BLOODLUST: THE STORY OF ERZEBETH BATHORY

STAGES:
- MUSEUM
- CASTLE CACHTICE
- BATHORY ESTATE
- COURT
- WOODS

CHARACTERS: (characters may play multiple roles)

- GIRL1
- MODERN GIRL
- NURSE
- YOUNG ELIZABETH
- ELIZABETH
- PRIVATE
- GEORGE BATHORY
- COUNT FERENZ
- ERZI MAJOROVA
- SERVANT1
- SERVANT2
- NOBLE WOMAN
- MAN1
- WOMAN1
- KING MATTHIAS
- AGENT of the KING / CONDEMNER
- THURZO
- INTRUDER1
- SERVANT3
- MAID1
- MAID2
- JUDGE
- JURY (Several people)
- LAWYER / INTERROGATOR
- FICKZO
- NARRATOR

PROPS:
- Blocks (as stand for statues)
- Box with witchcraft things, needles and pins
- Books and parchments
- Mirror
- Cleaning materials
- Chairs (high chair, lounge chair…)
- Red cloths
- Jury stand
- Flashlight
- Whip / Stick
- Mortar
- War weapons (dating back to the 15th century)
- Table/desk and dresser

NOTES:
Good lights (red, blue, white, yellow; can transition from light scene to eerie)
Good make-up/ prosthetics (for tortured look of victims)

STAGE 1: Bare set

Characters: Servant and nurse

As lights black out, Servant immediately scream in terror and comes running from the
back of the crowd (if possible) on to stage, always looking back in extreme distress
and cradling one of her hands. Also panting heavily. Nurse follows her slowly.

Servant: N-no! Stop! Stop it! Please! Don’t! Let me go! Have mercy!

Servant trips, falls flat on the floor and nurse comes to her and drags the screaming
servant off stage.

Lights out.

END SCNENE
-

SCENE 1: MODERN TIMES

STAGE: MUSEUM
Props: Blocks where statues will stand, flashlight for guard
Characters: Modern Girl, (male voice)

Dimmed lights.

There are statues in the museum, representing certain stages of her life: young
Bathory, middle-aged Bathory (can be two: one that looks normal, one that exemplifies
her later haughty self)

GIRL with glasses and headphones (not earphones) enters the room with the Bathory
statues and portraits. She walks from piece to piece, looking carefully at each with
an apathetic look, touching some of the pieces.

GIRL: Hmm. The infamous Elizabeth Bathory. I’ve heard of your story. You know, they
say you were really beautiful once. But more of the stories I heard about you were
stories of how you tortured young women for vanity...how you bathed in their blood
because you thought it made you look younger, somehow. I don’t really know why anyone
would do such a thing...but apparently you did. Why, though? Of all the things you
could have done, why did you have to kill for your own face? Why did you have to go
through such great heights just to feel youthfully beautiful again? Why di-------

Flash lights illuminate the stage.

VOICE: Hey! You’re not allowed in there!

Girl thinks for a moment, eyes Bathory

Girl: Well... I guess I’ll go find out.

Girl walks off stage.

Lights fade out.

END SCENE
-

TRANSITION
Props crew change the set: Remove blocks, enter Elizabeth’s chair
Props: cleaning materials, books, parchments, witchcraft things, needles and pins
Background sound: Women cleaning (with choreographed dancing)
-

SCENE 2: YOUNG ELIZABETH

STAGE: BATHORY ESTATE
Characters: Young Elizabeth Bathory, nurse, her maids, (voice of narrator)

Lights slowly open, everyone is mute (but moving about) except for narrator.

Narrator (voice over): It was said that Erzebet Bathory had interesting family
members. With an alchemist and a devil-worshipper as an uncle, a drunkard, lecher and
reprobate brother (Stephen), an aunt (Klara) who was an open-lesbian and bi-sexual at
a time when it was far from acceptable, who also enjoyed torturing servants. She also
had a nurse from childhood steeped in the practice of black magic.

Lights fully on now.

YOUNG ELIZABETH goes around a room, looking at sorcery and books of witchcraft. Slowly
observing the books and reading aloud in awe the titles. Walks slowly, picks up a
book, read aloud the title, puts down the book, walks, pick up another book.

YOUNG ELIZABETH: Parchment for protection. Parchment made from the shriveled placenta
of a newborn child. Most potent potions for enemies... Hm... ginger roots... Beetle
eyes... boom-slang skin... rat tails... salamander blood...
[Speaking in utmost curiosity and growing interest]

NURSE: What dress would you wish to wear for lunch, little miss?

YOUNG ELIZABETH hurriedly closes the book to proceed towards the nurse but stumbled
across something, once more, that roused her curiosity.

YOUNG ELIZABETH: (slowly picks up pins, examines them with curiosity)

“What are these? Oh what wonderful pins! And this doll… hm… what could this be for?
Oh! What if, I prick these to a person? I would very much like to see what happens!
Hm… (commenting, wondering and amused at the sorcery things) ”

Catching a glimpse of herself in the full-length mirror probably next to it,

saying “But you are more beautiful,” and continuously admires herself.
Suddenly, a loud thud.

YOUNG ELIZABETH, shaking uncontrollably, slowly crumbling on the floor

NURSE enters holding two dresses, not noticing Elizabeth.

NURSE: Which dress would you pre--?

NURSE: Madame! Madame! Lady Elizabeth’s having seizures again. Madame!

*While trying to calm ELIZABETH and struggling to carry her to (a makeshift) bed.

Elizabeth calms down a bit but is still dazed and a little panicky/scared.

YOUNG ELIZABETH touches NURSE’s face: Y-you’re old.. Y-your face.. I-it sickens me..
I-i don’t want to become old and wretched.. I don’t wa-wan to be ugly.. I-i I wish to
be youthful fo-forever..

YOUNG ELIZABETH: I-i will be b-beautiful.. M-more beautiful than a-anyone e-else..
I-i need to be beautif-ful.. I-i ne-ed to remain youthful. *fear should be in her
eyes*(the certain shift from confidence to desperation to confidence would show how
deranged she is and self-obsessed. ) I-i’m going to b-be b-beautiful f-forever.. H-
hahaha. W-won’t I? Y-you’ll help m-me, w-won’t you? Y-you have to help me *as if
pleading, desperate and unconfident. Then suddenly, she smirks, gaining confidence
again* y-ou have to help me. And you will! (The nurse’s expressions should be more of
worried and concerned, right?)

YOUNG ELIZABETH smiles (the crazy smile and laugh).

Lights out.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood

SCENE 3: WAR ZONE WITH COUNT FERENZ

STAGE: aftereffects of war zone
Props: war weapons
Characters: Count Ferenz, soldiers

A dimmed light to the middle of the stage, illuminating just a piece of the floor (or
if there’s something we could place there that can symbolize the war). / Flashes of
light everywhere.
Gunfire and men screaming overhead, while a voice narrates:

Narrator: In the 1500’s, Hungary had been overrun by the Turkish forces of the Ottoman
Empire because of religious differences between Protestantism and Christianity.

PRIVATE: Sir Ferenz, the Turks are advancing, sir!

COUNT FERENZ: We won’t back down! Forward, men! Forward!

Silence. Lights fade out.

END SCENE
-

SCENE 4: THE ENGAGEMENT

STAGE: BATHORY ESTATE
Props: 2 chairs, living room props
Characters: George Bathory, Count Ferenz, Nurse, Elizabeth Bathory

Lights immediately fade back in.

GEORGE BATHORY and COUNT FERENZ enter talking intently, sits down.

GEORGE: The war is not yet over. My poor darling Elizabeth had lived her whole life
with the war as her breathing air. It does not help her psyche--being, as we found her
years back, exposed to certain sorcery things she found lying around in the estate. I
hope for a better life for her. Do the Turks honestly think that they could force all
of us to be Roman Catholics?

COUNT FERENZ: I know not when they would come to their senses and understand that we
shall forever be Protestants! We can never be forced to be something we do not opt to
be. I’ve also heard that your kin, Stephen Bathory, is currently planning to unite
with Europe against the Turks. Soon to be the Prince of Transylvania, I heard. Oh, and
how is the estate, by the way, George?

GEORGE: Quite manageable I must say... But if you don’t mind me asking, has the
extensive loan of the King from you been accounted for already?

COUNT FERENZ: No, not yet I’m afraid. Not even a word from the King. I am not even
sure whether they would even be able to pay back such a large sum. I have yet to
arrange a meeting with him. Elizabeth, I hope, does not decline the offer at hand?
Like you, I expect to give her a life that does not disappoint.

GEORGE: She sees this matter not a question of whether she fancies the marriage or
not. It is for the sake of the royal lineage. With you being the heir of the Nadasdy,
I am assured to have no problems, financially. But with what you claim to be your
intentions for Elizabeth, might I also be assured of matters outside finance?

COUNT FERENZ: Quite true that it would be wise to keep our royal blood from getting
tainted, that is, by anyone...insignificant. You can trust me with your daughter, sir.
For as long as I am around, she will have a life of contentment.

GEORGE: Ah, here comes my daughter, Elizabeth, and her nurse. Come in, my dear.

George slowly stands. Count looks to the women and immediately stands after.
NURSE enters first, curtsies, goes to the side. Elizabeth follows after.

COUNT FERENZ, moves to Elizabeth: How do you do, my lady?

COUNT FERENZ bows and kisses Elizabeth’s hand.

GEORGE: Darling Elizabeth, this is Count Ferenz, the owner of the Castle Cachtice. I
have, myself, come in good terms with his noble gentleman here, and your mother and I
have long decided, for our own good that you are to be betrothed to him and you shall
be wed before long. What say you, my darling?

ELIZABETH: It is a great pleasure, Father.

ELIZABETH turns to Ferenz.

Elizabeth: I am very much glad, my lord. It gives me no greater pleasure than to be

your bride.

Elizabeth curtsies to COUNT FERENZ.

COUNT FERENZ: I am most glad, myself, my lady.

COUNT FERENZ takes her hand and kisses it.

GEORGE: Elizabeth, dear, we shall now leave you two alone to tend to matters.

GEORGE and NURSE leave stage.

COUNT FERENZ: You are possessed with great beauty, my lady, and as I hear, wit. I am
honored to have been chosen to be your husband. Fret not my lady for I plan to please
you with bountiful things. What are the things closest to your heart? Are you fond of
flowers? Jewelry? Do you---

ELIZABETH, silences Count Ferenz modestly but with a certain dominance.

ELIZABETH: I take your word for it. You will find out soon enough the things that
matter to me most. For now, I must go and tend to some things. The estate does not run
on its own.

COUNT FERENZ: Of course.

ELIZABETH curtsies. COUNT bows as ELIZABETH walks away. COUNT lingers, then walks off
stage, to the other side.

END SCENE
-
SCENE 5: ELIZABETH’S TALK WITH NURSE
STAGE: Elizabeth’s room
Props: dresser, mirror, hairbrush
Characters: Elizabeth, nurse

Enter nurse, brings in a chair into the room, fixes things.

Enters Elizabeth, fingering her hair.

NURSE, seeing Elizabeth, turns to her and starts combing Elizabeth’s hair as her lady
sits herself down on the chair.

NURSE: I see you are engaged now, my lady. If I must say, you are very fortunate to be
marrying Count Ferenz. He is a very fine gentleman and an admirable young leader, so
I’ve heard.

ELIZABETH: Yes, I’ve had quite a good impression of him. I would very much like to get
to know more about him. He does seem to be a great choice for a husband. I’m glad my
parents have not disappointed me.

NURSE: Indeed, my lady. In a few days time, you shall be wed to this honorable
gentleman. I am happy for you, my lady.

Elizabeth: Mmmm.

Lights black out.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood

SCENE 6: PASSIONATE SCENE

Props: Bed / chair
STAGE: Castle Cachtice
Characters: Elizabeth Bathory, Count Ferenz

(sitting or standing, facing each other. Flirting more on the acting.)

ELIZABETH: Oh my love, how could you bear to leave me again? Why must you go and fight
in this war?
FERENZ: My dear, I do know you understand full well why I’m leaving... I know it is
rather unfortunate that I must do so, but my sweet darling Elizabeth, you know I shall
be coming back to be with you again. (caressing her face)

ELIZABETH: Yes, but I am scared you might not remember me while you are away...

FERENZ: But how can I forget your lovely face? Those lips,(touch delicately, brushes
it a bit) such irresistable lips.. those tantalizing eyes... Your soft, soft skin.
Ah, so delicate… so desirable… I wish you will stay this beautiful forever my love…
(touching her skin, her face...)

ELIZABETH, hesitates because of Count’s last statement, as if reflecting on how sad

she’s gonna get when she dries old: I know my love... I do wish so too. While you
are gone, I shall be always thinking of you and I will make our home ready for your
return...

FERENZ: Of course, but you must not worry yourself too much of trifling matters, my
love... I would not want to see you frown. What a waste it would be for those lovely,
lovely lips to frown upon such insignificant matters. (lustfully looking at her)
(kisses her neck / head or hugs her dearly)

ELIZABETH moans: Oh but my dear, I have got to make our foolish servants do our every
bidding perfectly... Why, if it is even necessary, discipline them for it. You know
that I only want what is best for us.

FERENZ: Oh yes my love, your every wish, your every command must be done... You know I
love you very dearly my darling Elizabeth... I am yours, and you are always mine...

Lights dim.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood

SCENE 7: TORTURE I
STAGE: Castle Cachtice
Props: whip / stick for torture, mortar, block / table
CHARACTERS: ELIZABETH, COUNT FERENZ, NURSE, GIRL1, SERVANT1, SERVANT2

Lights fade in slowly.

SERVANT1 and SERVANT2 standing while ELIZABETH disciplines them with a whip.

ELIZABETH: How are we able to manage an estate while the Count is away at war if you
petty, little servants are not in proper attitude? This is for not cleaning the study
room in the way I want. (whip) This is for having such bad posture. (whip) and this is
for walking the wrong manner.

ELIZABETH laughs whips their hands continuously while servants whimper in pain.

ELIZABETH: What hideous nails you have. Let’s add some pins to it to add a little
color, shall we? NURSE! Hand me the pins!

SERVANT1 screams from pain.

ELIZABETH: This is for making such disastrous noise.

ELIZABETH whips their hands again.

ELIZABETH: Pain feels good does it not?

Enters COUNT FERENZ while Elizabeth is doing this.

COUNT FERENZ: My dear wife, what are you doing in here?

Elizabeth: Oh, dear, you are back! What a surprise! (hugs him) I was just teaching
these maids how to rightfully behave.

COUNT FERENZ: Well, I wished to see the look of surprise and happiness on your face
and here I am catching you disciplining our household. But I must say, that is not the
way to do it! Come outside with me. I shall demonstrate you how.

COUNT FERENZ and ELIZABETH walks to one side of the stage where a block (table) is
pushed in.

ELIZABETH: Nurse, please bring forth the servant with the disgusting ebony hair.

NURSE exits

ELIZABETH: How did matters go this time? How are things?

COUNT FERENZ: The war is still ongoing, I still don’t know when it will end, but I
came back home before you completely forgot about me.

ELIZABETH: You should not say such things! You must know that while you are away, you
always come into my thoughts.

NURSE drags GIRL1 (with ebony hair) back in.

COUNT FERENZ: Watch my dear, as we slowly crush the brittle bones on the hands that
cause you trouble. (Use a mortar to crush the bones of one hand of GIRL1)

Girl squirms in pain and starts shreaking.

NURSE holds GRIL1 in place.
ELIZABETH stands aside and watches with intrigue.
ELIZABETH: Oh, that is quite wonderful my dear. Look at how the bones in those tiny
hands are crushed into a hundred million pieces.
GIRL1 squirms, unable to move, screaming from pain.

ELIZABETH: Oh how pleased I am to see that those wretched hands shan’t be bothering me
anymore.

COUNT FERENZ and ELIZABETH laugh during the torture rituals and exit.

Spotlight on GIRL1 screaming.

GIRL1 struggles and NURSE looses hold of her.
GIRL1 runs to the crowd (if possible) as NURSE runs after her.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Gunshots. Then, trickling of water / blood just before lights fade
in fast again.

SCENE 8: DEATH of FERENZ, TORTURE II

STAGE: CASTLE CACHTICE
Props: red cloths as blood for bloodbath
CHARACTERS: ELIZABETH, NURSE, *dancers (victims/servants)

ELIZABETH: Worthless peasants. Your lives are useless. My dear husband’s life has a
higher value than yours. War, why take his life away? He deserves not to die. All of
you do! I possess all of you!

*Bloodbath dance of victims/servants (with red cloths already hidden under their
clothes). They all fall down afterwards as if dead, nurse drags them to the middle,
and Elizabeth subtly gets the cloths which represent their blood and “bathes” in them.

BLOOD BATH HAPPENS HERE.

ELIZABETH: What wonderful color! What wonderful scent! What wonderful impression it
does to my skin... I look younger, do I not? I will watch you all rot while I live
eternally young as I could with all these sweet blood of yours! What kind servants I
have, giving their blood for their beautiful, youthful mistress. Offer me more. Give
me more blood for your lives are worthless!

Lights out.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood
-

SCENE 9: TORTURE III

STAGE: CASTLE CACHTICE
Props: torture devices
CHARACTERS: ELIZABETH, ERZI MAJORAVA, NOBLE WOMAN, MAID1, MAID2

Enter ERZI MAJORAVA and NOBLE WOMAN

ELIZABETH: Good day, Erzi. Bored again are we? Have you got nothing to do again?

ERZI: Hello, Elizabeth. I’ve bought this woman with me for us to play with.

ERZI drags NOBLE WOMAN.

ELIZABETH: One of yours?

ERZI: No, my dear. She’s the kin of that good man from the other town.

ELIZABETH: I see. A noble one. What if she dies? Won’t we be in trouble? Her life
might cost a tiny bit more than these insignificant wretches.

ELIZABETH and ERZI laugh.

ERZI: Well, she probably committed suicide because of a lad... Or maybe she was eaten
by the wolves in the forest. She fell into a cliff. Anything would do.

ELIZABETH: You really are one of my most faithful friends.

Torture continues.

End with repetition of a segment of torture dance until ladies flat on the floor.

Lights black out as they fall to floor.

END SCENE
-

SCENE 10: ELIZABETH’S MONOLOGUE

STAGE: Elizabeth’s bedroom
Props: none
Characters: ELIZABETH

Elizabeth slowly enters stage, a bit dazed and confused, but obviously not very sane.
Spotlight on Elizabeth.

(Dead servants standing around the room, Elizabeth speaking to them but they’re not
actually there- part of her insanity/imagination)

ELIZABETH: My lovely servants... My oh-so lovely, full of life servants... Your

youth, it shall be mine. Mine! I will stay forever young, forever beautiful. I can
see it now.. *in a daydream daze* Everywhere I walk, any place I enter, I shall be
heavily gazed upon. As I walk down the streets, oh how graceful would I be, my beauty
would turn the heads of every man. My beautiful face would always be the center of
attention. All eyes, oh yes, every pair of eyes would be on me. And a slight smile,
or simply meeting my gaze, would satisfy the hunger in their eyes, yearning hearts,
their silly dreams. Oh, how wonderful, how magical would that be? I would be admired
by all men, and envied by all women for they all know that they are no match for my
exquisite and youthful beauty. Oh how I’ve been wanting this feeling for so long.
Yours will wither, mine shall forever stay! I’ll drain that sweet blood of yours and
regain my youth. Red suits my face doesn’t it? Soft flawless skin.. without a hint of
age.. *laughs* You really are beautiful Elizabeth.. Beautiful than anyone else in this
wretched world!

Lights black out / fade out.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood

SCENE 11: DISCOVERY of EVIDENCE I

STAGE: Somewhere near the woods/ river
Props: Debris / wood / rubbish around the set.
Characters: Few men (and can be women)

Lights fade in, men / women talking unintelligibly.

Man1, talking to another man: I feel really odd with this place. It’s as if I smell
the dead.

Woman1, screams, runs into the stage, panting: I saw a dead girl just by the river!
She appeared to have holes in her body!

Man1: *appalled* What is this place?

In the form of a dance, they are walking around and they find bodies in places.

They all scream at a sight of a last dead body. Lights black out as they scream.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood

SCENE 12: COURT HEARING I

STAGE: COURT
Props: high chair and table/desk for king
CHARACTERS: KING (Matthias), AGENT of KING

Lights fade in.

KING is seated, AGENT standing just before him, a bit sideways.

KING: Since the death of Count Ferenz, I thought we would have escaped from paying
that loan.

AGENT of KING: The lady, Elizabeth, is still alive, my King.

KING: I am aware of that.

AGENT of KING: We could twist a little knot to prevent it, my Lord.

KING: What do you mean?

KING stands up from seat. AGENT follows a bit.

AGENT of KING: A trial to be made. I have heard rumors about the lady. Numerous
deaths, I heard. Quite a number of deaths have happened recently within her premises.
I also heard of spirit-less bodies abandoned in the woods, near the rivers. I know not
how this came up, but they might be connected somehow. We could use that, then, as
justification for her arrest, and confiscate their land in the process.

KING: Quite a plan you have there, my good man. Very well. I order an investigation on
that castle at once!

AGENT: Right away, my King!

KING walks off stage.

AGENT hurries away, other side of stage.

END SCENE
-

SCENE 13: PRIME MINISTER THURZO

STAGE: Entering the Castle Cachtice
Props: torches, weapons / swords
CHARACTERS: PRIME MINISTER THURZO, INTRUDER1, SERVANT3
THURZO, walking abruptly onto stage, followed by INTRUDER and SERVANT3.

THURZO: My cousin would recognize my presence and let me in.

INTRUDER1: This plan seems weak! It looks rather suspicious for one to be accompanied
by men.

SERVANT3: But if she is as evil as the rumors persist, that would be dangerous.

THURZO: Which is why I prefer that we arrive unannounced. Prepare your weapons and
carry your torches. We shall enter the castle and look for any signs of mischief. If
we are lucky enough, we will catch her on act.

INTRUDER1 and SERVANT3: Yes, sir. Right at once.

Both leave the stage, leaving THURZO.

THURZO: This isn’t supposed to be happening. I shouldn’t have to arrest my own

bloodline. (Shakes head and tries to maintain and breathe pressure off.) But for what
is rightfully good, I am obliged to do so.

THURZO walks off stage.

Lights fade off.

END SCENE
-

SCENE 14: LAST INNOCENCE

STAGE: Castle Cachtice
Props: none
Characters: ELIZABETH, MAID1, MAID2,

Lights fade in.

Bathory is seated; two maids walk in, making a fuss.

MAID1: My lady, there are men with torches coming towards the castle. We fear they
have the intentions of searching the castle. (MAID2 follows closely behind, nodding
slightly, looking fearful and panicky.)

ELIZABETH: Let them look all they want. They will never find anything against me.

MAID1 and MAID2 linger a moment, in doubt, but both curtsy (MAID2 slightly later than
the other), then walk off stage (the MAID2 following slightly behind the other and
more panicky).
Bathory remains seated, unmoving, and expressionless.

Lights very slowly fade away.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood with slightest hint of panic music

SCENE 15: DISCOVERY of EVIDENCE II

Stage: somewhere inside Castle Cachtice
Props: Planks of wood and torture devices on stage, messy.
Characters: THURZO, INTRUDER1, SERVANT3

Dimly lit.
Men move around really slowly, on the stage itself and down the stage, just not out of
sight.

INTRUDER1: *sniff* Ugh! What is that pungent smell?

SERVANT3: It smells like something’s decaying.

THURZO: Men, we’re getting close.

*They found a girl chained to a post. Parang whipped.*

INTRUDER1: This is inhumane!

SERVANT3: These girls are dying a slow, tormenting death.

THURZO: Why do they all seem so pale? It’s as if they are drained of their blood!
Let’s move on to the dungeon. (Points to a side of the stage)

INTRUDER1: You seem to know this place well, sir.

THURZO: I have seen this area in my childhood.

INTRUDER1: Your cousin is insane! Possessed by the devil!

THURZO: Hush! Hear that?

*Dying victims moan and scream, asking for help.

THURZO: (Points to the men) You two, come with me. Let’s face the woman behind all
this madness and arrest her! (Moves to walk out the stage to one side but stops, two
men follow and walk directly out the stage)

*At one part of the stage Thurzo discovers evidence of tortures but he hid the
evidence (this is to show that although he helped in the search, he still cared about
protecting the family reputation.) EB was nowhere to be found*

Two men walk back in.

IN1: She’s nowhere to be found, sir.

SERVANT3: There is not a living soul in this place.

IN1: What are we to do?

THURZO: Go and help the others free all of her victims--save those who can be saved
and bring them to the village... What we have now is enough...

Two men again walk out the stage.

THURZO follows, mumbling: This will ruin the family name.

Light follows THURZO out the stage, fading off.

END SCENE
-

TRANSITION
Props crew change the set
Background sound: Trickling of water / blood, then is followed by loud talking of jury
people

SCENE 16: COURT HEARING II

STAGE: COURT
Props: chair for Ficzo, jury stand
CHARACTERS: Fickzo, JURY, Judge Theodosius de Szulo of the Royal Supreme Court, NURSE,
LAWYER
Lights fade in just as JUDGE gets order.

Judge: The trial against the accused, Lady Elizabeth Bathory, shall now commence.

INTERROGATOR: On the account that quite a number of deaths have been reported to have
been occurring inside the Lady’s habitual abode, Count Thurzo went to the castle
Cachtice where the Lady Bathory was reportedly committing those acts. While venturing
the castle, they came across several bodies of young women who are very pale and
seemed to have been drained of blood. Upon reaching the dungeon, that was where dead
bodies of maidens were discovered who, apparently, have lost quite a lot of blood...
Now, one of the suspected accomplices of the accused, Fickzo, is now called to the
stand, as a witness to these alleged crimes.
Calls Fickzo, who is looking very nervous and anxious.

INTERROGATOR: How long have you worked for Lady Elizabeth Bathory?

FICKZO: 16 years.

INTERROGATOR: Now tell me, throughout that time, are the goings on in that castle,
according to the reports of Count Thurzo, indeed true?

*silence*

INTERROGATOR: Let me state this simply. Have you ever seen or heard anything out of
the ordinary going on inside?

FICKZO: *breaks down* Nothing, no sir, not at all (very scared, traumatized, Doesn’t
wanna say the truth in fear of getting punished by Elizabeth)… (kind of can’t stop
herself from telling the truth) there were screams in the night, sounds of torture...
no! no sir! I meant nothing! nothing!.. but she managed to lure all the women from the
country through deceit.. saying that she would offer etiquette lessons or employment
in the castle. Some were even forced to come. no sir! BUT BUT BUT... (finally giving
in to saying the truth) Oh, it was horrible! For 16 years, I kept silent but my
conscience cannot stand any more of the cruelty!

JURY: I see… And what happened to the bodies?

F: I admit having assisted Madame in killing 37 girls. They were buried in holes… in
the garden… we’d go out at night and bury them in a church... and…

Lights black out slowly as JUDGE thumps his gavel.

END SCENE
-

SCENE 17: Condemnation of Elizabeth

Stage: Elizabeth’s room
Props: bed, dresser
Characters: Elizabeth, “Ceremony master” / Condemner, THURZO, witnesses

GUARDS slowly walking Elizabeth to her prison-room.(Condemner, standing across

Elizabeth, facing her. Elizabeth stares around with expressionless eyes and a cold,
straight face. There are also people around
<this might include the guard, and her cousin>. Also workers who busy about changing
her bedroom into that of a lifeless cell.)

CONDEMNER: For having been found guilty on multiple accounts of murder and lawless
acts of disrespect to the royal lineage, the accused, the Countess Elizabeth Bathory
is hereby condemned to a life of imprisonment in this very room. With no permission,
whatsoever of contact with any living soul, you, Elizabeth Bathory, are to be locked
up inside this room, to be given food, only from a small cavity on the walls that
shall be put up as a blockade from any connection to anyone outside these walls.

Elizabeth still looking haughty and proud, but follows the court sentence against her.

Light out.

END SCENE
-

SCENE 18: DEATH of ELIZABETH

Stage: Elizabeth’s room-turned prison cell
Props: mirror, bed, dresser
Characters: Elizabeth Bathory, Young Elizabeth Bathory (as a reflection in the
mirror.)

Dim lights (focused only on Elizabeth), following Elizabeth to the part where mirror
is.

ELIZABETH walks to the side of the stage, standing, looking at a floor-length mirror
(with young Elizabeth enters as the reflection).

Lights grow a bit brighter (but with hints of red, if possible).

ELIZABETH touches her face, smiling,: Your skin is ever so flawless. Such absolute
beauty.. No one could attain this splendid loveliness but me. No one could ever be
more beautiful than me.

ELIZABETH, going crazy again: I didn’t fail you, Elizabeth.. They’re not important..
They do not understand the need, the necessity of great power and beauty. No one else
is as valuable as you.. Only I could understand you. They’re all insignificant fools
and wretches. It’s worthless to give even a second of thought about those revolting
looking people. No one could ever define your incomparable beauty.. No one could love
you more than I do, Elizabeth.. No one but I...

ELIZABETH looks at the audience and smiles.

Moves back a bit (so lights wouldn’t show young Bathory anymore).
Slowly falls down, eyes fixated on audience.

Stops moving but her eyes are wide open.

Light dim, then blacks out suddenly.

END of PLAY
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