Angela Carter wrote Vampirella, her first of five works for radio, in 1976. The play serves as a sequel to Bram Stoker’s novel Dracula (1897) where the vampire’s final descendent is a countess trapped in a castle, whose mythology is pitted against the rational thought of the early twentieth century. Gothic horror (and also much of Carter’s work) is often concerned with the violation and deconstruction of bodies. In this essay I explore how Carter uses the radio’s existing deconstruction of bodies to evoke something surprisingly visceral.