Penny Dreadful

[John Clare sits with Vanessa]

John Clare:
Do you like poetry?

Vanessa Ives:
All sad people like poetry. Happy people like songs.

[Mr. Chandler tells Vanessa what he believes in]

Ethan Chandler:
I believe we make ourselves who we are, the blood is on our hands, not God's.

[first lines]

Madame Kali:
[while working on the head of the Gladys Murray doll, Madame Kali hums] Lucifer!

Hecate Poole:
[Hecate enters the room, holding what her mother wanted from Ms. Ives] Mother. Her hair.

[Vanessa is haunted by the witches at night, when she enters into Mr. Chandler's bedroom]

Vanessa Ives:
[in frightful tears] I thought I saw them, but they weren't there. I can't tell the difference whether they're real or in my head. I can't live with this anymore. But they're in my prayers now.

Ethan Chandler:
Shh. It's okay. You're safe here.

Vanessa Ives:
Safe? I wish I were going mad. Then the doctors could lock me away and cut out the madness. Anything to make it end. You know the true path to freedom? Open any vein.

[Mr. Chandler comforts Vanessa to bed]

Ethan Chandler:
The first time I picked up a gun and decided my life was more important than anyone else's. You never come back from that.

Vanessa Ives:
And are you sure that wasn't part of His plan?

Ethan Chandler:
You've never killed anyone. Talk to me then.

Vanessa Ives:
Whatever you have done... whoever you have made yourself... I'm here to accept you. We're together for a reason.

Ethan Chandler:
God's plan?

Vanessa Ives:
Yes.

[Lily and Mr. Clare talk for the first time, as Mr. Clare tells her a story of how they knew each other before]

John Clare:
I remember, one night, we were walking through the village... and we came across some men outside a tavern, drunken they were. And they saw me with you... and they laughed and pointed and said, how could the likes of her be with the likes of him.

Lily:
And what did you do?

John Clare:
[Lily begins to cry a tear] It was more what you did. You took my hand... and you held it. And you looked at them. Then you raised my hand to my lips... and you held it there.

Lily:
I don't remember.

John Clare:
And yet it happened.

Lily:
To someone else. I've no wish to cause you pain. Let us start by being friends, Mr. Clare. I can do no other.

John Clare:
[Victor Frankenstein listens, hidden behind the steps] I understand.

[Mr. Chandler is questioned by Inspector Rusk about the murders at the Inn]

Ethan Chandler:
I'm not quite sure what I'm doing here, Inspector Rusk.

Bartholomew Rusk:
Because... you're a mystery.

Ethan Chandler:
And you don't like mysteries.

Bartholomew Rusk:
I like order. And peaceable streets upon to walk.

Ethan Chandler:
As do I.

[Mr. Clare talks with Vanessa about sharing his name with the dead poet John Clare]

John Clare:
I've always been moved by John Clare's story. By all accounts he was only five feet tall, so... considered freakish. Perhaps due to this, he felt a singular affinity with... the outcasts and the unloved... the ugly animals... the broken things.

John Clare:
[Mr. Clare begins quoting a John Clare poem, 'I Am'] I am yet what I am none care or knows. My friends forsake me like a memory lost. I am a self-consumer of my woes. They rise and vanish in oblivious host, like shadows in love's frenzied stifled throes. And yet I am, and live...

John Clare:
[Mr. Clare continues as Vanessa joins in] Like vapors tossed...

Vanessa Ives:
[Vanessa continues quoting the poem] I long for scenes where man hath never trout. A place where woman has never smiled or wept. There to abide with my creator, God. And sleep as I in childhood sweetly slept. Untroubling and untroubled where I lie.

Vanessa Ives:
[Vanessa continues as Mr. Clare joins in] The grass below, above the vaulted sky.

[Mr. Clare talks with Vanessa about what love is between two people]

John Clare:
[Mr. Clare describes it as] The kind touch of a hand.

Vanessa Ives:
I saw it earlier. I was having coffee with a friend. He's in love with someone, though I don't know if he knows it. But... she touched his hand. And his face... something I had never seen before. A kind of peace, anyway.

John Clare:
The cruelest kind. It's lethal, that touch... for it leaves your heart at the mercy of another. You're so unprotected.

Vanessa Ives:
We're all awkward in love. Mine has always gone awry. When I have opened myself to it in the past, it's left me... damaged. The consequences are too grave.

John Clare:
And what is our recompense? We who cannot cast out boats on that sea.

Vanessa Ives:
[Vanessa smiles] And how are we to navigate the waters when they are so alien?

[Mr. Clare talks with Vanessa about meeting a girl whom he doesn't know how to act around]

John Clare:
I've... met a woman recently, in fact. But I don't know how to behave.

Vanessa Ives:
[Vanessa smiles] As yourself.

John Clare:
[Mr. Clare scoffs] Or as anything but. I'm so maladroit Miss Ives. I can speak poetry to the end of days, but... I cannot take her hand in this hand, so... pale and ugly. All the stratagems of the battle are unknown to me. When to laugh... how to laugh. How to stand and sit and bow and dance.

Vanessa Ives:
Ah, there at least, I can help. See this woman in me, Mr. Clare, and follow your heart. It's the curse of my class. I was taught dancing from a very young age.

John Clare:
[Vanessa stands up with her hand out] Oh, no. Please, I can't.

Vanessa Ives:
Come on.

John Clare:
[Mr. Clare smiles] No.

Vanessa Ives:
[Vanessa smiles] Mr. Clare... the sea is waiting for you. Set sail.

[Vanessa teaches Mr. Clare how to dance]

Vanessa Ives:
[Vanessa whispers while taking Mr. Clare's hands] Try not to look at your feet. Follow gently in this, as you do in all things.

Vanessa Ives:
[Mr. Clare follows] One, two, three. One, two, three.

Vanessa Ives:
[Mr. Clare chuckles] One, two, three.

[the two chuckle together as they hold hands and dance fluently]

[Madame Kali continues to hold her spell over Sir Malcolm at the party]

Sir Malcolm Murray:
I can honestly say I've never met a woman like you.

Madame Kali:
You have no idea.

Sir Malcolm Murray:
You're a breath of air in a complicated life.

Madame Kali:
Well, let's see if we can simplify it.

[Angelique reveals himself to Dorian Gray]

Angelique:
[Angelique stands there in Dorian's clothes] You prefer the freak. It adds spice for you, doesn't it. From the moment I was born, I was not as I was meant to be. No one spoke of it. My parents ignored me as best as they could. So I came to London and created Angelique... leaving me fit for no trade but whoring... and myself fit for nothing but degradation and ridicule. Have you ever known that?

Dorian Gray:
No.

Angelique:
You've led a charmed life here. We're not all so lucky... or so normal.

[Angelique tells Dorian Gray how tired he is of this life]

Angelique:
I think I'm tired, Dorian. I've been fighting so long.

Dorian Gray:
You're not fighting alone... Angelique.

Angelique:
And if I chose always to dress like this? Would you care for me then?

Dorian Gray:
I care for who you are... not what you wear.

[Dorian Gray and Angelique kiss]

[last lines]

Dr. Victor Frankenstein:
[Lily jumps into Victor's bed with the outside thunder crashing and cracking down] Lily? What is it?

Lily:
[Lily speaks from under his blanket] The storm.

Dr. Victor Frankenstein:
[Lily curls up into Victor's chest and he holds her in his arm] It's all right. Don't worry, you're safe. You're safe.

Lily:
Thank you, Victor. I'm so silly.

[Lily and Victor remain silent as they begin to kiss each other on the lips]

[the two pause as Victor sits up to look away, looking back as Lily starts to open up her corset, laying Victor's hand over her chest, the two slowly continue to kiss with the lightening flashes, pulling each other closer as Victor lays over Lily kissing her passionately]

John Clare:
True evil is above all things seductive; when the devil knocks at your door he doesn't have cloven hooves - he's beautiful.

Ethan Chandler:
Cornered animals are the most dangerous.

Bartholomew Rusk:
But they are cornered, nonetheless.

Vanessa Ives:
I have run from the darkness for so long, only to find myself in a place darker still.

Vanessa Ives:
You offer me a normal life... Why do you think I want that anymore? I know what I am, do you?

[first lines]

Sir Malcolm Murray:
[Vanessa concludes the story of Joan Clayton and the witches to Sir Malcolm, Victor Frankenstein, and Mr. Chandler] And then?

Vanessa Ives:
They burned her alive. When I left the moors, I thought I would never hear that wicked language again. Or confront that evil. Mr. Chandler felt you needed to know.

Ethan Chandler:
For thee are not fighting against flesh-and-blood enemies... but against mighty powers of this dark realm.

Vanessa Ives:
And against evil spirits of heavenly places.

[Vanessa makes a joke to Victor Frankenstein]

Dr. Victor Frankenstein:
This is all giving me a headache.

Vanessa Ives:
You should talk to a doctor.

[Frankenstein sighs to himself]

[Victor and Vanessa talk over the horror behind the ancient artifacts]

Dr. Victor Frankenstein:
You know, once I would have thought all of this impossible.

Vanessa Ives:
And now?

Dr. Victor Frankenstein:
I know nothing's impossible. Whatever we can imagine, far worse is true.

Vanessa Ives:
And for better.

Dr. Victor Frankenstein:
You think so?

Vanessa Ives:
[Vanessa smiles] I choose to.

[Inspector Rusk goes over the crime scene of the murdered train couple]

Bartholomew Rusk:
The train stops in the tunnel. The lights go out for a brief moment. No one in the carriages on either side saw anything. No one came and no one went. So how did he do it?

Junior Inspector:
Sir?

Bartholomew Rusk:
How did he come and go? Carrying a baby, no less... which apparently didn't squall or cry out in transit.

Junior Inspector:
Perhaps he killed it here.

Bartholomew Rusk:
Then why take it? And the wounds... like a surgeon. Precise and elegant. Unlike the other animal butchery we've seen. No, we're going about this all wrong. We're pursuing patterns of logic...

Junior Inspector:
What?

Bartholomew Rusk:
Magic.

[Oscar Putney, owner of the wax museum discusses with his wife the plans for building a freak show]

Oscar Putney:
They line up three deep for the Police Gazette and the Penny Dreadfuls. And those are only pictures. We give 'em it fully formed. Horror in all its horror.

Octavia Putney:
Yeah, time will prove it, eh?

Oscar Putney:
A husband could use a show of support from his wife. Besides, with this, we're not simulating anything... it's all real. Flesh and blood, and pumping hearts and all. Here, look at this. We add another entrance here, at the corner. Two attractions, two gates... two admissions. Give 'em a discount for buying both. They go down the stairs here.

Octavia Putney:
I don't follow. Where are you keeping them?

Oscar Putney:
In this half of the cellar, if I can't rent it off the tobacconist. You see?

Octavia Putney:
You going to keep them in the cellar? All the time?

Oscar Putney:
Of course. They don't need the light. They're freaks.

[the blind Lavinia Putney talks to Mr. Clare about the aging of a wax figure]

Lavinia Putney:
Aging them is easy. Everyone knows you have to add wrinkles and sagging skin and such. But the trick... is the eyes. They get cloudy as they get older. You have to change the eyes.

[Lavinia Putney attempts to guess Mr. Clare's eye color while working on a wax figure's eyes]

Lavinia Putney:
What color are they? No, let me guess.

John Clare:
Miss...

Lavinia Putney:
Blue? No, you're no blue-eyed boy. No green, I sense. I'll say brown. Feathery brown like an owl's wing.

John Clare:
No, not brown.

Lavinia Putney:
Well, tell me.

John Clare:
They're... yellow.

Lavinia Putney:
Well, that makes a change! Not a lemon yellow, I hope. That would be alarming. More of a turmeric, would you say?

John Clare:
[Mr. Clare smiles] Yes.

[Lavinia Putney talks to Mr. Clare about the wax figures she creates for her father]

Lavinia Putney:
Father's murderers. All those figures screaming in his new crime scenes. Oh, Mr. Clare... it hurts me to create them. Like I'm bringing them to life and then torturing them. Like some sort of terrible African voodoo doll. They're all fresh when they come out the molds... and then I make them suffer.

John Clare:
Some people think that's what life is. Born fresh to suffer.

Lavinia Putney:
Do you think that?

John Clare:
Uh... I did. Now I'm not sure.

Lavinia Putney:
There's hope for you anyway. Don't give up on life just yet.

[Victor Frankenstein has Vanessa accompany him to buy a dress for Lily]

Dr. Victor Frankenstein:
[Victor nervously explains the situation to Vanessa] It's my cousin, you see, she's coming to visit me and she's a simple girl, not slow, you understand, not retarded in any way... just from the country, you know?

Vanessa Ives:
Your cousin, how lovely.

Dr. Victor Frankenstein:
Yes. My cousin. Second cousin. Lily is her name. Lily Frankenstein. Yes, that's her name.

Dr. Victor Frankenstein:
[Victor bumps into a mannequin] Excuse me. Oh! Not a real woman at all. The mannequin, I mean, not my cousin. She's a real woman.

Vanessa Ives:
So your second cousin Lily is coming to visit you?

Dr. Victor Frankenstein:
Yes. That's it entirely, yes.

[Victor Frankenstein and Vanessa are mistaken for a couple by the dress shop owner]

Dress Shop Owner:
Mr. and Mrs. Ives.

Dr. Victor Frankenstein:
Oh, God, no. No, we're not married.

Dress Shop Owner:
Oh, I see.

Dr. Victor Frankenstein:
No, it's not like that either.

Dress Shop Owner:
I assure you, sir, discretion is the watch-cry of my trade.

Vanessa Ives:
We'll look around for a bit if we may, my non-husband and I.

Dr. Victor Frankenstein:
This is worse than I knew it was going to be.

[Mr. Chandler meets the mysterious Hecate Livingstone, who confesses her name to Mr. Chandler]

Hecate Poole:
I hate to even say it aloud. Hecate Livingstone.

Ethan Chandler:
Hecate.

Hecate Poole:
Yeah, I know! It's the name of a Greek sea goddess. Mistress of the waves. My parents went through a classical learning phase. My name is the hideous result.

Ethan Chandler:
Why don't you just go by your middle name?

Hecate Poole:
I can't.

Ethan Chandler:
Why?

Hecate Poole:
Aphrodite.

[Dorian Gray and Angelique stroll in to a lit game room]

Angelique:
God, electrical lighting. You know what that does to a girl's complexion?

[Dorian Gray and Angelique attempt to play a game of Gossamer Tennis]

Dorian Gray:
Now, as I understand it, we bounce the ball back and forth for a bit.

Angelique:
Yes, I'd gathered that.

Dorian Gray:
Shall we keep score?

Angelique:
Why else live?

Dorian Gray:
[Dorian hits the ball to Angelique who hits it back with some force and scores] Oh!

Angelique:
[Angelique smiles] One for me.

[Lily steps out in the light, wearing the dress Victor Frankenstein bought for her]

Lily:
[Victor walks to her in silence, staring] I can't believe you've ever been this silent in your entire life.

Dr. Victor Frankenstein:
Lily... you look beautiful.

Lily:
I can't breathe.

Dr. Victor Frankenstein:
That's the corset.

[Lily and Victor Frankenstein discuss the reason for him purchasing her shoes]

Lily:
The shoes are awfully high.

Dr. Victor Frankenstein:
Yes... I picked them for that.

Lily:
Why?

Dr. Victor Frankenstein:
I... like that in a woman. Displays the talocrural region and the leg's dorsiflexion.

Lily:
That's flattering.

[Lily and Victor Frankenstein discuss his reason for picking out her corset to wear]

Lily:
So, women wear corsets so they don't exert themselves?

Dr. Victor Frankenstein:
Partly.

Lily:
What would be the danger if they did?

Dr. Victor Frankenstein:
They'd take over the world.

Dr. Victor Frankenstein:
[Lily smiles] The only way we men prevent that is by keeping women corseted. In theory... and in practice. They're meant to flatter the figure.

Lily:
To a man's eye, anyway. All we do is for men, isn't it. Keep their houses... raise their children, flatter them with our pain.

[Victor Frankenstein tells Lily he doesn't want to cause her pain]

Lily:
Does this corset flatter you?

Dr. Victor Frankenstein:
Yes.

Lily:
Do you want me to wear it?

Dr. Victor Frankenstein:
I want nothing to cause you pain. Not for flattery, or... my vanity... or anything under the sun.

[Vanessa and Mr. Chandler discuss the witch Hecate]

Vanessa Ives:
Hecate wasn't a sea goddess. She was a moon goddess, and bringer of magic. And also a character in Macbeth, the Protector of Witches.

Ethan Chandler:
She didn't look like a witch.

Vanessa Ives:
And would an old crone have attracted your eye? No, Mr. Chandler, they can assume many guises, like a chameleon on a leaf. In their natural state, they're more... memorable.

Ethan Chandler:
She was some chameleon then.

[Chandler tries to talk to Sembene]

Ethan Chandler:
Can I ask you a question?

Sembene:
Can I stop you?

Ethan Chandler:
Were you a hunter where you came from?

Sembene:
Partly.

Ethan Chandler:
What was the other part?

Sembene:
Private.

[Sir Malcolm believes the artifacts and Vanessa are related]

Sir Malcolm Murray:
A prophecy. Give it a thought. Lucifer tells a past tense narrative to a monk. Why? Just so his history can be recorded? No. If we accept the Devil walks amongst us today... we must consider this is meant to be part of an ongoing story. That it has relevance now. It's possible he wasn't just recounting the past but foretelling the future.

Vanessa Ives:
Whose future?

Sir Malcolm Murray:
I think most likely yours.

Vanessa Ives:
You don't know that.

Sir Malcolm Murray:
Vanessa...

Vanessa Ives:
You don't know that! Are there any references to a woman? To any one like me?

Sir Malcolm Murray:
We're not done yet.

Vanessa Ives:
You'll understand I find it difficult to accept I'm the object of a eternal Satanic quest that's so far only demonstrated in something that's half-poetry, half-gibberish. I'm sorry. No!

[Vanessa announces that she's going to bed in front of both Mr. Chandler and Sembene]

Ethan Chandler:
[Mr. Chandler replies before noticing Sembene's cooking] Don't tell me you're going to miss Sembene's... what is that?

Sembene:
Buttercream torte.

Ethan Chandler:
Two words I thought I'd never hear come out of your mouth.

Vanessa Ives:
Save me some for breakfast. Good night.

Ethan Chandler:
[Vanessa walks off as Mr. Chandler whispers to Sembene] Does she really eat dessert for breakfast?

Sembene:
Always.

[last lines]

Hecate Poole:
[Hecate reveals herself to Mr. Chandler in her true form] No sensible shoes now, Mr. Chandler.

The Creature:
What would Dr. Frankenstein be without his creature?

Madame Kali:
Despite what you may think... I didn't turn from God. He turned from me. From all of us. Look around. You tell me, where is He... in this city of perpetual suffering? In this life? You tell me where.

Ferdinand Lyle:
There are those who say you can find Him within.

Madame Kali:
They're wrong.

Vincent Brand:
[after embracing the Creature] Remember us better than we are!

The Creature:
I would rather be the corpse I was than the man I am.

The Creature:
What dreams I had in my mate! Of another being, looking into these eyes, upon this face, and recoiling not. But how could that happen? For the monster is not in my face, but in my soul. I once thought that if I was like other man I would be happy, and loved; the malignancy has grown, you see? From the outside in, and this shattered visage merely reflects the abomination that is my heart. Oh my creator why, why did you not make me of steel and stone? Why did you allow me to feel? I would rather be the corpse I was than the man I am.

[Vanessa and Ethan Chandler listen to the storm]

Vanessa Ives:
I love storms. Primordial. Every bit of civilization gone. Everything true coming out.

Ethan Chandler:
[Mr. Chandler looks out into the storm] Let it.

Vanessa Ives:
You don't fear it?

Ethan Chandler:
Not now.

Vanessa Ives:
This must've been how the world was created.

Ethan Chandler:
Or how it ends.

[first lines]

Sembene:
[Sembene sits with Ethan Chandler, telling him of the transformation he just witnessed] Things become other things. The leopard consumes the monkey and becomes leopard and monkey. The crocodile consumes the leopard and becomes crocodile and leopard... and monkey. I have seen this. The Shamans in my mountain call it Uchawi Mabadiliko... the changing from one skin into another. The ones so cursed do not always fully remember it, this... becoming. Is it a sickness... or is it something else? Is it a blessing, the purpose of which we cannot yet see? I say this is what it is. For I know you, my friend, Ethan Chandler. I see inside you, past the crocodile... and the leopard... and the monkey. And the wolf.

Ethan Chandler:
[Mr. Chandler exhales] Tell me what you saw.

[Vanessa is accompanied by Ethan Chandler as the two prepare to enter the old Cut-Wife house]

Vanessa Ives:
Do you believe a place can be haunted?

Ethan Chandler:
Yes.

Vanessa Ives:
Have you been in such a place?

Ethan Chandler:
Indian graveyard in Arizona. Indians I killed.

Vanessa Ives:
Were you frightened?

Ethan Chandler:
I felt I belonged there.

[Vanessa recalls her last days with the Cut-Wife]

Vanessa Ives:
[standing in the Cut-Wife's home] Perhaps I belong here. She always thought that. I don't know that I'm made for company. I think I'm made for something... like the moors. And for doing such things as hurt even as they help. She called me her Little Scorpion, and only said my name aloud once, before she was murdered, tied to that tree outside. I've never liked trees since. Not one.

[Vanessa strolls with Ethan Chandler, talking about her unique connection to Sir Malcolm]

Vanessa Ives:
For years now, Sir Malcolm and I, have had a very private relationship. In a way, I think I savored that. The intensity of it. Perhaps I even fed on it.

Ethan Chandler:
And Mrs. Poole threatens that?

Vanessa Ives:
Doesn't she? He lost his anger. That resentment and rage is what we shared. Our bond was of our mutual suffering.

Ethan Chandler:
Despite all that, you're still the closest thing to a family he's got left.

Vanessa Ives:
He didn't go to his own wife's funeral. Doesn't that demonstrate his allegiance to his family?

Ethan Chandler:
Because it was too painful, maybe.

Vanessa Ives:
You know better. He's in love. The memories of his past, including me, are clouds he doesn't want to face. And why should I demand him to? Just so I can retain my unique bond with him? It's selfish. My God, let him be happy.

[Vanessa picks some flowers while strolling with Ethan Chandler on the moors]

Vanessa Ives:
Wood Betony, attracts bees for honey. Crushed and put into your pillow it prevents nightmares.

Ethan Chandler:
Ooh, get a lot of that. [Vanessa chuckles]

[Ethan Chandler talks to Vanessa about the late Brona Croft and Sir Malcolm]

Ethan Chandler:
When I was with Ms. Croft, I was more content than I ever thought I could be. For once in my life, I didn't feel like running away. I felt out of place to want to belong.

Vanessa Ives:
She was your moors. Your solitude.

Ethan Chandler:
In a way. Sir Malcolm's just looking for where he belongs now. Without Mina. Without you, even. But when he settles down, he'll come around, he won't forget about you. I certainly didn't.

[Vanessa kneels down beside Ethan Chandler at the end of their stroll]

Ethan Chandler:
Are you making a rabbit snare?

Vanessa Ives:
Surprised?

Ethan Chandler:
Who knew you were so handy?

Vanessa Ives:
Life isn't all tarot cards and pagan blood glyphs, you know.

Ethan Chandler:
You know what? You're gonna make someone a great little wifey one day. [Vanessa chuckles]

[Vanessa talks to Ethan Chandler about having a fear toward dolls]

Vanessa Ives:
I mean, I played with them. You had to, or they thought you were deviant in some dreadful way, but I never liked them. My mother insisted on deploying them around my room like an army of little play friends. But every night, before I went to sleep, I ran around my room and knocked them over.

Ethan Chandler:
Ms. Ives!

Vanessa Ives:
Then every morning I would put them all back. God, those eyes staring at you, just waiting to come to life. Who thinks that's healthy for a child?

Ethan Chandler:
Well, I played with toy soldiers. Also not the best recipe for mental health when you think about it. All those things that mark you when you're young... they make you who you are. Never escape them.

[Ethan Chandler talks to Vanessa about the monsters]

Ethan Chandler:
They just wait, don't they?

Vanessa Ives:
What?

Ethan Chandler:
The monsters inside us.

Vanessa Ives:
Monsters?

Ethan Chandler:
What would you call them?

Vanessa Ives:
For me... demons. But one word is much like another.

Ethan Chandler:
And when they're released?

Vanessa Ives:
We're most who we are. Unrestrained. Ourselves.

[Vanessa tries to ask Ethan Chandler about his secret]

Vanessa Ives:
Tell me. We're alone. Speak quietly, but tell me.

Ethan Chandler:
Tell you what?

Vanessa Ives:
[Vanessa puts her hand on the back of Mr. Chandler's neck] We can whisper about those things that hurt us.

Vanessa Ives:
[Mr. Chandler doesn't answer her question] You need to learn to protect yourself.

[Ethan Chandler is surprised at Vanessa's perfect aim with a pistol]

Ethan Chandler:
You haven't done this before?

Vanessa Ives:
No. I suppose it just comes naturally.

Ethan Chandler:
[Mr. Chandler smiles] Why am I not surprised.

[Ethan Chandler teaches Vanessa how to shoot a pistol]

Ethan Chandler:
It's a different thing when you're firing at something alive.

Vanessa Ives:
How do you learn that?

Ethan Chandler:
Experience.

Ethan Chandler:
[Mr. Chandler holds Vanessa's shoulders] Aim at the middle of the body, don't get fancy. Don't aim at the head or limbs. And here's the real trick, which seems illogical, I know. Don't look in your opponent's eyes. That'll stop you every time. You think for one minute about what you're doing, and you won't do it. Stop being human. Become something else.

Vanessa Ives:
What?

Ethan Chandler:
An animal that has to survive. A predator. No emotion. Survival. And most important?

Vanessa Ives:
[Vanessa whispers in reply] Don't look into his eyes.

[Vanessa teaches Ethan Chandler how to dance]

Vanessa Ives:
It's the opposite of homicide. Always look in your opponent's eyes.

Ethan Chandler:
And then?

Vanessa Ives:
Proceed gently. Take my waist.

Vanessa Ives:
[Vanessa places Ethan's hands where they need to be] Up here, Mr. Chandler. And sway. And one, two, three. One, two, three.

Vanessa Ives:
[Vanessa chuckles] One, two, three. That's it.

[Vanessa and Ethan Chandler kiss each other passionately to the lightening and thunder]

Vanessa Ives:
[Vanessa pushes Mr. Chandler off her] No! We are dangerous.

[Victor Frankenstein and Ferdinand discuss what love is]

Dr. Victor Frankenstein:
What is love but a kind of creature awaiting to be undone? A malady. What does it bring any of us but... confusion and bedevilment? The Egyptians were hardly unique in that.

Ferdinand Lyle:
Yes, but to them it was quite literal. They called it the Scorpion's sting, a kind of eternal infection that had no end, not in time or death. The Gods Amunet and Amun-Ra were immortal and their love was without end as well. According to the myth, if they were to become conjoined, 'All light would end and the world would live in darkness. The Hidden Ones would emerge and rule.'

[Victor Frankenstein and Ferdinand discuss what a demon is]

Ferdinand Lyle:
Why does the Scorpion sting?

Dr. Victor Frankenstein:
To protect itself.

Ferdinand Lyle:
To kill its enemies.

Dr. Victor Frankenstein:
And the Demon's enemy?

Ferdinand Lyle:
God!

[Victor Frankenstein and Ferdinand discuss what the Devil's plan is]

Ferdinand Lyle:
One phrase, 'The Hound of God.' Like a musical refrain sounding over and over in our otherwise chronological narrative. Why?

Dr. Victor Frankenstein:
A bit of poetry, a flourish. I don't know.

Ferdinand Lyle:
No, no no. Think how your mind works, Doctor. When it can't settle something in peace you return to it again and again. It obsesses you.

Dr. Victor Frankenstein:
Becomes a neurosis.

Ferdinand Lyle:
Procisely, and it's repeated neurotically here. Like the Demon chewing on a bone it couldn't swallow. It can't make peace with it.

Dr. Victor Frankenstein:
It's a danger to him.

Ferdinand Lyle:
Yes! Yes, the Demon, the Hound, the Scorpion. Endlessly circling one another.

[Vanessa tells Ethan Chandler how she wishes it could just end]

Vanessa Ives:
I can't live forever violated. When I sleep, when I wake, when I pray, those demons tearing into me. I once begged you to put a bullet through my heart, but you thought it kindness to spare me. It was cruelty!

Ethan Chandler:
[Mr. Chandler grabs Vanessa's shoulders] You will not die while I'm here. You will not surrender while I live. If I have one goddamn purpose in my cursed life, it's that.

Vanessa Ives:
You are one man.

Ethan Chandler:
More than that and you know it. We are not like others. We have claws for a reason.

[Sir Geoffrey Hawkes confronts Vanesssa and Ethan Chandler out in the woods]

Sir Geoffrey Hawkes:
[Sir Hawkes approaches the two with a pack of dogs] One word from me and you don't have an arm anymore. They know how to behave. You know how to get a dumb animal to behave? You feed it with your own hand. You don't let anyone else do it. You give them food or you don't. You let some of them starve so the others see. So they know their lives depend entirely on your will. Learned how to behave yet, little b*tch?

Ethan Chandler:
That's enough.

Sir Geoffrey Hawkes:
Not hardly, lad. Maybe I come visit you, eh? Bring a match and start another fire. Young flesh burns best.

[Lily and Dorian Gray finish their date to the waxworks]

Dorian Gray:
Lily, thank you for this evening. You're like a breath of fresh air.

Lily:
It's good to have a new friend.

Dorian Gray:
[Dorian holds and kisses Lily's hand] And so I hope you'll always count me.

Lily:
No one's ever done that before.

Dorian Gray:
[Dorian smiles] New adventures.

[last lines]

Ethan Chandler:
[Ethan Chandler lectures at Vanessa for the witchcraft she used to kill Sir Geoffrey Hawkes] Do you feel better now? Now that you're a murderess? I suppose that's what you learned here, isn't it? From your nice old lady friend. How to kill babies? How to kill men? You do belong here.

Vanessa Ives:
I know what I've done.

Ethan Chandler:
Do you? Do you know what it is... to walk with someone's body tied around your neck for the rest of your goddamn life? Do you know what that is, little girl? Let me tell you about it. First time is hard. I'm sure you cried a bit, didn't you? Don't worry, that'll pass. Second time is easier. Third time, you don't blink. Then it's all just repetition. You don't cry anymore. You don't even remember when you used to cry. You're alive and they're dead. F*** 'em!

Vanessa Ives:
Stop it!

Ethan Chandler:
[Mr. Chandler holds on Vanessa's shoulders] You'll never get your soul back. Not ever. Do you understand that?

Vanessa Ives:
Yes.

Ethan Chandler:
[Mr. Chandler whispers] Welcome to the night, Vanessa.

Lily:
You want to walk in the village and hold my hand. And when people are cruel, you want me to love you even more. Do I hurt you? [Lily scoffs] You pathetic creature. How can you imagine that I could care for you? Does that face belong alongside this? Doesn't the world smile on us? Don't we make a beautiful couple, "thee and me"? Shall we wander the pasture and recite your f***ing poetry to the f***ing cows. You are blind... like all other men.

John Clare:
And you are unlike all other women.

[both grunt as Lily pushes Mr. Clare back]

Lily:
You tell me how. We flatter our men with our pain. We bow before them. We make ourselves into dolls for their amusement. We lose our dignity in corsets and high shoes and gossip and the slavery of marriage! And our reward for this service?

[voice breaking]

Lily:
The back of the hand... The face turned to the pillow... The bloody, aching c*nt as you force us onto your beds to take your fat, heaving bodies!

[crying as she pounds into Mr. Clare]

Lily:
You drag us into the alleys, my lad, and cram yourselves into our mouths for two bob. When you're not beating us senseless! When we're not bloody, from the eyes, and the mouth, and the ass, and the c*nt!

[throwing Mr. Clare to the floor, both panting]

Lily:
Never again... will I kneel to any man. Now they shall kneel to me. As you do, monster.

[Mr. Clare lays there trembling]

Lily:
My monster. My beautiful corpse. How clever he's been, our creator. But our little god... has brought forth not angels... but demons. Thee and me. And what should we do with this power, undead thing? You're a thoughtful man, a philosopher even. So tell me, why do we exist? Why have we been chosen? Tell me.

John Clare:
I don't know.

Lily:
Is it to suffer?

John Clare:
Yes.

Lily:
Must it be?

John Clare:
How can it be other? We long for that we cannot have.

Lily:
Women? I'll bring you a dozen. We'll f***'em together. Me? Then you shall have me. I want you.

[Mr. Clare shudders as she crawls to him]

Lily:
I want a man unlike all other man. My brother, my equal. I'll take you... by this beautiful, white, dead hand and lead you to my bed right now. I'll bleed for you. I'll love you... for your sadness... and your poetry and your passion and your rage. And your infinite, luxurious ugliness. I'll lick your sins away.

[Mr. Clare pants as Lily sits on his lap]

Lily:
And when Victor comes home... we'll put our hands around his throat together... and watch him die. And then this will be our home. And then? What then, undead thing? We were created to rule, my love. And the blood of mankind will water our garden. Us and our kin... and our children, and our generations. We are the conquerors. We are the pure blood. We are steel and sinew both. We are the next 1000 years. We are the dead.

[Lily kisses Mr. Clare, both panting]

Lily:
No being... who ever was... or ever will be, shall love you... like I do.

[Lily closes Mr. Clare against her, wrapping her fingers closed behind him]

Ferdinand Lyle:
In the great war for the heavenly throne we were vanquished. So God looked down on his defeated angels and found us to be evil angels, so he cast us out. He took us by our winged backs and raised us over his head. Thence did he fling us from his heavenly throne and cast us down, to Earth and to Hell. So we were cleaved apart. Two brothers cast out to two realms. One brother to Earth, and the other brother to Hell. And thus were we set in eternal enmity. My brother on Earth to feed on the blood of the living by night and myself in Hell to feed on the souls of the dead. Both in an eternal quest for the mother of evil, who will release us from our bondage and allow one of us to reconquer Heaven and topple God from his bloody throne. And so will the darkness reign, on Earth, in Heaven, everlasting.

Madame Kali:
A man's character is always his destiny.

Dr. Victor Frankenstein:
I've only one other question: why me?

Sir Malcolm:
Because you were unafraid to pull back the skin and look beneath.

Dr. Victor Frankenstein:
There is only one worthy goal for scientific exploration: piercing the tissue that separates life from death. Everything else, from the deep bottom of the sea to the top of the highest mountain on the farthest planet, is insignificant. Life and death, Sir Malcolm. The flicker that separates one from the other, fast as a bat's wing, more beautiful than any sonnet. That is my river. That is my mountain. There I will plant my flag.

Ethan Chandler:
Who the f*** are you people?

The Creature:
You have not known Horror until I show it to you.

Vincent Brand:
There is a place where the malformed find grace. Where the hideous can be beautiful. Where strangeness is not shunned, but celebrated. This place is the theatre.

[the Cut-Wife speaks to Vanessa about the monsters in mankind]

Joan Clayton:
Old as I am, I know nothing. Why people in this world hate what is not them. Why they fear all they don't know. Why they hate themselves most of all. For being weak. For being old. For being everything altogether that is not God-like. Which of us can be that? Monsters all, are we not?

Vanessa Ives:
Some perhaps more than others.

Joan Clayton:
Is that what you feel?

Vanessa Ives:
Yes.

Joan Clayton:
Then it will be true, as long as you feel it so.

[first lines]

Ethan Chandler:
[Ethan Chandler finds the red scorpion on Vanessa's bedroom floor, drawn from her own blood] What is this?

Vanessa Ives:
It's no concern of yours.

[Vanessa meets the Cut-Wife for the first time, standing outside her sacred property]

Joan Clayton:
You want me to kill your baby?

Vanessa Ives:
What? No.

Joan Clayton:
You come for the love police then? You want a dandy man to be wooing you like.

Vanessa Ives:
No.

Joan Clayton:
Then the ague? The head-stammers? The pain in your joints when you take your man, for knell to the God.

Vanessa Ives:
No, I...

Joan Clayton:
Why are you here? You're not like them others.

Vanessa Ives:
[Vanessa whispers from outside the property] I'm not. I'm like no others. I'm like no others. That's why I'm here.

[the Cut-Wife asks Vanessa one last question before she can enter her home]

Joan Clayton:
I have a scar on my back. Tell me how I got it. Tell me.

Vanessa Ives:
How am I to know?

Joan Clayton:
[the Cut-Wife pulls Vanessa's head to her finger tips] Right here. You go right here inside your mind. Close those eyes. You feel my spine through my fingers. Do this or turn around and take your pretty c*nt elsewhere. Do this, I tell you! That's it girl. Good. You're strong-willed, and agile. Like the scorpion. Feel around my skull with your claws. Yes. Behind my eyes, you feel my bones down my spine.

Vanessa Ives:
[Vanessa whispers] Yes.

Joan Clayton:
Now feel out to my skin. To my past, to my pain.

Vanessa Ives:
[Vanessa whispers louder] Yes.

Joan Clayton:
What do you feel?

Vanessa Ives:
A woman. Her nails on your back. No, no, not her nails. Hotter, burning.

Joan Clayton:
Yes.

Vanessa Ives:
[the Cut-Wife let's go of Vanessa] Burning. Burning my skin! A branding iron.

Joan Clayton:
[the Cut-Wife walks back to her house] You can enter now. Leave everything you were outside this door. Everything you are, bring with you.

[the Cut-Wife tells Vanessa about her nickname]

Vanessa Ives:
Where I come from, we've heard of you.

Joan Clayton:
[the Cut-Wife chuckles] I'm famous, hear that.

Vanessa Ives:
They say you have powers.

Joan Clayton:
What they call me, where you come from?

Vanessa Ives:
The Cut-Wife of Ballentree moor.

Joan Clayton:
[with food in her mouth the Cut-Wife replies] You know why they call me that? Because when the girls need little baby killed inside them, they come to me. I cut it out, Cut-Wife. Fetching name, you think?

[Vanessa proves to the Cut-Wife her power]

Joan Clayton:
Thee and me got nothing to talk about here. You want a salve for your heartache, I can give you that. You want herbs to ease the gout, I can give you that. You want to poison your baby brother, I can give you that and laugh while I do it. But if you think you are touched by the demon then you best walk out that door. Because what I can give you for that, is only knowledge you don't want, little girl!

Vanessa Ives:
Who branded you? Who did that to you? Someone you loved. Someone you trusted. Someone you kissed once. A woman. A sister? Your sister. If I'm right, then let me stay.

[the Cut-Wife stops talking after Vanessa's correct answer]

[Vanessa and the Cut-Wife discuss the tarot Devil card]

Joan Clayton:
Casting the tarot is a gift. When you know the Arcana, you can hear the echoes of time in your ear.

Vanessa Ives:
And the meaning?

Joan Clayton:
You'll learn. They are never always as they seem.

Vanessa Ives:
The Devil card?

Joan Clayton:
Not always the demon from Hell or the throat slit at midnight. It can mean other things. Tell me what.

Vanessa Ives:
Evil.

Joan Clayton:
Do better!

Vanessa Ives:
[Vanessa pauses to feel the exact emotion] The dark lover approaching, bringing terror. Irresistible. Part of you, but not. The whisper of something ghastly and beautiful.

Joan Clayton:
That's more the feeling.

[the Cut-Wife tells Vanessa it's better to be alone]

Joan Clayton:
Come on, we got work. Old woman alone works hard.

Joan Clayton:
[the Cut-Wife spits] The peasants... pay me little for my craft. F*** them. Worse than animals.

[the Cut-Wife asks Vanessa about her mother]

Joan Clayton:
Tell me about your mother. No. I'll tell you. She's dead. But she was very much like you. Strong-willed. Imperious. F***ed other men, not your father.

Vanessa Ives:
Yes.

Joan Clayton:
You saw them at it? Your mother and these men. Did you like watching?

Vanessa Ives:
[Vanessa walks off] No.

Joan Clayton:
[the Cut-Wife snickers] You did. Your little secret gave you power, eh?

[the Cut-Wife tries to warn Vanessa of what's coming]

Joan Clayton:
You're in danger, you know that. You're in danger here, too. But I'm an old woman, for me, it brings spice to my last days, but for you. Give me the salt there. You have to learn to protect yourself.

Vanessa Ives:
From whom?

Joan Clayton:
Legions.

Vanessa Ives:
Legions of what?

Joan Clayton:
So many names, I'd die before I go through them all.

[Vanessa begins yelling at the Cut-Wife when she talks about her mother]

Joan Clayton:
There's your mother's eyes.

Vanessa Ives:
Stop it!

Joan Clayton:
But not when she died. Her eyes were different then, weren't they?

Vanessa Ives:
You're a terrible woman.

Joan Clayton:
Not half so terrible as you. I knew it the first time I felt you, this danger. I wanted to scream and bolt the door, curl up in my little bed and sleep and sleep. But you came closer. I felt you every step across the moor. They felt you, too. They'll be here soon. I felt you walking to my door. Felt you standing there. By the pricking of my thumbs, something wicked this way comes.

[Madame Kali threatens the Cut-Wife for protecting Vanessa]

Madame Kali:
You can't protect her forever. And how long can you last? Your bones are brittle. Do you really want this to be your last battle?

Joan Clayton:
It is the only battle.

[the Cut-Wife speaks to Vanessa in the demonic language, teaching Vanessa]

Joan Clayton:
You must remember such incantations are dangerous. And you must never speak the Devil's language idly. Let this language not become easy in your mouth or soon it will no longer be your mouth but his. And it will tell only lies.

Vanessa Ives:
For he is the Father of Lies.

Joan Clayton:
If you believe in God, better you pray with all you got in you. Only if all else fails, you speak the Devil's tongue. But mark, girl, it's a seduction and before you can blink twice it's all you can speak, and so does a Daywalker become a Nightcomer.

[Madame Kali whips the naked Sir Hawkes, to do her bidding and kill the Cut-Wife]

Madame Kali:
[Madame Kali quietly whispers] Get on your knees. Do not be ashamed of your desires. There is no pleasure, no degradation, I do not savor. Bow your head. Lower.

Sir Geoffrey Hawkes:
Mmm.

Madame Kali:
[Madame Kali begins to whip] Stop it. I shall tell you when you can speak. Until then you will listen. Mute. Plaything. Toy. Slave. Beast. F***ing. Man. What would your vassals think, seeing you like this? Brought low and servile. Would they laugh? I think they would. So weak. Letting your cattle die, letting your estate die, while that old woman laughs at you. Can you hear her laughing? I can. Such a superstitious lot, your neighbors. Those thick tenants working your land with their hands in sh*t up to their elbows. But they can be led. And they can kneel, too. They were born to it.

[the Cut-Wife introduces Vanessa to a book of evil]

Joan Clayton:
Truly, I don't know if your heart is good or bad. But I have to show you something. See that big book? With the glyph on the side. Bring it to me.

[Vanessa brings her the book]

Joan Clayton:
Of all the texts, of all the spells, this is the most cursed.

Vanessa Ives:
What is it?

Joan Clayton:
Forbidden. The Poetry of Death. If ever the day comes when my little scorpion is crushed and beaten, if her God deserts her completely, only then does she open it. And on that day she will never be the same. She will have gone away from God, forever.

[Vanessa and the Cut-Wife hear a horse neighing in the distance]

Joan Clayton:
Poor animal. They become trapped in the mire, can't get out. They struggle, and the more they struggle, the faster they sink. One wrong step is all it takes.

Vanessa Ives:
For us all.

Joan Clayton:
For us all.

Vanessa Ives:
[Vanessa lays her head over Joan's chest] Then may the Lord God bring us safe footing until we're home.

Joan Clayton:
[putting her hand over Vanessa's head] Better still, may He let us know when we are home.

[last lines]

Joan Clayton:
[Joan's words are heard in a narration to Vanessa] When Lucifer fell, he did not fall alone. They will hunt you until the end of days. Be true.

[first lines]

Vanessa Ives:
[Vanessa knocks on Sir Malcolm's bedroom door late at night] Sir Malcolm?

Sir Malcolm Murray:
[Sir Malcolm from the other side of the door] Come in.

Sir Malcolm Murray:
[Vanessa walks in] What's happened?

[Vanessa speaks to Sir Malcolm about seeing the witches come to her]

Vanessa Ives:
Last night they came to me. They were there, as real as you are. Then... they weren't.

Sir Malcolm Murray:
Vanessa...

Vanessa Ives:
Is this what it is to go mad. Your darkest fears made manifest before your eyes.

Sir Malcolm Murray:
You're not a neurotic, Vanessa.

Vanessa Ives:
Then tell me where am I to find peace! Not even my prayers are safe! Do you know what that's like?

Sir Malcolm Murray:
No. But I understand the fear of twisting things that move at night.

[Vanessa confides in Sir Malcolm's companionship]

Vanessa Ives:
Tell me I deserve peace.

Sir Malcolm Murray:
I'm a poor minister for that, Vanessa. That's not been my life. But this I do know. I'll not leave your side. Wherever we walk, we walk together.

Vanessa Ives:
I don't know what I would do without you.

[John Clare and Victor Frankenstein sit with Lily after her resurrection from the dead]

John Clare:
[Mr. Clare looks into Lily's eyes] I want to fill her heart with poetry.

Dr. Victor Frankenstein:
Let me fill her head with language first. Honestly, it will be a process. You'll understand that. She must learn the actions of living anew. Leave me to it. I've had experience.

John Clare:
I've waited so long.

John Clare:
[Lily tries to touch Mr. Clare's hand as he smiles] She needs poetry.

Dr. Victor Frankenstein:
She needs to eat.

[Victor Frankenstein and John Clare discuss the cause and effects of Lily's memory returning with her speech]

Dr. Victor Frankenstein:
If Proteus was any model to go by, she'll pick up language quickly. Even more quickly since I reduced the trauma of the electrical charge. It will come back to her. So too human interaction and, well, perhaps memory.

John Clare:
And then?

Dr. Victor Frankenstein:
I don't know. Proteus was just beginning to regain the memory of his former life, when you killed him.

John Clare:
[Mr. Clare walks in Victor's face] You don't need to remind me of my sins. Just never forget your own.

Dr. Victor Frankenstein:
[while Victor looks to Lily] And this? Creating another sin?

John Clare:
Atoning for your first. All the love and companionship you denied me, visit upon her. She is our future, Creator. Tread carefully.

[Victor Frankenstein talks to Lily for the first time]

Dr. Victor Frankenstein:
My name is Victor Frankenstein.

Lily:
[Lily softly whispers back] Victor.

[Victor quivers with a shudder]

[Victor Frankenstein and Lily discuss Lily's name]

Lily:
You haven't told me. What's my name?

Dr. Victor Frankenstein:
Lily. Your name is Lily. The flower of resurrection and rebirth.

Lily:
Why does that make me sad? Why should a flower make me sad. I don't understand. The words come out, but with so little meaning.

Dr. Victor Frankenstein:
[Lily cries in Victor's shoulder] Shh. Be still. It will take time. But you'll learn. I'll show you what life is.

Lily:
Cousin, teach me. I am at your mercy.

Dr. Victor Frankenstein:
I shall.

[the two continue to hold each other]

[Vanessa and John Clare speak about words and religion]

Vanessa Ives:
[Vanessa whispers as the two see a group of nuns] They make me nervous.

John Clare:
Who?

Vanessa Ives:
The nuns.

John Clare:
Why?

Vanessa Ives:
I was raised in the faith. It was arduous for me. Have you religion?

John Clare:
Are you offering it?

Vanessa Ives:
Do you require it?

John Clare:
I never have.

John Clare:
Then I shan't offer. And I would be a poor advocate. The Almighty and I have a challenging past. Not sure we're speaking these days.

John Clare:
[John chuckles] I read the Bible when I was younger. But. Then I discovered Wordsworth, and the old platitudes and parables seemed anemic. Even unnecessary.

Vanessa Ives:
Mr. Wordsworth has a lot to answer for, then. [John chuckles again]

[Vanessa and John Clare speak about life and God]

John Clare:
Is it not this, Miss Ives, the glory of life surmounts the fear of death. Good Christians fear hellfire, so to avoid it, they are kind to their fellow man. Good pagans do not have this fear, so they can be who they are, good or ill as their nature dictates. We have no fear of God, so we are accountable to no one but each other.

Vanessa Ives:
That's a profound responsibility.

John Clare:
And why you do this, no doubt. Helping those in need.

Vanessa Ives:
I came here for selfish reasons. Do you truly not believe in heaven?

John Clare:
I believe in this world and those creatures that fill it. That's always been enough for me. Look around you. Sacred mysteries at every turn.

Vanessa Ives:
But no exaltation in life beyond this?

John Clare:
[John quotes William Blake] To see a world in a grain of sand / And a heaven in a wild flower / Hold infinity in the palm of your hand / And eternity in an hour

Vanessa Ives:
With respect to Blake, I see no wild flowers here, only pain and suffering.

John Clare:
[Mr. Clare smiles] Then you need to look closer.

[Vanessa and John Clare thank each other for the company]

John Clare:
Thank you for the soup.

Vanessa Ives:
Thank you for the conversation.

Vanessa Ives:
[Vanessa pauses while smiling at Mr. Clare] You have beautiful eyes.

[Dorian Gray meets Angelique for the first time]

Dorian Gray:
My name is Dorian Gray.

Angelique:
Angelique. No last name. Utterly mysterious, don't you think?

Dorian Gray:
I don't know what to think.

Angelique:
Probably best. Thinking would age you terribly. It's best you stay beautiful and a bit simple.

Dorian Gray:
Oh.

Angelique:
You are beautiful, did you know that?

Dorian Gray:
I've been thought so.

Angelique:
Don't be coy. I tried coyness once, couldn't carry it off.

[Angelique asks Dorian Gray if he would like to accompany her back to her place]

Angelique:
I saw you sitting here and I thought to myself... well, I like to be around beautiful things. You should see my bedroom. Swags and Chintz to choke a horse, and I've choked my fair share. Would you like to see my bedroom? It's close.

Dorian Gray:
Sorry, not today.

[Angelique leaves Dorian Gray an invitation to meet up again]

Angelique:
I had my heart broken once. But not as a child, as a woman. A true pain that was I swore to myself, never again.

Dorian Gray:
Did you keep your oath?

Angelique:
Yes. And my life is sadder because of it. If you ever shall want to mend your heart, this is where I work.

Dorian Gray:
[Angelique slides Dorian a card] And your heart?

Angelique:
Waiting.

Angelique:
[Angelique whispers to Dorian's face] Stay young and beautiful, Dorian Gray. It suits you.

[Ferdinand Lyle meets Ethan Chandler for the first time]

Ferdinand Lyle:
Mr. Chandler! You are so very tall. You render me Lilliputian.

Ethan Chandler:
Hello, Mr. Lyle.

Ferdinand Lyle:
American! I am undone.

[Ferdinand giggles all over]

[Ferdinand Lyle tells the story of the Verbis Diablo to the group]

Dr. Victor Frankenstein:
So you're the Chappy who's going to translate the mythical language?

Ferdinand Lyle:
Not so mythical as you think, young man. The Verbis Diablo, the Devil's Tongue, has roots as old as Aramaic, and likely much older. It was an oral tradition for the most part, like most now dead languages. We haven't entirely lost it, we've just forgotten it.

Sir Malcolm Murray:
And if I were to tell you it's spoken now? In London?

Ferdinand Lyle:
I should express surprise, but not complete bafflement. Note I said it was an oral tradition for the most part. There is one written example of the language. Relics of a sort. In a long-forgotten box deep in the archives of the British Museum, and I can't imagine anyone has looked at them in years. In the 11th century, a Carthusian monk known to us as Brother Gregory began to lose his mind. He said he was possessed by a demon, perhaps the father of all demons, the fallen angel himself. In any event, this demon spoke to him in the Verbis Diablo. Brother Gregory wrote down what it said on whatever was to hand. Having nothing like science to consult, his brothers finally pronounced Brother Gregory mad, and locked him away. But his lunatic ravings are now in the British Museum. The only existing written example of this seemingly dead language. If we seek to understand the Verbis Diablo, we must start there.

[Ferdinand Lyle and Ethan Chandler joke about bringing Chandler's guns to some investigation work]

Ferdinand Lyle:
[Ferdinand eyes Mr. Chandler] Will you bring your gun belt?

Ethan Chandler:
Both guns.

[Ferdinand quietly chuckles]

[Ferdinand Lyle finishes the story of the Verbis Diablo]

Vanessa Ives:
What happened to Brother Gregory?

Ferdinand Lyle:
Ah. Locked away by his brothers, the visitations from the demon did not abate. They were deep within him. A curse, if you will. Seemingly inescapable.

Vanessa Ives:
And?

Ferdinand Lyle:
After years of confinement, and torment, they were finally convinced that he was not in fact mad, but possessed by the devil. They burned him at the stake.

Dr. Victor Frankenstein:
God love religion.

[Sir Malcolm goes out to a gun range with Madame Kali]

Madame Kali:
[Sir Malcolm misses his shots] Courage, dear.

Sir Malcolm Murray:
It's pulling to the left, a bit.

Madame Kali:
[Madame Kali laughs] Always blame the equipment.

Sir Malcolm Murray:
Would you like to try a new gun?

Madame Kali:
Oh, I'll try anything new. Aside from vegetables.

[Madame Kali continues shooting with Sir Malcolm while discussing his late wife with him]

Madame Kali:
[Madame Kali holds out a new model of a pistol] A man's gun. An extension of a man's arm. Like the bow of an elegant battleship.

Sir Malcolm Murray:
Just so you know, about my wife. There is no love between us, not for some time, if I'm honest. But I am bound to her. That is how I must live now, and in the future.

Madame Kali:
I appreciate your honesty, Malcolm. And it's always good to have something to aim at.

[Madame Kali fires the pistol, hitting a bulls-eye]

[Victor Frankenstein dyes the color of Lily's hair blonde]

Lily:
Did I admire fair-haired ladies?

Dr. Victor Frankenstein:
I did. They always seemed kinder. Like angels.

Lily:
[Lily smiles big] You're making me into an angel. Or maybe just the cousin you always wanted.

[Lily asks Victor Frankenstein who is this John Clare to her]

Lily:
Who was he? The other man when I awoke. The strange one.

Dr. Victor Frankenstein:
He was just someone you used to know. You were intended.

Lily:
To marry?

Dr. Victor Frankenstein:
Yes.

Lily:
Did I love him?

Dr. Victor Frankenstein:
I don't know.

Lily:
Must I love him now?

Dr. Victor Frankenstein:
That's for you to say.

Lily:
There's so much that frightens me. I don't know how to feel or act. In the smallest ways even. How to sit and speak.

Lily:
[Lily frighteningly replies] Don't let me be hurt.

Dr. Victor Frankenstein:
[Victor calmly states] I won't.

[Ethan Chandler and Ferdinand Lyle have a discussion about wolves]

Ferdinand Lyle:
On battle shields the heraldic iconography's not actually meant to strike terror in the opponent as you'd think. Rather, it's meant to evoke protection. The figures are more spirit guides and totems of significance to the owner. Dragons and griffons and the like.

Ethan Chandler:
So the wolves will protect.

Ferdinand Lyle:
Yes, grisly bit of business. But that's why they call them the Dark Ages.

Ethan Chandler:
I saw wolves where I grew up, in the New Mexico territory. Timber wolves. Enormous things.

Ferdinand Lyle:
Oh?

Ethan Chandler:
They hunted in packs. They'd isolate a cow or sheep or what have you by barking and growling. But when they finally attacked, it was completely silent. They'd... they'd tear out the windpipe first. You couldn't hear anything, but the blood splashing on the ground. They didn't protect anything. They just fed.

[last lines]

Madame Kali:
[Madame Kali looks to Hecate for the briefcase] You have it?

[Madame Kali takes the briefcase of the murdered baby from her]

Madame Kali:
[Madame Kali speaks to her spy Ferdinand] Remain, little man.

Vanessa Ives:
Don't ask permission. If you want to do something do it, because it is your desire, not my allowance. You must risk rejection.

Vanessa Ives:
I think Mr Gray, there are tremors around us, like the vibrations of a note of music - hidden music. Some may be more attuned to them than others, what do those people do? Those who have been chosen.

Dorian Gray:
They endure uniqueness.

Vanessa Ives:
To be alien, to be disenfranchised from those around you, is that not a dreadful curse?

Dorian Gray:
To be different, to be powerful, is that not a divine gift?

Vanessa Ives:
To be alone?

Dorian Gray:
To be seeking.

Vanessa Ives:
What?

Dorian Gray:
Another.

Vanessa Ives:
Like you?

Dorian Gray:
Who shares your rarity.

Vanessa Ives:
Then you are no longer unique.

Dorian Gray:
Nor are you alone.

”Hold on tight. It's a complicated dance.”