Function Order: Ti-Se-Ni-Fe
Dracula does not have much dialogue or much to do in this or any of the Hammer Horror films, which means there’s gaps in his cognition, namely indications of low Fe in his desire for revenge (he wants to hurt people the way they have hurt him, by targeting Lucy and then Mina in recompense for his lost bride and them “daring” to attack him), and his dry, withdrawn nature. He shows some early politeness to Jonathan, being charming and likable until he quickly shuts that off and ceases to live under any pretense of “niceness.” He locks Jonathan in his room, attacks him, and then callously attacks and turns Lucy and tries to do the same with Mina, using force rather than charm. But he is sensible enough to avoid direct confrontations with Van Helsing—when he finds him in the cellar, Dracula turns and flees rather than risk the man taking him down. He has a lot of Se opportunism, but is not extroverted—he lives alone in his castle, has few people around him, and doesn’t excessively socialize with his guest. He’s also somewhat reckless and opportunistic. After Jonathan kills her, Dracula turns him, leaves him in the coffin, and sets out for England to drain the woman Jonathan cares about of blood—his motivation is revenge and presumably a desire to “do unto others” what they have done to him (take his woman). Once in London, he targets Lucy and turns her, then sticks around to do the same to Mina, despite the fact that he must now know Van Helsing is after him. He takes Lucy away with him, unwilling to let her go, and transports her back to his castle, failing to think about the fact that it will draw Arthur and Van Helsing to his door for a final confrontation. In this sense, he is living too much based in the present moment—taking advantage of opportunities around him and risking his immortal life in the process. He even moves his coffin into Mina’s cellar, where he has immediate access to her at all times, and sneaks in and out of her bedroom under the watchful eye of her protectors. Whenever he feels threatened, Dracula becomes violent, running at people and using physical force against them. He succeeds in gaining the upper advantage, but tends to flee if he thinks he is out-maneuvered.
Enneagram: 8w9 sp/sx
Dracula wastes no time in showing his true colors to Jonathan, once he finds out his bride has been attempting to feed on his new librarian—he becomes angry, assertive, and violent—jerking her around, shoving Jonathan out of the way, and appearing to intend to ‘punish’ her. He asserts his dominance over other people easily, locking Jonathan in his room and ultimately turning him after draining him of blood. Whenever cornered, he becomes ruthless in how he enacts his revenge. He also tends to just take whatever he wants, including making off with women in the middle of the night! Dracula puts them under his ‘thrall’ (power), removes their will to resist him, then seduces and feeds off them. In his rage, he almost succeeds in killing Van Helsing. But he also calculates his risks and avoids confrontations where he can, choosing to disappear and flee for his life, rather than stick around to face Van Helsing. At first, he appears to be polite and nonthreatening, even if his actions are at times sinister.