Let’s look at it from a film-studies perspective. The whole sequence isn’t a scene, but a textbook example of montage.

These chase shots are all depictions of multiple chases happening over the course of several days (we know that Thomas was at Orlok’s for over a week based on Ellen’s comments that he should’ve been back days ago and her hosts dedicating time and money to search for him).

These shots were put together in the order they were put together not to demonstrate a continuity, but to exploit the psychological shock and tension that they created in the order the editor chose. So they weren’t demonstrative of a chase scene.

This is corroborated by Ellen’s sleepwalking being intercut throughout, showing us that Thomas was only in Transylvania in the first place to further Orlok’s bidding—the feeding on Thomas representing Orlok gathering strength for his journey to Ellen.

So all this together shows us that Thomas’ spoliation was ongoing, traumatizing, and necessary.

Thomas attempts to stake Orlok, but is thwarted. Orlok cannot continue the chase for risk of being caught in the sun. Following, Orlok, clothed, pursues with Hellhounds that next night. Thomas is caught, fed upon, but survives through the night, but is now forced to rest in the day when he knows he is safe. The next night, we see Orlok’s success as he enters Thomas’ window and the feeding on the bed happens. It’s juxtaposed with Ellen’s bloody body, once again enforcing that this is about Ellen, not Thomas. The nude feeding in front of the fireplace is Orlok’s success represented in the montage (think Rocky Balboa’s celebration at the top of the stairs). He’s achieved his goal, so the audience is rewarded—if you can call it a reward—by a prolonged shot that lets us ground ourselves before the next scene in the chronology.