the music will suddenly start to change, the same song but incredibly slowed down to represent the corruption and unreliability of fairytales. Very carnival. .
The trees/Statues will start to close in on the COUNTESS as the COUNT disappears, circling and enclosing the COUNTESS symbolising her feeling of entrapment. This will escalate until the COUNTESS finds it unbearable and the trees and statues claim her – resulting in the countess herself becoming almost puppet like and a part of the forest, like the previous wife she has met.
Scene ends with the trees back in original SCENE 3 positions, THE EX-WIFE, SNOW CHILD and the COUNTESS are now all part of the forest covered in dead plants and disfigured imagery.
SCENE 4
(We see the PIANO TUNER attempting to tune a piano in the music room. The HOUSEKEEPER enters the room and looks around and she spots the piano tuner on the floor looking for a tool. Throughout all of this conversation there is a sense of the housekeeper feeling uneasy. She is constantly straightening the room, adjusting furniture and speaking with an air of almost forced positivity, she is almost fooling herself she is still in a fairy tale.)
HOUSEKEEPER: Oh hello.
PIANO TUNER: (The piano tuner stands up. Pause) Hello?
HOUSEKEEPER: Hello dear, I’m the housekeeper. (She reaches for the piano tuners hand and lifts it from his side to shake it) Just thought I would introduce myself. The master said you would be coming. Sorry I left it like this I’ve been busy preparing for the countess’ arrival. I’m glad you found your way to the room. We have far too many in this castle. (She laughs to herself)
PIANO TUNER: The master showed me up earlier as he wanted the piano fixing for his new wife. I’m William by the way.
HOUSEKEEPER: Yes, he did say to expect you. She will be happy your sorting the Piano. She’s been asking me for days when she will be able to play. I’ve never known one woman be so passionate about music. (Pause) Are you from the village dear?
PIANO TUNER: Yes, I am. How did you know?
HOUSEKEEPER: I thought as much. The master tries to get his staff as close as he can as he thinks they are more reliable. He has strange ways that one. Do you live with family there dear?
PIANO TUNER: Yes, my father lives in the village and I hope to be able to visit him as often as I can. He taught me everything I know about pianos. He was in the business himself you see.
HOUSEKEEPER: (looks at him sympathetically) Oh well that must be why I’ve heard you’re nothing but the best. We simply had to have you dear.
(The PIANO TUNER looks embarrassed)
PIANO TUNER: Thank you, miss. That means a lot. (He smiles to himself) I shall tell him that when I see him next. (Long Pause) Do you have family in the village too?
HOUSEKEEPER: Oh no my dear. I have worked for the master for as long as I can remember.
PIANO TUNER: You must be the best as well then.
HOUSEKEEPER: Well he likes things a certain way and expectations are always met when it comes to me. I’m a bit of perfectionist and like to keep things in order… and often do if I do say so myself. It is very important to the master to have things in an exact order and everything cleaned in an exact way. The castle must always be ship shape because anyone pop in (She smiles).
(There is almost a moment of realisation on the housekeeper’s face, a sense of not belonging in this story. She loses herself in her own thought until she realises what she is doing and snaps back into action, cleaning and moving furniture)
HOUSEKEEPER: The master took me in at a very young age you see dear and has looked after me ever since. I owe him a lot as he has helped me a lot. He gave me a place to live and a fantastic job. I guess he is my family.
PIANO TUNER: I am sorry miss. I didn’t know that you didn’t have…
HOUSEKEEPER: …That’s perfectly fine, dear. I don’t mind sharing my story. He’s been good to me and is such a good man. I couldn’t have wished for better (She gives a small smile to herself. Pause) If you don’t mind me asking… How did you lose your sight?
(The PIANO TUNER hesitates but reluctantly talks. He is emotional)
PIANO TUNER: I was like this from birth. There were complications and my mother passed (contemplative) … it was hard for us but we managed. Thats why I don’t want to be far from my Father. He’s alone now and I must care for him. Thats why I got this job. He gave me everything I have and I want him to know how important he is to me.
HOUSEKEEPER: (Pause. Walks up to the PIANO TUNER and stands next to him) I’m really sorry to hear that. I can’t imagine how hard that would have been for you. You will get to see your father do not worry about that. The master will understand, he had a special bond with his father too. You’ll be happy here I know you will and if not, you come and see me.
PIANO TUNER: Thank you, miss.
(Housekeeper walks forward light fades out on the piano and PIANO TUNER, she carries on cleaning. The COUNTESS storms in SR angry from her encounter with the EX WIFE.)
HOUSEKEEPER. [Completely oblivious] oh hello dear, did you have a nice walk? Where’s the Count?
COUNTESS: [built up anger] JUST STAY AWAY FROM ME.
HOUSEKEEPER: [Startled] oh, I’m sorry dear I’ll leave you.
(Housekeeper leaves, the countess is alone in the bedroom angry, pacing and trying to calm herself down. Moments later the piano starts playing and COUNTESS hears the music. Queue the transition into Scene 5) (Silhouette needed here)
End Scene.
SCENE 5
(The Countess is SR in the bedroom still angry from her confrontation/dream sequence with the EX WIFE in the forest. She hears a piano tune down the hall SL and storms over to stop the noise but is taken aback by the piano tuner and the music he is playing, reminding her of her old self. She stands at the door for a few moments then slowly starts to walk over to him. He stops playing which instinctively halts the Countess in her tracks. There is a pause.)
PIANO TUNER. Who is there? (Pause. The Piano Tuner smiles.) It’s okay. Don’t be shy…what is your name?
(At this point the Piano Tuner starts to look more uncomfortable from the silence. He starts playing the piano again. The Countess, now sure that there is something wrong with the piano tuner speaks up)
COUNTESS. That piano doesn’t sound right.
PIANO TUNER. Yes, I know. It’s my task to tune it. I don’t believe we have made acquaintance, Miss…?
COUNTESS. (With the air of importance) I am no Miss, I am the Counts wife.
PIANO TUNER. Oh, I beg your pardon ma’am, I did not mean to offend (uncomfortable) I will mind my place.
COUNTESS. Oh no, I did not mean to sound like that (embarrassed) I am still getting used to the role myself.
PIANO TUNER. Thank you ma’am.
(The piano tuner looks towards the Countess, slightly off to one side, which is when the Countess notices his disability)
COUNTESS. Will you play something for me?
PIANO TUNER. Certainly ma’am.
COUNTESS. Please do not call me ma’am; my name is Elizabeth.
PIANO TUNER. Certainly Elizabeth.
(He plays piano. He makes a mistake, becomes flustered and starts apologising – the countess is confused and tries to reassure.)
PIANO TUNER: I’m sorry it’s out of tune.
COUNTESS. (Breathless) That…that was beautiful. Will you teach me more?
(The Countess sits down next to the piano tuner)
PIANO TUNER. (Happy) It would be my pleasure Elizabeth. It’s nice to have someone to teach. My father taught me and no one really wanted to learn from me as they never understood how I could play due to my sight.
(Pause)
PIANO TUNER. (Nervously) May I, may I see you?
(The Countess seems confused at first but when the Piano Tuner raises his hands in the air, she understands what he means.)
COUNTESS. Yes, you may.
(The piano tuner gently touches the Countess’ face and starts to smile. At this the Countess removes his hands from her face)
COUNTESS. Please, don’t. I am the counts wife and…
PIANO TUNER. Oh no, ma’am I didn’t mean to…
COUNTESS. No please, I’m just…I’m sorry.
PIANO TUNER. Tell me what is wrong…please.
COUNTESS. I don’t really know myself.
PIANO TUNER. At least try.
COUNTESS. I…I met this woman in the forest.
PIANO TUNER. Who?
COUNTESS. She was filthy…not just her appearance, the things that were coming out of her mouth were, they were…
PIANO TUNER. What was she saying? Tell me.
COUNTESS. Lies…I’m not sure, she seemed hysterical. She mentioned a room that was in the castle and said some awful things about the count.
PIANO TUNER. Oh. (Pause) Elizabeth… I must tell you that I’ve heard rumors about this room before from people in the village. They say a woman often shouts and screams about it. No one is sure if she is speaking the truth or if she is mad but she is scared from something.
COUNTESS. What? She says about a room that no one is allowed to enter? Other people know about this?
PAINO TUNER: Yes. But we do not know if it is true.
COUNTESS: I’m so confused. She was so scared and angry. Whatever she saw …it broke her mind. I think I need to find her. If what you say is true and you have heard of this room too what if she is telling the truth? Maybe she will tell me about what she saw if I can calm her.
PIANO TUNER. Elizabeth, you must be careful.
COUNTESS: (She stares at the PIANO TUNER) You… You are so kind. Why do you care for me?
PIANO TUNER: Thank you, Elizabeth. Because you are beautiful. I can tell. Please do be careful though… You do not know what she is capable of. (Pause. The PIANO TUNER stands up and takes the COUNTESS’ hand) I do not want you to get hurt.
COUNTESS: I won’t. I’ll come back to you. I promise. (Small kiss)
End scene.
SCENE 6
(The COUNT and SNOW CHILD enter the room and he arm around her waist holding her up. He takes her over to the bed and lays her down)
COUNT: Here. Get in bed and get warm.
(He pulls the cover over her)
COUNT: How long were you out in the woods? (She doesn’t reply and is just shaking in bed) It’s okay you’re here now.
(The count begins to walk around the room and grabs clothing to cover the SNOW CHILD to keep her warm)
COUNT: This should keep you warm for now. I’ll get the housekeeper to bring up a bed warmer after she has come back from the market. I don’t think she will be too long.
(The SNOW CHILD begins to shiver even more and begins to curl up in a ball as she is so cold. The COUNT looks at the SNOW CHILD and begins to walk over to her slowly)
COUNT: Here. (He gets into bed with her from behind and holds her) I’ll warm you.
(The COUNT lays hugging the SNOW CHILD for a while)
COUNT: You really are like ice. Why did you stay out so long? If only I had found you earlier. I will help you as much as I can. Just try to get warm.
(The COUNT then begins to stroke the SNOW CHILDS head and moves her hair from her neck. He looks at her for a while)
COUNT: You know you are the most beautiful girl I have ever seen. (He grabs her hand and lifts it from under the covers and begins to stroke it) Your skin is as white as snow. It’s so beautiful. I would never let anything bad happen to you.
(The COUNT sits up and moves the SNOW CHILD onto her back. He strokes her face and kisses her cheek)
COUNT: I don’t know what it is about you. You make my heart ache. I can’t bear to see you like this yet I don’t even know you. (Pause. He looks into her eyes) I’ve never felt this way before. (Pause. He kisses her lips. The SNOW CHILD does not move or do anything)
(The COUNT begins to kiss the snow child on the cheeks and on the lips. The SNOW CHILD keeps still and closes her eyes. They then make love. Half way through the SNOW CHILD dies and we see this by her head turning to the side and her arm coming out of the bed and she is just lifeless. The COUNT carries on making love to her and in the end he holds her head to his chest and cries. He then picks up her body and exits)
End Scene.
Piano Tuner Character Development Scene
“Bright Lights”
Stage is filled with bright almost blinding lights that slowly fade down, as this is happening the piano tuner is seated on a chair DS Centre staring straight ahead, we only see him for a passing second as the lights continue to fade into black and the audience are left in a complete stage blackout.
After a couple of seconds have past, there will be an exploration of the heightened senses The PIANO TUNER experiences in not being able to see.
Sound – Crashing Doors (i.e. the Bloody Chamber shutting), faint screams, stone being scraped across the floor. Moving on to more intricate sounds, the COUNTESS’s footsteps, a jangling of keys, breathing, dusting, branches breaking final sound of a body being dragged across the stage.
Touch – “May I see you?” is repeated symbolising the previous scene in which he touches the COUNTESS’s face. The sound of scratching linen, or any other fabric – to create the sense of material.
Smell – EX WIFE muttering … “smell of flesh.”
All of this is happening simultaneously in the dark to represent what the Piano Tuner experiences. Ends with the final sound of a body being dragged (probably the snow child) into the Bloody Chamber and the door shutting.
SCENE 7
The COUNTESS enters the stage, which is now set back in the woods. The COUNTESS is looking for the EX WIFE who she had spoke to previously.
COUNTESS: (Talking to herself) Where is she? Where is she? (Pause. She sees the woman) You. Woman. I need to talk to you.
EX-WIFE: You. You. Your back.
COUNTESS: Yes. I need to talk to you. You need to answer my questions.
EX-WIFE: I knew you would come back. I knew it. I knew it. It’s about him isn’t it. Him.
(The COUNTESS nods)
EX-WIFE: Your young. Younger then the rest. Young. Very young. (Pause. She begins to stand up. Becomes scared) Where is he? Have you told him? He’s not coming is he? Where is he?
COUNTESS: Its okay. He doesn’t know I left.
EX-WIFE: Keeping secrets already. He kept secrets. Secrets and lies. Secrets and lies.
COUNTESS: No. It’s not like that it’s just that someone else has mentioned about the room.
EX-WIFE: Secrets and lies. Secrets and lies.
COUNTESS: No. We tell each other everything.
EX-WIFES: No you don’t. No you don’t. The room. The room. The chamber.
COUNTESS: What about it? What is it?
EX-WIFE : He keeps them in there. In there.
COUNTESS: Who?
EX-WIFE: The others.
COUNTESS: I don’t understand the other what?
EX-WIFE: (Shouting) THE OTHER WIVES. THE OTHERS. THE OTHERS.
COUNTESS: (Takes a few steps back) What? But I though they had died. He said that they had died and that…
EX-WIFE: They are. They are dead (The COUNTESS looks horrified. Long pause) The blood. The blood. The smell. The blood. So many bodies. So much death. The blood. The blood.
COUNTESS: How have you seen this? When?
EX-WIFE: When I was his and he was mine. When I was his and he was mine.
COUNTESS: When you were married. Why did you go in there? Why?
EX-WIFE: I didn’t go in. No. No. I didn’t go in. No. I was put in. I was put in.
COUNTESS: By…
EX-WIFE: (Shouting) BY HIM!
COUNTESS: (Looks puzzled) I don’t know what to believe. Why would he do that? He’s such a good man. He wouldn’t do that to someone.
EX-WIFE: You don’t know him. You don’t know him. He is evil. He is evil. He takes away the young and the beautiful and uses them for his pleasure. He is evil.
COUNTESS: How did you escape?
EX-WIFE: He came. He came to kill. He came to kill. But… But I ran. I hit him and I ran. The blood. The blood. The smell and the blood.
COUNTESS: (The COUNTESS looks puzzled. Shouting) Please. Look at me! (Stops shouting) Tell me the truth. Is this room real? I need to know. I need to see it!
EX-WIFE: (Starts laughing) Why would I lie? Why would I lie?
COUNTESS: I don’t know. I just…
EX-WIFE: I would not lie. Women. Wives. Girls. Beautiful. All lying in the chamber. All lying in the chamber for his pleasure. I do not lie. I do not lie.
COUNTESS: Where can I find it? Where did he put you?
EX-WIFE: Behind the angel. Behind the angel. Do not go in. Do not go in. You are next. You are next. Do not go in.
COUNTESS: I must get back. I must. You don’t understand. I must get back.
EX-WIFE: (The EX-WIFE grabs the COUNTESS) Do not go back. Run. Run. Run far away. Do not go back.
COUNTESS: No! I need to. You don’t understand. You don’t understand. I need to get him and keep him safe. I promised I would go back to him and be safe. I promised.
(The COUNTESS breaks free and she runs off stage)
End Scene.
Snow Child Character Development Scene
‘Final Resting Place’
Sweet Dreams Music is playing. (Emily)
Single Spot Light Centre Stage.
Snow Child slowly walks into the spotlight, blood dripping down her legs and stares straight ahead at the audience, no movement just a blank, dead stare.
A faint light comes up on the Bloody Chamber Up Stage Centre. The Angel in front of the stairs arms come down (from previously being a statue in SCENE 3 and 7) slowly comes down from guarding the entrance to the Bloody Chamber, Angel moves to the side and stares at the SNOW CHILD.
The SNOW CHILD slowly turns around and begins walking towards the entrance. Spot Light fades out as her silhouette forms behind her as she ascends the stairs.
Material Angel lifts and she goes through. Material Angel comes back down and the stone Angel resumes its place back on the stairs, eyes covered in the ‘weeping angel’ position.
Song ends with the just the image of the Angel and the entrance to the Bloody Chamber, as if nothing has happened. Signalling the end of the SNOW CHILDS short life.
SCENE 8
The housekeeper and the count are alone. The count is sat pondering to himself while the housekeeper observes silently. Finally after a few seconds the housekeeper speaks up
HOUSEKEEPER. Where is she now?
Silence. The atmosphere is uncomfortable.
Where is the girl?
COUNT. Girl?
HOUSEKEEPER. The Child.
COUNT. The chamber.
The housekeeper is shocked
HOUSEKEEPER. What? Why have you put her in there?
COUNT. I…I didn’t know what else to do.
HOUSEKEEPER. You’re going to have to be more careful; you’re starting to slip up.
The Count stays silent. The Housekeeper starts to get impatient
Are you listening to me? Be cautious.
COUNT. It doesn’t matter anymore.
The Housekeeper is now infuriated
HOUSEKEEPER. angrily Are you insane? Your sorrow for that girl is infuriating; she’s dead, dead you hear me. And while you’re here feeling sorry for yourself that wife of yours is sneaking around asking questions.
COUNT. Where is she now?
HOUSEKEEPER. I observed her leaving the grounds; she has gone to the forest.
COUNT. Leave her, she knows nothing.
HOUSEKEEPER. I wouldn’t be so sure of that.
The Count says nothing
Listen to me; she’s been seen in the woods.
The Count becomes intrigued
COUNT. Who has?
HOUSEKEEPER. The one who escaped.
COUNT. I thought she died…
HOUSEKEEPER. Well she’s still alive.
COUNT. unsure What harm can she do? She’s insane.
HOUSEKEEPER. What is wrong with you?
COUNT. Nothing, I’m fine.
HOUSEKEEPER. You’re a disgrace. Your mind has become corrupted by this ridiculous fantasy of yours.
COUNT. Get out.
HOUSEKEEPER goes to speak
COUNT. (He stands) I SAID GET OUT!
HOUSEKEEPER: Fine. I will sort this.
(The Countess enters. She stops when the Housekeeper turns to face her. The Count sits back down. The Housekeeper leaves. The Countess watches as she goes then approaches the Count. He doesn’t look at her or even move.)
COUNT. Where have you been?
COUNTESS. In the garden.
COUNT. That’s amusing; I don’t remember the woods being a part of the garden.
COUNTESS. (Taken back) I…How did you…?
COUNT. What were you doing?
COUNTESS: Nothing. I swear. Nothing. I… I just went for a walk.
COUNT: Your lying. What have you been doing?
COUNTESS. (Long pause. She looks down) There’s a woman in the forest and…
COUNT. (To himself) So it’s true then…
COUNTESS. What?
COUNT. (He stands) This woman, what did she say?
COUNTESS. She…she…
COUNT. (Angrily) WHAT DID SHE SAY
COUNTESS. She told me about a room… A room in the castle… She…
COUNT. (Temper flaring) What room!?
COUNTESS. (Nervous) A room filled with blood and the smell of flesh.
COUNT. (The COUNT laughs to himself) This is just perfect.
COUNTESS. (Distressed) She told me she was not the first in this room, that there were others before…
COUNT. Please go on… What else did this woman say?
COUNTESS. (Terrified) that you were evil, that you were going to kill me…
COUNT. To kill you…
COUNTESS. She said that you didn’t love me!
(The Count stops what he’s doing and stares at the Countess)
COUNT. Love you?
COUNTESS. Yes.
COUNT. Oh my darling, I loathe you.
COUNTESS. No…
COUNT. You don’t like that?
COUNTESS. You’re lying to me…
COUNT. Oh no, I think you’re lying to yourself.
COUNTESS. You are horrible.
(The Count laughs. She goes to leave. He stops her)
COUNT. You are mine. I will do with you as I please.
COUNTESS. No, I’m not…
(The Countess exits and storms back on stage heading towards the angel)
End Scene.
SCENE 9
(Scene opens on bloody chamber. The SNOW CHILD is in the middle of the chamber slightly raised and the Ex wives are around her in different positions. The COUNTESS walks on stage with a knife and looks traumatised at what she is looking at. She walks around the chamber trying to take everything in. She goes to touch some of the objects in the chamber and then notices the SNOW CHILD. She walks up to the SNOW CHILD and walks around her. She stops and stares at her for a while.)
COUNTESS: Whats so special about you? Peasant child. Look at you! Disgusting. I am far more beautiful and you took him away from me. You took all this away from me. I was living my dream and I had everything I have always wanted. He would buy me everything until you came along. It’s sickening really how he could love something like you.
(The COUNTESS begins to stroke the SNOW CHILDS face with her knife to show she is crazed linking to the scene 7. As she is doing this the door to the chamber opens and a males silhouette is shown on stage. The COUNTESS stands up straight with her knife clutched in her hand and it is obvious she thinks it is the COUNT. The male begins to walk into the chamber and the COUNTESS can sense that he is getting closer and closer. The PIANO TUNER is the male and he is trying to feel his way into the chamber feeling around for the COUNTESS. The COUNTESS is unaware who this is as she is facing the other way. The PIANO TUNER moves towards the COUNTESS and puts his hand on her shoulder. She is still gripping the knife tight)
PIANO TUNER: I heard the argument… (The COUNTESS turns sharply and plunges the knife into the PIANO TUNERS stomach. He keels over and she withdraws the knife and screams.)
COUNTESS: NO! NO! William?! NO! (She places him on the floor and begins stroking his face and touching his wound. She is getting blood all over her hands and is putting it all over his face as she is touching him.)
PIANO TUNER: Elizabeth… You must leave this place.
COUNTESS: No, No. I said I would come back to you. I promised. I promised.
PIANO TUNER: You did. You’re here with me now.
COUNTESS: (She is sobbing) But… No. I didn’t… I’m sorry. I’m sorry.
PIANO TUNER: (The PAINO TUNER smiles and touches the COUNTESS’ face as she is leaning over him) I love you, Elizabeth.
COUNTESS: I love you too. (They kiss and the PIANO TUNER dies) William? (She begins to shake him) William? (She says in disbelief and begins to cry) No. No.
(The COUNT enters the chamber. The COUNTESS is still on the floor crying)
COUNT: How touching.
COUNTESS: You! You did this! (The COUNTESS stands with the knife in her hand)
COUNT: My darling, I am not the one holding the knife.
COUNTESS: No.. but.. but you made him come down here. I know you did. You did something. You did this. (She turns back and stares at the PIANO TUNER and puts her hand over her mouth. She is trying not to cry)
COUNT: (Spiteful) I did nothing. This was all you… (His eyes light up) Did you enjoy it? Did you? (He walks around his chamber with confidents. Pause) I do. I’m a little upset that I will have to add you to my collection so soon. I was enjoying your company.
COUNTESS: I am nothing like you. You disgust me. Look at what you have done to these women. Sick. Your sick. I will be no part of your collection.
COUNT: You honestly think you will get away?
COUNTESS: Well one has already…
COUNT: (The COUNT laughs) Has she? I wouldn’t be so sure. (A light comes up and we see the EX WIFE dead in the chamber)
COUNTESS: (Gasps) No. But how…
COUNT: … Shhh. Secret.
(Long Pause. The COUNTESS moves towards the SNOW CHILD but does not take her eyes off the COUNT. He flinches as she gets closer but does not move from where he is standing)
COUNTESS: I didn’t think she would be in here. Not judging by the way you were looking at her in the woods.
COUNT: I did not kill her if thats what you mean.
COUNTESS: (Laughs) I do not believe that for a second. Look around you.
COUNT: (Angry) I DID NOT KILL HER. (He looks at the SNOW CHILD. Finds it hard to say) She… She died in my arms.
COUNTESS: How?
COUNT: (Looking at the SNOW CHILD still and is lost in his own thoughts and emotions) The cold. On the day I found her. She was so beautiful… Just like snow.
COUNTESS: (Mocking) Ohhh… Touching. (She COUNTESS puts the knife to the SNOW CHILDS neck)
COUNT: (Threatening) Do not touch her.
(The COUNTESS begins to move the knife across the SNOW CHILDS neck)
COUNT: I am warning you. Do. Not. Touch. Her.
COUNTESS: (Looks at the SNOW CHILD) How precious. (She slits the SNOW CHILDS throat)
COUNT: NO!
(In a rage the COUNT marches up to the COUNTESS and grabs her by the throat. The COUNTESS is chocking and he is threatening her though gritted teeth in her face)
COUNT: I said not to touch her. I said not to touch her! Look at what you have done. You have stained her with blood. You have stained my child with blood. Her neck… (He puts releases the COUNTESS and begins to stroke her neck as if he is planning to cut it where her necklace is) Her beautiful neck.
(The COUNTESS is weeping and sees this as her chance to kill the count. She slaps him and plunges her knife into his stomach and drops it on the floor and stumbles back. The COUNT falls to the floor but tries to reach up to the SNOW CHILD but he can’t reach. He dies. The COUNTESS is left on the floor of the chamber holding her knees. A spot light it on her for a few minutes as she just sits there)
End Scene.
Edited by Hannah Smith
This was my final edit of the script which was given to Stephanie Doe-director to read. After reading through the script I then asked Rob Bull who was part of the script writing team to put this on Celtx as he has previous experience with the programme.
Hannah Smith.