Ardel Wray & Josef Mischel

               The MAIN and CREDIT TITLES are SUPERIMPOSED over a MATTE
               SCENE of the Isle of the Dead. When the last CREDIT TITLE
               DISSOLVES, the painting is left clear for a moment and then
               there FADE IN the following words:


               When this inscription has remained on the screen long enough
               to be read, underneath it appear in block letters the words:

               GREECE - 1912

                                                       FADE OUT.

               FADE IN   

               CLOSE SHOT— Cerberus — night. The three-headed guardian of
               the dead, The marble figure glares watchfully from one head
               while the other two seem to drowse in sleep.


               CLOSE SLOT — the hand of General Nikolas Pherides  The
               General's hand spasmodically opens and closes around the hilt
               of a sword which has been struck into the earth, point
               foremost as a support.

               The CAMERA PULLS BACK to reveal his naked forearm and from
               this forearm gush gouts of arterial blood. The blood falls
               into an enamel basin,

               Over this CLOSE SHOT VOICES can be heard.

                                   FIRST OFFICER'S VOICE
                         Dead on the field, four thousand
                         five hundred seventy—two of the
                         enemy — three thousand of our own
                         men. Burial parties are already at
                         work. We are assigning men from
                         every company to clear the field,

                                   DR. DROSSOS' VOICE
                             (cutting in)
                         Tell them to pour lime in the

               The CAMERA IS DRAWING BACK to reveal General Nikolas
               Pherides, the commander of a Greek army corps, seated behind
               a small table  His left hand is outstretched to the
               barber—surgeon who kneels at his side and is engaged in
               bleeding him,

                                   FIRST OFFICER'S VOICE
                             (same tone)
                         Enemy casualties estimated as nine
                         thousand —— prisoners ——five

               The CAMERA CONTINUES DRAWING BACK to disclose the entire mise
               on scene. Four Greek officers stand before the General.  Two 
               are great burly line officers; their uniform tunics open at
               the neck, their caps on the back of their heads and their
               great sabres trailing along the ground. The third is a
               medical officer, Dr. Alexander Drossos. He is excessively
               neat and dandified in his uniform, with pince—nez glasses set
               perfectly straight on the bridge of his nose. The fourth is
               an Adjutant, military enough in dress and bearing but with a
               great brigand's mustache and merry black eyes. At the
               General's right hand sits a young American, Oliver Davis, a
               reporter for the New York Morning Globe. He is dressed in the
               semi—uniform outfit which Richard Harding Davis popularized:
               breeches, leather leggings and a khaki tunic of military cut.
               While the rest talk, he is busily scribbling on a pad,
               without paying the least attention to any of then.

               The second officer breaks in on the first officer's report,
               unable to restrain his enthusiasm longer

                                   SECOND OFFICER
                         A greet battle —— a great victory!

               MED. CLOSE SHOT — General Pherides and Dr  Drossos.

                                   DR. DROSSOS
                         To be sure . Enough blood spilled
                         to satisfy anyone --
                             (turning to the General)
                         except General Nikolas Pherides.
                         You're letting that fool drain your
                         life away.

                             (looking up)
                         Your father always prescribed it,
                         and I'm alive to tell you so.

               FULL SHOT — the entire party inside the tent. In the
               meantime, the barber-surgeon has finished his work and is
               binding up the General's arm. He cinches the bandage tight. 
               The doctor shrugs.

                                   DR. DROSSOS
                         At least get a decent night's
                         Consider it a prescription from my

               The General nods. The three officers and the Adjutant leave,
               pausing at the tent flap to call back their "good nights".  
               Hardly have they gone when the General rises from his chair
               and begins to pace the narrow floor of the tent; his shadow
               walking with him on the side walls and ceiling. The young
               correspondent looks up and watches him. Finally, he speaks.

               MED. TWO SHOT - Oliver and the General.

                         Why not Take the doctor's advice?
                         You're the hero of the battle of


                         In the New York Morning Globe,
                         the man who wins victory is always
                         a hero. -

               The General puts his hand on Oliver's arm.

                         Listen ——

               Both men are silent in an attitude of listening - from
               outside can be heard distantly the screaming and groaning of
               the wounded.

                         You know that sound, Oliver?

                         I heard the same sound at
                         Ladysmith, at Nukden, Port
                         Arthur.  What do you expect
                         after a battle?

                         You were at those battles as a
                         spectator — — I wonder if you can
                         think what that sound might mean to
                         me —— those men out there —— dead
                         or dying —— by my order -- because
                         I willed it so.

               CLOSE TWO SHOT — Oliver and the General. Oliver holds up the
               lantern and tries to peer into the darkness. The General
               starts off and Oliver falls into step behind him. They pass a
               sentry who salutes. Only the lighted lantern can be seen as
               they go into the darkness.

               EXT. BATTLEFIELD - NIGHT

               The CAMERA in SET UP TO SHOOT PAST the heaped-up dead. The
               only illumination is the lantern which Oliver carries, he and
               the General pick their way between the dead.

               ANOTHER ASPECT of the battlefield - an ox cart loaded with
               the dead, some of them tied to the rear axle by their naked
               legs. Two men, in the hooded coats worn by the infantry of
               the Balkan allies, are busy loading the cart. They look up,
               astonished, as the General and Oliver pass.

               STILL ANOTHER ASPECT of the battlefield — the General pauses
               as if to search out his way and then starts off determinedly
               toward the left. Oliver takes two long strides to catch up
               with him. The CAMERA DOLLIES WITH them. Oliver lifts the
               lantern and gestures outward with it.

                         Over there, isn't it?

               The General nods and starts off again rapidly, Oliver


               The two men come over a rise of ground and stop at the edge
               of the beach.

               STOCK SHOT - The moon emerging from behind clouds

               EFFECT SHOT. In the foreground stand the two men. Before them
               lies the sea and the Isle of the Dead. As they watch, behind
               them the moon emerges from the thick clouds and a great
               silver light floods over the sea.

               A little way from the beach, The Isle of the Dead stands out
               from the glassy—calm, moonlit water. In the f.g. is a broken
               Ionic column.
               There are a few flat stones at the water's edge, the remnants
               of a quay which once reached out into the sea. Tied to tall
               stakes are two small row boats and a third lies half-buried
               in the sand. The CAMERA HOLDS until the General and Oliver
               come into the scene and stand looking across the dark water.

               REVERSE CLOSE SHOT - Oliver watches the General, troubled by
               his intention of crossing to the island.

                         Do you mind if I go with you?

                         There's no one there -— nothing but
                         the caves and the dead.

                         I'll only go as far as the shore
                         and wait for you.

               The General- makes a slight gesture of indifference and moves

               EXT. THE BEACH - NIGHT - (PROCESS)

               MED. SHOT — the General steps into one of the boats. Oliver
               casts off the minter and puts the lantern down on the sand.

                         I'll leave this here to guide us

               He jumps into the boat, picks up an oar, pushes off and
               starts to scull.


               EXT  THE ISLE OF THE DEAD - NIGHT

               The boat noses its bow onto the shelving beach. The men climb
               out. Oliver pulls the boat a little farther onto the sand and
               looks back toward the mainland.


               LONG SHOT - The lantern is glowing at the water's edge.
               Suddenly it flickers and dies out.

               EXT  THE ISLE OF THE DEAD — NIGHT

               CLOSE SHOT — Oliver, having seen the lantern fail, shivers.

               MED. TWO SHOT - Oliver and the General. On the edge of' the
               wall nearest thorn is a marble figure of Cerberus, the three
               headed dog which guards the dead. Two of the heads have been
               carved to represent sleeping heads; the third head glares
               toward the mainland with a sightless, unseeing, but ever
               watchful stare, Oliver takes the General's arm and draws his
               attention to the statue.

                         Cerberus —— the watchdog. He guards
                         the sleep of those who are buried

               The two men walk forward into the towering shadows of the
               cypress trees, turning toward the left. They are lost to view
               in the shadows. The CAMERA HOLDS ON Cerberus.


               MED. FULL SHOT — The General and Oliver come walking onto the
               ledge before the crypt. They pause a moment while the General
               looks about as if to get his bearings, then he moves
               resolutely toward the crypt nearest. Oliver goes with him as
               far as the doorway.

               MED. FULL SHOT - The doorway of the crypt. At the doorway
               Oliver stops.

                             (almost whispering)
                         I'll wait here for you.

               The General nods, removes his hat and goes into the crypt. He
               is lost in the darkness. Oliver tries to peer in after him.
               The opaque blackness prevents him seeing anything. He
               relaxes, pulls a square cardboard box of cigarettes from his
               coat pocket, selects one, puts it in his mouth and is
               fumbling for a match when suddenly the General re—appears.
               Oliver looks at him in astonishment.

                         She is not there. The coffin is

                         Maybe you've got the wrong crypt ——
                         after all it's twenty years when
                         you wore last here.

               The General shakes his head..

                         This was the place.

               They stand there for a moment in perplexity.  Suddenly, the
               sound of a woman's voice singing comes very faintly to them;
               very faintly and from a considerable distance. Both men turn
               their heads in the direction of the singing which seems to
               come from the other side of the island. They look at each
               other, then with a curt gesture, the General beckons Oliver
               to follow him and strides off.


               MED. CLOSE SHOT --Oliver and the General. The CAMERA TRUCKS
               WITH them as they pass under the cypress trees, their faces
               alternately in moonlight and shadow. The sound of the woman's
               voice singing cones over the scene very faintly.


               MED. SHOT - To the right, a stairway cut into the rock winds
               upward from the sandy floor of the beach. The CAMERA PANS
               SLOWLY UP the rock to the head of the stairway, a narrow
               shelf or landing above the sea. A square opening is cut into
               the cliff-face, black and impenetrable from this angle. As
               the CAMERA RESTS ON the tunnel opening, the minor melody of-
               the singing rises to an impassioned lament, wild and

               REVERSE ANGLE. From the shelf, CAMERA SHOOTS DOWN onto the
               stairway. The two men are starting up the steps, the General
               in the lead. They move upward slowly, hesitantly. The singing
               continues, clear and alluring.

               MED. SHOT. Oliver and the General come up onto the shelf of
               rock. Before then is the tunnel opening, an ominous door of
               darkness in the moonlit stone. (See page 113 "HELLAS".) As
               the two men face it, the singing comes to a climax on a high,
               almost triumphant note. There is a moment's after-silence and
               then the earlier motif of the song begins again, subdued,
               softer, as if the singer were moving away.

               CLOSE SHOT. The General stares off, rapt, his entire being
               focused on the unseen singer. CAMERA DRAWS BACK to include
               Oliver, who stands a little to one side, watching the
               General. The General moves forward and	Oliver accompanies
               him. CAMERA TRUCKS WITH them, until they are framed in the
               opening of the tunnel. They stand there for a second, than
               move forward again. Their figures grow dimmer as the CAMERA 
               TRUCKS WITH then into the blackness of the tunnel. The
               singing continues, faint and slightly distorted. Over it
               sound the slow, hesitant footsteps of the two men.

               REVERSE SHOT - Beyond then, the darkness of the tunnel is
               broken by a light that moves wraithlike across one of the
               atone walls. Moonlight is pouring down from a long slit in
               the rock, where the wall curves up into the tunnel ceiling.

               MED. CLOSE SHOT. Oliver and the General step into the little
               pool of moonlight and look up at the aperture above them. The
               two men turn away and continue into the darkness of the
               tunnel. The singing continues over all this, growing a little
               stronger again.


               The two men emerge from the tunnel. To the right are	high
               limestone cliffs, before them darkness. To the left is part
               of a house wall, with a door -- a dark and forbidding door of
               oak and iron. Now the woman's singing is loud and near. The
               General stares at the house, looks at the surrounding
               darkness and then back to the house again.

                         There was no house here.

               Oliver and the General cross to the house. At the door, the
               General listens a moment, then lifts his hand and thunders on
               the panels with his knuckles. The sound of the singing breaks
               off instantly and they stand waiting in the moonlit silence.
               Suddenly the door opens before them and lamplight makes a
               frame about them. A man's voice, cheery and welcoming, comes
               from the doorway.

                                   ALBRECHT'S VOICE
                         Come in, come in!

               They step through the doorway and the door closes behind


               It is a lovely room of simple austere proportion, warm with
               lamplight, comfortable with chairs and sofas and heated by a
               brazier full of coals. Various antiquities, heads, bits of
               sculpture, torsos, limbs, bowls, vases amphoras and cylixes
               decorate the room. At one end is a long table on which
               various shards, artifacts, have been arranged for labor and
               sorting. On this table are also books and measuring

               The various people in the room turn curiously upon the
               entrance of the soldier and the correspondent. It is Albrecht
               who is welcoming, them. He is a Swiss of middle age, a
               scholarly, gentle man with a humorous smile.

               Before the brazier, warming his behind under his coattails
               just as he would have done in Devonshire, is a ruddy-faced
               Englishman, also of middle age. He is formally dressed and
               has a stiff, official air. This is Mr. Thomas St. Aubyn,
               British Consul at Adrianople.

               Seated some little distance from him in a stiff-backed chair
               is a woman in her early thirties, still possessed of a
               haggard beauty. There is a curious, restrained stillness
               about the woman and when she moves it is with a certain
               careful deliberation. She is working on a hand embroidery
               frame. After one glance at the newcomers, she pays no further
               attention to them. This is Mary Wollsten, secretary to the
               Consul. She is dressed primly In dark clothing. - -

               At a small table by himself with a tankard of wine before him
               and an empty wine bottle on the table, is a commercial
               traveller, Henry Jacks, a Cockney, dressed in a loud, fuzzy
               plaid suit, and seeming at this moment to be somewhat the
               worse for wear and liquor.

               The General and Oliver look around the room in astonishment.
               Albrecht himself shows some surprise now that he sees the
               General in the fully lighted room.

                         I took it for granted you gentlemen
                         were refugees as are my other

                         This is General Nikolas Pherides,
                         Commander of the Third Army. I'm
                         Oliver Davis.
                             (he hesitates)
                         To be perfectly frank with you, we
                         didn't expect to find anyone living

                         It is my home.
                             (extending his hand)
                         My name is Hugo Albrecht.

               Oliver shakes hands with Albrecht. The General bows.

                         I have not been on the island in
                         twenty years. It is changed -
                         changed completely. Where are the
                         graves -- the coffins?

                             (turning to his guests in
                              polite explanation)
                         This was once a cemetery.

               The people in the room exhibit varying degrees of interest.

                         It may seem an odd choice for a
                         home. Yet I like it.
                             (to Oliver and the
                         But you must meet my guests.

               He half turns to indicate the Consul.

                         This is Mr. St. Aubyn, British
                         Consul from Adrianople.

               St. Aubyn bows formally. The General returns his bow with a
               nod, and Oliver goes forward and shakes the Consul's hand.

                         --	and Miss St. Aubyn.

               Cathy smiles wanly in greeting. Oliver, in American fashion,
               goes from her father to Miss St. Aubyn, takes her hand.

                         You were singing, weren't you?
                         A beautiful voice, Miss St. Aubyn.

                             (masking irritation)
                         That was my companion. She sings
                         little peasant songs quite nicely --
                         a completely untrained voice, of

               St. Aubyn continues the introductions, indicating the somber
               faced woman, who sits apart from the others.

                                   ST. AUBYN
                         My secretary, Miss Wollsten.

               At this point, Jacks rises unsteadily and lurches towards the
               others. He flashes a card from his pocket.

                         Jacks -- Henry Jacks. Tinware,
                         best grade and the lowest prices --
                             (as if quoting a well
                              known slogan)
                         Jacks sells no junk.

               The General looks at him, astonished at this strange
               commercial personality. Oliver, having shaken hands with Miss
               Wollsten, nods across to Jacks amiably.

                         Aren't you a little out of
                         your territory?

                         If the world won't come to
                         Jacks, Jacks goes to the world.

               He walks unsteadily back to his own seat.

                         Mr. Jacks is a philosopher.
                             (to the General)
                             (and Oliver)
                         But, come, sit down with us. We are
                         all anxious to hear of' today's

                                   ST. AUBYN
                             (to General)
                         A fine fight, sir, but a bit
                         inconvenient for travel. We were
                         under constant shelling all the way
                         down the coast.

                         The enemy is in retreat. There will
                         be no more fighting here.
                             (to Albrecht)
                         I came here to visit the crypts. My
                         wife was buried here. What happened
                         to the bodies?

                         They were gore before I came here.

                         But why?

               Ida, the woman servant, a middle—aged Greek woman in peasant
               costume, with a dark sombre face, comes in. She has an
               amphora of wine and two glasses in her hands. She pours wine
               for Oliver and hands him the glass, then turns to the General
               and begins to pour for him as he and Albrecht talk.

                         There was some trouble here ——the
                         villagers on the mainland —-this
                         island was the focal point of their
                         anger. They came here ——broke open
                         the tombs and despoiled the graves.

                         All the graves?

                         I'm afraid so. There were rumors
                         ——people were aroused. Some feared
                         restlessness among the dead you
                         know, the old superstitions.

                         I donut understand.

                         I can explain, Master Soldier.

               She has put down the amphora so that her hands are free. She
               lifts a fore—finger to each side of her mouth and grimaces
               between the upright fingers.

                             (understanding her

               Hastily Ida crosses herself, at the same time nodding

                             (not too unpleasantly)
                         You are an old fool.

                             (grinning; pleased at this
                              insult from her heroic
                         You think so? You think such things
                         do not happen? Right now ——
                         upstairs there is one who is rosy
                         and bright —— full of blood -- and
                         here ——
                             (she makes a sidewise
                              inclination of her head
                              toward Mrs. St. Aubyn)
                         ——	here is one who is pale and
                         cold as a lily.

                         You are still a fool.

               Ida laughs and Albrecht picks up the amphora and starts to
               pour another glass of wine for the General.

                             (to Albrecht)
                         You know the Greek legends, you
                         drink the Greek wine, but you are
                         not a Greek.

               Albrecht is carrying the wine jug and glasses to a small
               table near the brazier.


               I am, Greek, sir, by affection.

               Albrecht puts down the jug and the glasses and turns to	the

                         But the gods played a little trick
                         on me. I was born in Switzerland.

                             (pointing to an antique
                         You collect these to sell, abroad?

               Albrecht, starting to pour from the wine jug, shakes his

                             (shaking his head)
                         No more. One day I stood in the
                         Royal Museum at Munich and watched
                         the fat burghers and their
                         brood—mare wives staring and poking
                         at my beautiful trophies. Now I am
                         content just to live —— here in the
                         heart of a vanished world.

                             (butting in without moving
                              from his place)
                         I wish it'd vanish, I do.
                         I'd give every bloomin' statue in
                         the place for one whiff of fish 'n'
                         chips —- for one peek at

                         Each to his taste.

               Jacks gets up, lurching and steadying himself on the table.

                         I'm going back, first boat to
                         England. I'm going back and hear
                         the sound of Bow Bells.
                             (gets up and starts to the
                              stairs; complaining as he
                         I'm not well. I'm not well.
                         Something's wrong with me
                         ——something hurts.

                                   ST. AUBYN
                         Odd way to describe plain

               Jacks pays no attention to him, but goes on up the stairs,
               the rest watching. The stairs are lit in such a way that the
               upper portion is in complete darkness, shadowed by the
               landing above.  As Jacks disappears into this darkness, there
               is a sound of a heavy fall, a muttered curse. They all turn
               to face the staircase and Oliver and the General get to their
               feet. Albrecht picks up a lychnos and crosses quickly to the
               stairs, followed by St. Aubyn. As he holds the lamp aloft,
               the General comes to stand beside him.

               MED. SHOT — past Albrecht, St. Aubyn and the General at the
               foot of the stairs, to the upper portion of the stairs, now
               lit by Albrecht's lamp. Jacks lies sprawled across the top
               step. Bending over him is a girl in Greek native costume, the
               gold coins of her headdress trembling at her ears, as if she
               had been arrested in startled movement. The girl, Thea,
               slowly lifts her head to face the people below her. As she
               does so, the General makes a sudden move forward: a move of
               recognition and astonishment —— then restrains himself and
               stand rigidly still.

               MED. SHOT — Thea.

                         He fell.

               As if words had released them, Albrecht and. St. Aubyn start
               up the stairs to Jacks.

                             (a little breathless)
                         That's a strong wine —— poor
                         fellow, I should have warned him.

               As they reach Jacks, who is mumbling and trying to get to his
               feet, Thea starts down the stairs. It is then that she sees
               the General, who still stands rigid, staring up at her as if
               she were an apparition. She hesitates a moment, a step or two
               above the bottom of the stairs, held there by the General's
               fixed gaze. Behind her, Albrecht and Ida have gotten Jacks to
               his feet. The man is muttering incoherently.

                         There -- you're all right, now
                         ——	we have you ——

                         Never mind. It'll get him to his

               Ida and Jacks go on upstairs and Albrecht holds the lantern
               to give them light. The General stares at Thea.

               CLOSE SHOT — Oliver. He is staring off in the direction of
               the staircase, his face revealing pleasure in seeing this
               beautiful Greek girl.

               ANOTHER ANGLE — Thea and the General. Thea is looking back
               toward Jacks. The General is studying her. Suddenly, she
               turns toward him to go down the stairs. For a moment she
               faces him full face. He looks at her in amazement greatly

               CLOSE SHOT - The General looking at Thea. His face is
               strained and he seems to have suffered from a shock.

               MED. FULL SHOT - The General watching Thea. Albrecht coming
               down the stairs looks at him.

                         My dear sir, you look completely

               The General attempts to pull himself together.

                             (coming into the scene)
                         He is exhausted.

                         Why don't you stay here tonight?
                         Get a good sleep. You can return
                         to your command in the morning.

               The General is about to shake his head in a negative answer
               when he suddenly thinks better of it and still looking at
               Thea, speaks.

                         Perhaps I had better stay.
                         I am tired.

                         I'll get Ida to make up your

               He starts upstairs. Oliver and the General turn back into the

               TWO SHOT	— Cathy and Thea. They arc seated on the settee. The
               CAMERA is set up TO SHOOT PAST their profiles	so that Oliver
               and the General can be seen coming down the room from the
               stairway in the background.

                             (to Thea)
                         The young man, Mr. Davis, seems to
                         be some kind of an unofficial
                         observer —— a correspondent of
                         some sort ——

                         And the soldier -- He looked at
                         me so strangely -- who is he?

               Before Cathy can answer Oliver has come close to stand beside
               them. In the background General Pherides has crossed to the
               brazier where Mr. St. Aubyn stands.

                                   ST. AUBYN
                         I don't really know where Thea
                         comes from. The Vice—Consul at
                         Adrianople brought her to me..

                         Her name is Thea?

                                   ST. AUBYN

                         Her family name?

                                   ST. AUBYN
                         Damn me, if I know. She's become so
                         much a member of our household I
                         never think of her by any name but
                         Thea -- she has a last name --

               He wrinkles his forehead.

                                   ST. AUBYN
                         I seem to have forgotten.

               The General looks at him suspiciously.

                         You do not know her last name --
                         you do not know from where she

                                   ST. AUBYN
                             (looks off at his
                         Miss Wollsten -— my secretary,
                         she'd know.

               MED. FULL SHOT - Miss Wollsten. She gets up, places one of
               the long needles she uses in her embroidery work through the
               collar of her dress and starts toward the stairway.

               FULL SHOT - The General and St. Aubyn as they watch Miss
               Wollsten pass. She nods "good night." The General turns back
               to St. Aubyn.

                             (with a gesture toward
                         Your daughter is ill.

                                   ST. AUBYN
                             (brushing off the
                         She's not too well.

                         What is her illness?

                                   ST. AUBYN 
                         Nothing, really. She's been under a
                         great strain -- the journey -- the
                         battle --

                         Was she ill before that girl came
                         into your household?

                                   ST. AUBYN
                             (embarrassed at
                             this interrogation)
                         Why -- no not before Thea came ——

               The General looks at him and then at Thea.

                         Your daughter is weak -- she feels
                         as if the blood had been drained
                         from her -- and all this since that
                         girl came to work in your house.

               St. Aubyn looks at him in annoyance. This volunteered
               diagnosis offends him. He turns toward the stairs. The
               General turns with him, taking hold of his arm to stop him.

                         This girl --

                                   ST. AUBYN
                         This girl -- Thea —- is not a
                         servant in my household, sir.
                         She is my daughter's companion.
                         Now, sir, if you'll excuse me,
                         I'll go have a look at Mr. Jacks.

                         I will go with you.

               Mr. St. Aubyn starts for the stairs and the General stalks
               after him. The two men reach the foot of the stairs

               MED. CLOSE SHOT - Oliver with Thea and Cathy. He smiles in a
               friendly fashion at Thea, as he says:

                         I hope Mr. Jacks gets to bed in one

                         M~ father will take care of it.
                         (gushing to impress Oliver)
                         Pappa is wonderful! No matter what
                         happens, he makes me feel perfectly
                             (with flirtatious
                         I could never leave him. I should
                         be utterly helpless by myself.

                         You are fortunate in your father.

                         Thea is an orphan.

                             (to Thea)
                         That was a lovely song you sang
                         before we came. Sing it again, will

               Thea smiles, pleased at his request. Before she can reply,
               Cathy breaks in.

                         I adore hearing Thea sing --
                         but my poor head's beginning to
                         I'm so sorry.

                         Of course. Tomorrow, perhaps,
                         before I go?

               Thea nods and Oliver looks at her, seeing how very beautiful,
               how very desirable she is. He smiles and a radiant answering
               smile comes to her lips. Cathy, watching them, draws their
               attention with a sigh. She leans back against the pillows
               exhaustedly and a little shudder moves her shoulders. Thea,
               instantly all concern, bends over her.

                         You have a chill! You must have a
                         glass of wine.

               She crosses quickly to the little table and picks up the
               amphora. She brings it back with her, Oliver and Cathy are
               talking. She has to wait, holding the cold pitcher until
               Cathy turns and holds out her glass. Cathy waits for Oliver
               to finish speaking before she passes the glass to Thea.

                         You can imagine the General's
                         disappointment when he found his
                         wife's body gone.

               He turns to Thea.

                         Then we heard you singing --it was
                         so strange and eerie in a place
                         where we had thought there was only
                         the dead.

               As Oliver finishes speaking, Cathy holds out her glass to
               Thea, who begins to pour wine into it.

                         I was thinking of death when I


               Thea finishes pouring the wine and puts down the amphora. The
               chilled jug has made her hands cold. She rubs them together,
               then blows on them. Cathy and Oliver watch her, both smiling.
               Cathy shivers.

                         You're making me feel cold.

               Thea is instantly concerned.

                                   CATHY (CONT'D)
                         Perhaps my scarf --

               Thea nods, smiles and willingly goes to get it.

               FULL SHOT - Thea. The CAMERA PANS WITH her to the foot of the
               stairs. Here she pauses and from a small marble bench takes
               up a lychnos, sets it alight from another that is burning
               there and with this lamp in her hand begins to ascend the

               MED. SHOT of the stairs. Tall and lovely, with almost
               measured grace, Thea ascends the stairs to the second floor
               landing, then comes up onto the landing and pauses, looking
               down the corridor. She holds up her lamp.

               LONG SHOT - CAMERA SET UP BEHIND Thea, so that it sees what
               she sees before her. In the corridor there are three points
               of illumination. One from the skylight; two from windows.
               These three sources of light cut the blackness of the
               corridor into almost equal sections; oblongs of blackness
               alternating with rectangles of grey moonlight. Around Thea
               there is a nimbus of weak and~ wavering light, the
               illumination from her little lamp.
               The whole corridor is very still, very oppressive. Thea draws
               in her breath almost as if taking courage, and moves toward
               the first patch of blackness. At its edge she hesitates and
               steps forward, with a little rush of movement. For a moment
               she is lost to view, then emerges in the first patch of
               moonlight. She moves slowly across this. Then again, at the
               very edge of the second section of darkness, she pauses.
               There is a little sound in the darkness; some scuffling of
               papers or blowing curtain. She stops stock still, begins to
               lift her lamp. The lamp flame flickers, and then a sudden
               soft draft makes the flame lean far from the wick, pulsate,
               puff out. The loss of the light leaves Thea cleft between
               darkness and moonlight. Again she takes a sharp intake of
               breath, again moves on and is lost to view, only to emerge
               again in the second section of light. She moves normally
               across this patch toward the darkness of a door set into a
               deep embrasure.

               MED. CLOSE SHOT as Thea emerges from the darkness and turns
               right, her hand already outstretched for the doorknob. A dark
               figure obtrudes itself from the deeper blackness of the door
               embrasure. A hand reaches out to seize her wrist. She gives a
               half stifled scream of fear and looks up into the face of the
               General as it emerges into the light.

                         You blew out the light -- to
                         see better in the darkness.

               Thea shakes her head, perplexed, still frightened. She looks
               at the lamp in her hand. The General reaches out his hand to
               point out the lamp. Their hands touch. He draws his hand back

                         And your hands are cold —-
                         cold as dead hands.

               Thea is too terrified to speak.

                             (with menacing softness)
                         You. You know me?

               Thea shakes her head, too torrified to speak.

                         Swear it. By your winding shroud,
                         do you swear it?

               Thea shrinks away, still unable to utter a sound. The General
               realizes that his questioning is futile. He releases her
               wrist, but still holds her fast with his fixed, accusing

                         Maybe you have no memory for the
                         past ——
                             (in a whisper)

               With the word, terror takes her. She makes a quick movement
               to flee. Just as quickly he seizes her, dragging her to him.
               He has to hold both her hands; then pulls her up against his
               chest. He repeats the word without any special meaning. His
               face, across which a narrow beam of light falls obliquely, is
               grotesque and horrible. The girl struggles and her struggles
               free one hand. She pushes herself away from him and quickly
               makes the sign of the cross between herself and the General
               at the same time whispering hurriedly.

                         Christ be with me ——

               For a bare second, there is silence between them and then,
               quite suddenly, he releases her other hand and begins to roar
               with laughter. She stands amazed, too wonder-struck even to
               flee, almost gaping at him.

                             (through his laughter)
                         You thought me a Vrykolaka -—a
                         vampire - -

               He pinches his arm.

                         Look -- I am alive.

               He begins to laugh again.

                         And I thought the same of you!
                         I am ashamed. A grown man --

               The General smiles in ridicule of his own foolishness,

                         We of the mountain villages
                         are strange people. There are
                         too many old dreams in our
                         blood, eh?

               Thea smiles in agreement.

                         Then you can understand --
                         you can forgive me.

               Again she smiles. He starts to move away from her. He has
               gone through the black patch of darkness nearest them and has
               emerged into the moonlight on the other side. She lifts her
               head and calls to him.

                         General ——

               He turns.

                         What do they call you? What
                         is your name?

                         Nikolas Pherides.

               He turns and continues down the corridor.

               CLOSEUP of Thea. A strange look comes over her face. From her
               stare, it is evident that the name strikes some sharp chord
               in her mind.

                                                       FADE OUT

                                                       FADE IN


               It is a bright morning and between the two portals of a
               ruined temple can be seen the sunlit sea. (See page 98

               In the space between the two portals, three people are
               grouped, Cathy, Thea and Albrecht. Cathy is seated on one of
               the white stones, leaning back against the wall, a rug
               wrapped about her knees. Albrecht stands behind and a little
               in back of her, while Thea stands leaning gracefully against
               the opposite portal, half silhouetted against the brightness
               of the sea.

               For a moment they remain quiet, then suddenly Thea throws up
               her arms in a gesture of ecstasy and speaks almost as if to

                         The sea! The sea!

               Albrecht stares at her, arrested by the words.

                         What made you say that, Thea?

               The moment is broken. Thea looks at him self-consciously, and
               then shakes her head.

                         I don't know.

                         "The sea —- the sea." Those were
                         the very words of Xenophon and the
                         ten thousand - - do you know about
                         them, Thea?

               Smiling, Thea shakes her head.

                         You don't have to. It's inside of
                         you -- all the glory that was
                         Greece -— the dancing, the singing
                         and the white marble --

                         How clover you are, Mr. Albrecht,
                         to see all that in our simple
                         Thea... She is quite pretty, isn't

                             (disregarding her;
                              pointing to a column)
                         This was the temple of Hades --the
                         God of the Dead. It contained no
                         images -- just empty space and
                         walls of perfect symmetry.

                             (looking about her)
                         How disappointing! I expected it
                         was something more romantic. A
                         temple to the Goddess of Love,

                             (looking off)
                         The Greeks thought death was
                         beautiful -- an adventure --a
                         journey to another world.
                             (after a little pause)
                         But I have my other guests to think
                         of -- The General will be wanting
                         to go back to his army. If you'll
                         excuse me --

               He starts off. The two girls watch him go into the grove.
               Thea seats herself beside, Cathy.

               CLOSE TWO SHOT - Thea and Cathy.

                         Cathy —- how does it feel to
                         have a father?

                         What an odd question!

                         I mean, does one love a father
                         because he is good and kind -—or
                         just because he is one's father?

                             (out of her depth)
                         Why, I love my father because -
                         because I do. Of course, he's nice
                         to me.

               Cathy leans over toward her.

                         Thea -- you're hiding something.
                         Why do you suddenly speak of your
                         father? You told me once you had
                         never seen him -- didn't know him --

                         I do not know him, but I have seen

                         What is it -- what are you talking

                         You have forgotten my last name?

               Cathy thinks a moment, then smiles.

                         I have forgotten it, dear.

                         My last name is Pherides.

               Cathy looks at her in astonishment.

               INT. THE GENERAL'S ROOM - DAY

               The General is seated on the edge of his cot still in his
               shirt sleeves. He is pulling on his boots. Oliver has been
               washing at the little wash stand and is drying his face with
               a small towel. Oliver begins to whistle merrily as he throws
               the towel down. The General looks at him.

                         You are a happy man Oliver. You
                         have but one world to live in —-
                         the world of today. I have two
                         worlds. I have that old dark world
                         of peasant ignorance and
                         superstition in which I was brought
                         up and a new world which the army
                         gave me —— a world of mathematics, 
                         gun ranges,logistics, tactics,

                         It doesn't seem to bother you
                         much, General.

                         I will be glad to leave this
                         island. It has too much of
                         that old dark world about it.
                         I will be glad to leave it
                         and that girl ——


               The General nods.

                         There is something evil about

                         Oh, now —— now look here ——

                         I know all you are going to say —-I
                         have been saying it to myself, but
                         the thought will not leave my mind.
                         She resembles my wife -—there is
                         something about her ——the way she
                         moves —— the way she turns her

                         But that should make you like her.

               The General shakes his head/

                         It makes me fear her.

                         I can't understand that.

                         It is not necessary to understand.
                         We are leaving and I am thankful.

               EXT. THE RUINS - DAY

               CLOSE SHOT - Thea and. Cathy. They are talking earnestly.

                         Thea, your choice is a very simple
                         one. Either you want to claim him
                         as your father, or you do not.

                         But one must love a father.

                         The General — you don't even
                         know him.

               There is a little silence while Thea looks toward the ground
               at her feet.

                         Come, Thea, if you're going to
                         claim him as your father you've got
                         to make up your mind. They'll be
                         leaving any minute.

                         I don't know. As a child. I longed
                         for a father and now —- I don't
                         know ——

               Thea is still hesitant; still trying to puzzle it out.

                         Do you like what you've seen, of

               Thea shakes her head.

                         I felt he did not like me.

                         That should decide it or you --

                         I will let him go. He is dead to me
                         as he is to all my mother's people.
                         I turn my hand against him.

               INT  THE GENERAL'S ROOM - DAY

               Oliver and the General are ready to depart. Oliver takes a
               last look around the room to see that they have left nothing.
               The General stands by the door buckling on his belt.

                         Well, at any rate, I would like
                         to say goodbye to the girl.

                         We have no time for that.

               Oliver shrugs.


               The General nods and straightens his coat under his belt.
               Oliver throws open the door and they start out.

               INT.  MAIN ROOM - DAY

               The CAMERA is set up in the doorway of the bedroom TO SHOOT
               PAST Oliver and the General as they go out a Albrecht is
               coming down the stairs.  He is hurrying and is very excited.

                         Wait, gentlemen! Wait!

               They turn to him.

                         I need your advice —— something
                         has happened —— Mr.  Jacks ——

                         Drunk again?

                         He's dead. I want the General
                         to see him.

                         If you wish.

               Albrecht nods gratefully, turns, and they follow him as he
               starts up the stairs.


               The three men, Albrecht, Oliver and the General come to the
               second floor and start down to the last door. The CAMERA
               TRUCKS BEFORE them.

                         He was going back to hear the sound
                         of Bow bells. He'll never hear them

               They stop in front of the door to Jacks' room. Albrecht opens
               it. Through the doorway can be seen a sheeted body on the
               bed; the face covered. The three men stop in the doorway.

                         He complained of not feeling well.
                         I thought he was drunk ——	he

                         That staggering. His dying so
                             (to General)
                         In your campaigns, have you never
                         seen men who staggered before they
                         died, who talked incoherently ——
                         walked blindly.

                         I've seen men die drunk —- and
                         I've seen men die of the plague.

                         Plague? There's no possibility
                         of that, is there?

                         The rider on the pale horse is
                         Pestilence. He follows the wars.

                         I'm not sure that it is the plague.

                         We will know when the next one
                             (to Oliver)
                         Until then you and I remain here.
                         I will not bring the plague to
                         my troops.

                         In the meantime it would be
                         useless to alarm the others.
                         Let them think it was a normal
                             (glancing into Jacks'
                         And, perhaps it was —- perhaps
                         it was.


               INT. MATH ROOM — NIGHT

               The oil lamps are lit. Albrecht has assembled his refugee
               guests at two tables. They are just finishing dinner. Oliver
               and Thea sit at the same table.

                             (to Oliver)
                         I'm glad you and the General didn't
                         have to leave us. We would feel
                         quite deserted..

                             (with a look which divides
                              his compliment between
                              Cathy and Thea)
                         How could we go back to the wars
                         with such pleasant company here..

                         Thank you.

               Thea smiles, pleased. Mr. St. Aubyn looks at his daughter,
               smiling and gay.

                                   ST. AUBYN
                         You're feeling better, Cathy?
                             (to Albrecht)
                         I must admit your island is
                         peaceful enough. Even I have
                         In fact, I feel quite exhausted.

               He lifts his hand to his forehead.

                                   MISS WOLLSTEN
                         Perhaps you should rest for a
                         little while, Mr. St. Aubyn.

               St. Aubyn dismisses the suggestion with a gesture.

                             (to Oliver)
                         Pappa is so strong. Not a bit like
                         me. Even as a child, I was
                         delicate. Then Mamma died, everyone
                         thought I should die, too.

               Oliver smiles politely but avoids the invitation to
               flirtation. Instead, he turns to Thea.

                         Thea, you've hardly said a
                         word all through dinner.
                         I feel something strange in
                         the house —— cold.

               The General turns to look at Thea, his eyes sombre and

                         You're afraid because Mr. Jacks is

                             (shaking her head)
                         The dead are dead.. They can
                         do no harm.

               Albrecht moves to get up from the table.

                         Miss Thea complains of the cold.
                         Let's go to the fire.

               The guests rise and the men stand back as Cathy, Thea and
               Miss Wollsten go out of scene, towards the other end of the
               large room. Albrecht who has drawn glasses and a wine bottle
               towards him, lifts one of the glasses toward St. Aubyn

                         St.  Aubyn?

                                   ST. AUBYN
                             (shaking his head)
                         An excellent wine, no doubt, but it
                         has rather a curious brassy taste
                         in my mouth. No I really quite

               An alert, speculative look comes into Albrecht's face as he
               watches St. Aubyn move out of scene.

               MED. SHOT, Cathy, Thea and Miss Wollsten have seated
               themselves around the brazier, Miss Wollsten already at work
               on her interminable embroidery. St. Aubyn passes them, going
               to the staircase in b.g. Miss Wollsten looks up and watches
               him anxiously. Cathy also looks up.

                         Good night, Pappa.

               St. Aubyn smiles at her, with an effort, and starts slowly up
               the stairs.


               ANGLE SHOT of St. Aubyn coming up the stairs. A few steps
               from the top, he stops; falters and almost loses his balance.
               He clutches at the balustrade to save himself from falling.
               For a second, he stands there almost doubled over, his face
               drawn from a sudden onslaught of pain. Then he straightens
               himself with an effort and pulls himself slowly up the
               remaining steps. At the head of the stairs, he goes past
               camera. CAMERA PANS TO show him start down the murky
               corridor, staggering as if he were drunk. He hesitates, then
               turns and lurches to the third door at the left, opens it and
               goes in.

               MED. CLOSE SHOT. Albrecht, Oliver and the General, at the
               table, are watching St. Aubyn's o.s. exit. They speak in

                         Did you hear what Thea said --
                         as if she knew what threatens

                         That's impossible. I told them
                         Jacks died of a sudden heart
                         attack, probably brought on by over

                         Did your servant got word to
                         Dr. Drossos?

               Albrecht picks up the wine bottle and the glasses.

                         Dr. Drossos should be here any
                         hour now.

               WIDER ANGLE. Cathy and Thea are paying no attention to the
               men across the room, but Miss Wollsten is watching them
               covertly. As the men start across to the brazier, Albrecht
               carrying the bottle and glasses, she gathers together her
               embroidery and stands up.

                                   MISS WOLLSTEN
                         If you'll forgive me...I've letters
                         to write.

               The others call out "good night" to her as she crosses to the
               stairs and begins to ascend. Albrecht and the General go to a
               small table, where Albrecht puts down the bottle and glasses.
               Oliver joins Cathy and Thea.

                             (to Oliver)
                         I've just been admiring Thea's
                         headdress. I think I shall have
                         a hat made like it a little round
                         cap with a veil ——

               Oliver, scarcely hearing her prattle, looks off toward the
               now empty staircase.


               Miss Wollsten comes up the stairs. She hesitates a moment at
               the first door on her left and then walks past it and goes
               down to the third door. She knocks. There is no answer. She
               opens the door. The room is dark. She goes in.


               INT. MAIN ROOM - NIGHT

               The General and Albrecht sit drinking. Albrecht is showing
               the old soldier a Grecian helmet. The General holds it in his
               hands, studying it carefully and with something close to

               Cathy and Thea are standing with Oliver at the foot of the

                         Good night, Oliver.

                         Sleep well.

               The two girls, start up the stairs,Oliver looking after them

                             (over her shoulder)
                         You're not leaving tomorrow..?

                         I think not.

               Thea half turns to look back at Oliver; a long sweeping look.

               Thea and Cathy continue upstairs and Oliver turns back to
               where the other two men arc seated.


               INT. MAIN ROOM - NIGHT

               The General and Albrecht are still sitting together.

               Oliver stands near them.

                         Until we know, what choice is
                         there? We have to stay.

                         But the war, the army —— they
                         need you.

                         Better no general than one
                         carrying the plague.

                         We still don't know that it's the
                         plague ——

                         Dr. Drossos will tell us. We
                         will know what to do then.

               Oliver gives a little shrug of resignation and walks a few
               steps into the room, head down, hands in his pockets.

               Then he turns, grinning ruefully. -

                         I wonder if my editor's psychic?
                         Reports from the Greek front are
                         going to be a little vague.

                         Or even spirit messages from
                         the next world.

               Oliver's eyes widen and then he smiles quizzically at

                             (nods thoughtfully)
                         I suppose a war correspondent
                         could get the plague.
                         Well, I'd better try for some sleep
                         —- while I'm alive to enjoy it.
                         Good night, gentlemen.

               He starts for the stairs. The CAMERA DOLLIES WITH him, then
               PANS WITH him as he climbs.

               INT. THE CORRIDOR - NIGHT

               Oliver comes up onto the landing and starts down the
               corridor. Suddenly, a shadowy form materializes from the
               darkness and a voice whispers to him.

                                   MISS WOLLSTEN
                         Mr. Davis -—

               Oliver, startled, stops and stares.

                                   MISS WOLLSTEN
                         Will you help me? Mr. St. Aubyn
                         is ill —- very ill

                             (starting forward)
                         His room is down here, isn't it?

               INT. GIRLS' BEDROOM - NIGHT

               MED. FULL SHOT. Both girls are in their beds and both seem to
               be asleep.

               CLOSE SHOT — Cathy. She sleeps soundly.

               CLOSE SHOT — Thea. She is wide awake listening to the sound
               of excited footsteps in the hall. Thea looks toward the door.

               passes the door. There is darkness then more light goes past.

               MED. CLOSE SHOT — Thea. She rises to one elbow and waits for
               a moment, watching the closed door. Then she swings her feet
               to the floor and begins to reach for a wrapper which hangs at
               the foot of the bed. She puts it on, stands up and starts
               tiptoeing across the room, CAMERA PANNING WITH her.  CAMERA
               HALTS as Thea pauses at the foot of Cathy's bed. She looks at
               the motionless figure of the sleeping Cathy. Then, CAMERA
               PANNING WITH her again, she goes to the door and stands
               there, listening.

               INT. THE CORRIDOR - NIGHT

               DOLLY SHOT. Albrecht and the dapper, uniformed figure of Dr.
               Drossos come down the corridor. The CAMERA DOLLIES BEFORE

                         If he's not dead, he's certainly
                         a sick man.

               Albrecht and Dr. Drossos turn at St. Aubyn's door and go in~

               INT. ST. AUBYN'S ROOM - NIGHT

               Oliver and the General are standing at the foot of St.
               Aubyn's bed. Miss Wollsten stands near the head of the bed,
               looking down at the motionless figure of the consul. Albrecht
               and Dr. Drossos enters Dr. Drossos nods to the General and
               crosses to the bed.  While the others wait tensely, he feels
               the man's pulse. He shakes his head and takes hold of the
               blanket's edge, to pull it up over the dead man's face.

                                   MISS WOLLSTEN
                             (fighting hysteria)
                         No. No. I won't believe it.
                         He's not dead.

                         This is Dr. Drossos, chief medical
                         officer of my division.

                                   MISS WOLLSTEN
                         I don't care who he is. He
                         doesn't know.	He can't tell ——

                                   DR. DROSSOS
                         I'll make any test you want.

               Dr. Drossos plucks a feather from the pillow, a little curl
               of fluff,and holds it before St. Aubyn's mask-like face.

               INSERT	THE FEATHER at St. Aubyn's face.

               It doesn't move.

                                                       BACK TO SCENE:

                                   MISS WOLLSTEN
                         He's not dead. I tell you he's
                         not dead.

               Dr. Drossos sighs. He turns and picks up a hand mirror from
               the chest of drawers behind him.

                                   DR. DROSSOS
                         If there is the finest breath
                         of life it will cloud a mirror.

               He takes a handkerchief from his pocket and carefully
               polishes the mirror to clarity, then holds it before the dead
               mouth. He turns the unclouded mirror, so that the others may
               observe it.

                                   DR. DROSSOS
                         You see?

                                   MISS WOLLSTEN
                             (clinging desperately to
                              her delusion)
                         The breath can stop, the heart can
                         stop —— it still doesn't mean
                         death. Men have lived --

               Dr. Drossos nods with approval. Being entirely devoid of
               sentiment, his manner is that of a teacher answering the
               argument of a particularly bright student.

                                   DR. DROSSOS
                         Quite right. In cataleptic trance,
                         a man may live for days with no
                         visible sign of life. The breath
                         suspended,the heartbeat stilled--
                             (looking down at St.
                         But this man is dead.

               Dr. Drossos turns away to replace the mirror on the chest of
               drawers. As he does so, Oliver steps forward and starts to
               pull the blanket over the dead man's face. Again, Miss
               Wollsten stops it.

                         What difference does it make?
                         Covered or uncovered, the eyes see
                         no more.

               As he speaks, the General starts toward the door.

               INT. CORRIDOR - NIGHT

               CLOSE SHOT ON closed door of St. Aubyn's room. The door opens
               and the General starts to step into the corridor. He is
               suddenly motionless, obviously arrested by something he sees.
               CAMERA DRAWS ASIDE TO disclose Thea. The girl evidently is
               frozen in the act of trying to slip away. She starts to put
               her hand to her throat, but, as she is not wearing the
               necklace, fumbles nervously with the collar of her robe.
               Then, still under the General's relentless stare, she goes
               back to her room. At this moment, Oliver comes out of St.
               Aubyn's room. He looks down the corridor, then worriedly back
               to the General. Albrecht and Dr. Drossos also come out and
               the four men start toward the stairs.

               INT. ST. AUBYN'S ROOM - NIGHT

               Miss Wollsten stands looking down at St. Aubyn, then suddenly
               she takes from her bodice a long embroidery needle  Still
               gazing intently into his face, she jabs the needle deep into
               the dead man's arm. There is no reaction in the marble set of
               the corpse's face.

               Miss Wollsten pulls the blanket over the dead man's face and
               suddenly bursts out weeping, burying her face in her hands.


               INT. MAIN ROOM - DAY

               Morning sunlight pours in through the windows. Cathy sits
               near the door, crying delicately into a lace handkerchief.
               Thea stands beside her. Thea's expression betrays grief, but
               it is the controlled and dignified grief of the peasant who
               knows death as intimately as life and is equally at peace
               with both. Near them is Miss Wollsten, stony-faced and
               composed. Oliver is seated on the table, swinging his feet.
               The General stands in the open doorway looking toward the
               sea. Dr. Drossos and Albrecht stand together in the center of
               the group.

                                   DR. DROSSOS
                         We are faced with a very serious
                         form of plague. Its first symptoms
                         are dizziness, nausea, weakness,
                         inability to focus the eyes or
                         control the limbs. This is followed
                         by acute spasms, sometimes
                         blindness, and finally, in moat
                         cases, death.

                         I don't want to hear any more.
                         You can't keep me here. This
                         horrible island —— it has cost me
                         my father —— it will kill all of

               The General turns his head and looks at Cathy without

                         I will not have the plague carried
                         to my troops. No one leaves here
                         —not you, not I, not anyone.

               Oliver goes over to the distraught and weeping Cathy, putting
               his hand on her shoulder sympathetically.

                         The doctor only wants us to know 
                         the worst, for our own good.
                         Besides, he holds out some hope --

               Oliver turns to Dr. Drossos, who nods slowly.

                                   DR. DROSSOS
                         If the wind shifts, if the sirocco
                         blows -- the hot wind from the
                         South -- all danger will be over in
                         twenty-four hours.

                             (to Drossos gentle
                         Good winds and bad winds!

               Albrecht goes to the table.

                                   DR. DROSSOS
                         The disease is transmitted by fleas
                         and their bodies are eighty percent
                         moisture. The hot wind literally
                         burns them away.

               Albrecht takes the bronze trident from the figure of Poseidon
               and fingers it thoughtfully as he speaks?

                         The ancient Greeks had just as good
                         an explanation -- that the gods
                         sent the plague to punish mortals
                         for harboring Vrykolaka --

                                   DR. DROSSOS
                         They used to believe that sort of
                         thing in the mountain villages.
                         Some still do --

               He glances at the General and then at Thea.

                             (with serious
                         I do not.

               Albrecht, still holding the trident, walks over to the open
               doorway where the General stands. Miss Wollsten gets to her
               feet suddenly and faces the men with a look of scorn, almost
               of hatred.

                                   MISS WOLLSTEN
                             (to Drossos)
                         If you have nothing more to tell
                         us, will you excuse me —-

               Dr. Drossos bows and Miss Wollsten crosses the room to the

               CLOSE SHOT. At the foot of the staircase Miss Wollsten turns
               with one of her curious, inimicable glances, then begins to
               climb the stairs.

               MED. SHOT - on remaining group.

                                   DR. DROSSOS
                         She's right. This is hardly the
                         time to bandy old tales.

                         I have lived long enough to doubt
                         everything -- which is to say, I
                         believe everything, a little.

               Albrecht goes to the table and replaces the trident.

                                   DR. DROSSOS
                         You're just talking nonsense.

                         Let us put it to the test. Protect
                         yourself with every scientific
                         precaution you can think of. I'll
                         go out on the cliff and build a
                         votive fire to Hermes -- not that I
                         believe in him any more than I do
                         in Science.

               Dr. Drossos gives a little snort of disdain.

                         We will see who is the first to

                                   DR. DROSSOS
                             (smiling wryly)
                         Very well. I'll wager a dinner.

                                                       DISSOLVE OUT

                                                       DISSOLVE IN

               EXT. RUINS - NIGHT

               It is a moonlit night and the cypress trees cast deep shadows
               across the marble flooring of the terrace.
               From somewhere on the island, possibly played by one of the
               servants, comes the sound of a Greek bagpipe blatting its
               shrill and mournful music into the still air.

               The CAMERA is set up TO TAKE IN the balcony from one end.
               Thea, Oliver and Cathy are together. Cathy is stretched out
               on a settee with a robe over her knees. Oliver and Thea stand
               together near one of the pillars.

                         I know it must be hard. But you
                         have relatives in London --you've
                         got a whole world of living, ahead
                         of you --

                             (on the verge of the tears
                              which are so easy for
                         No one can take my father's place.

               She gropes around as if looking for something.

                         My handkerchief -— I think I must
                         have lost it —- perhaps when we
                         were in the grove.
                             (with a preemptory note)

               Thea bestirs herself out of whatever reverie has held her.

                         I'll find it.

               She starts off toward the right. Oliver looks at her.

                         You can't go down there alone - -

               He takes a few quick, long strides and catches up with her.
               Cathy is left completely alone. She looks off at the other
               two and her customary expression of weak helplessness quickly
               changes to one of anger. She is so intent that she does not
               notice Miss Wollsten rise from a chair in the b  g., walk
               through the deep shadows cast by the cypress trees and come
               noiselessly to stand beside her. Miss Wollsten has to speak
               to gain her attention.

                                   MISS WOLLSTEN
                         Cathy --

               Cathy looks around at her inquiringly, somewhat startled.

                                   MISS WOLLSTEN
                         I wish I didn't have such bitter
                         knowledge of you, Cathy.

                         Whet do you mean?

                                   MISS WOLLSTEN
                         They were talking about the
                         Vrykolakas this morning. Cathy,
                         that's what you are —— a weak,
                         pale, half-dead thing that drains
                         all the life and joy from those who
                         want to live.

                             (haughtily; in an attempt
                              to put Miss Wollsten in
                              her place)
                         Miss Wollsten!

                                   MISS WOLLSTEN
                         You and your mysterious illness.
                         A new attack everytime you are
                         crossed — everytime you can't
                         get your own way.

               Cathy tries to interrupt, but Miss Wollsten goes on

                                   MISS WOLLSTEN
                         Your father knew it too. But he
                         was never sure how much was

                             (flaring up)
                         How do you know what my father
                         thought - -

                                   MISS WOLLSTEN
                             (disregarding her)
                         Your father loved me.  He wanted to
                         marry me. But he was afraid of
                         hurting the gentle, delicate Cathy.
                         You spoiled his life ——you've
                         ruined mine ——

                         You were father's secretary -—
                         I never thought - -

                                   MISS WOLLSTEN
                         Didn't you? But now -- what are you
                         thinking now?

               She points over the balustrade toward the cypress grove

                         What would I be thinking?

                                   MISS WOLLSTEN
                         Mr. Davis seems a good prospect
                         ——young handsome, sympathetic --
                         ready to listen to you and feel
                         sorry for you - -

                         What if he is?

                                   MISS WOLLSTEN
                             (disregarding her) )
                         But Thea -- She stands in your way.
                         I know you. I know your little
                         hints —— the way you can turn the
                         truth into a lie --

                         Why, I'm fond of Thea.

                                   MISS WOLLSTEN
                         You're planing something, Cathy..
                         But I won't let you —- I'll warn
                         them against you.

                         You will not say one single word. 
                         I know your secret.

                                   MISS WOLLSTEN
                         That your father and I ——

                         No. I mean your other secret -—	the
                         one you kept bidden even from my
                         father. That old doctor in London --
                         he told me.

               She faces her triumphantly.	Miss Wollsten shrinks and turns
               away. Cathy stands looking after her smiling, then turns and
               walks to the edge of the ruins and looks down into the grove.


               Only trickles of moonlight come through the pendulous
               branches and thick boles of these dark trees. The CAMERA
               TRACKS TO a space between two of the largest trees, a space
               which seems filled only with shadow and moonlight, but as IT
               MOVES IN CLOSER, Oliver and Thea are disclosed, embracing.
               They break apart. She starts to turn from him but he takes
               her hand and turns her so that she faces him.


               She allows him to draw her back.

               CLOSE SHOT — over Oliver's shoulder at Thea's face. He cups
               his hand around her chin so that she looks up at him. Her
               eyes are wet with tears.

                         You're crying. Why?

                         I don't know. Everything's so mixed
                         up --

                         Everything's so simple. I like you.

               Thea smiles at him affectionately, but then her face clouds
               again and she looks away from him.

                         What's bothering you, Thea? Is it
                         the General?

                         Sometimes when he looks at me in
                         that strange way, I'm afraid of

                         Don't let it trouble you. He's an
                         old man and these last few days
                         have been a terrible strain on him.
                         He won't harm you.

               She makes a pathetic attempt at a smile. He puts his arms
               around her protectively and they kiss. Slowly they break from
               their embrace and together they start up the path.


               This is at a point where a narrow flight of marble stairs
               come clown from above 	The CAMERA is on the stairs, FOCUSED ON
               the path.	Oliver and Thea walk in silence, their hands
               clasped.	They come slowly up the path.

               ANOTHER ANGLE - MED. CLOSE SHOT - Thea and Oliver suddenly
               look up.

               EXT. STAIRS - NIGHT

               General Pherides stands there, erect and silent, looking up
               with an expression which is hard to fathom.

               THREE SHOT. Nervous and embarrassed, Thea disengages her hand
               from Oliver's.

                         You gave us quite a start --
                         standing there.

               The General is silent. Thea moves rapidly toward the stairs,
               carefully avoiding physical contact with the General as she
               goes past him. He does not turn to look at her, but as Oliver
               moves to follow her, the General puts a restraining hand on
               his arm. Then, without a word, he steps down onto the path
               and starts along it toward the shore. Oliver looks at him in
               puzzlement, shrugs and then follows him.

               EXT. GROVE - NIGHT

               The two men walk silently through the grove. At the edge of
               the grove on the shoreward side of the island the General and
               Oliver come out from beneath the trees and emerge onto the
               beach below the figure of Cerberus. The General seats himself
               on a block of stone, looking out toward the sea. Oliver
               stands near him. The General points out across the water.

               LONG SHOT - MATTE. The General in the f.g. points to the camp
               fires burning on the hills of the opposite shore.,

                         Tomorrow they move on to engage the
                         enemy —— to beat him back across
                         the Bosphorus.

               CLOSE SHOT - the General has his sabre between his knees and
               is resting his two hands upon it; a melancholy and mournful
               figure. His eyes are fixed on the distant camp fires.

               (Note: See famous World-Wide photograph of King Ferdinand of
               Bulgaria, taken after the defeat of the Bulgarian armies in

                         It's hard going, General. You
                         wanted to lead them. Here you are
                         quarantined just because you wanted
                         to pray at your wife's side —— and
                         even her body is gone.

               The General looks over.

                         Thea is so like her —— in every
                         feature ——

                             (rather pleased)
                         If she looked like Thea, she must
                         have been beautiful.

               The General takes a deep breath and sighs, remembering other

                         She was beautiful. There was blood
                         between her family and my kin. But
                         that did not stop me from taking
                         her when I saw her beauty, nor did
                         it stop her from loving me.

                         How did she die?

                         I don' t know. When I was gone the
                         people from her village came to my
                         home seeking vengeance. They bore
                         her away with them. Months later
                         she came back ——pale -- sick -- she
                         died --

               There is a long silence. Oliver stirs restlessly.

                         Is this what you wanted to speak to
                         me about?

                         In a way -- this girl, Thea.
                         You must stay away from her.

                         I had a notion you had become
                         self—appointed chaperone lately —

                         You are my friend.

                         And I'm your friend —— but that
                         doesn't explain why you are always
                         trying to come between Thea and me?

                         If I told you —— you wouldn't
                         believe me -- but this much I can
                         tell you —— the girl is dangerous
                         to you. Take a friend's advice --
                         an old man' s advice -- leave her
                         alone -—

                             (turning away; indignant)
                         That's ridiculous -- Thea's lovely,
                         gentle —-

                         Listen to what I say --

                         When you make sense I'll listen.

               He starts off, up the path through the grove, the General
               follows him.

               EXT  THE GROVE - NIGHT

               Oliver, followed by the General, passes through the grove.

               EXT. THE RUINS - NIGHT

               Cathy still sits in the moonlight. Oliver and the General
               come into the ruins.

                         Where's Thea?

                         I think she went to bed —— I saw
                         her going toward the house

               Oliver makes a vague gesture of disappointment and sits down
               beside Cathy.

               While Cathy was speaking, the General had turned to look	down
               into the grove. He still stands looking down among the trees.

               EXT  THE GROVE - NIGHT

               LONG SHOT — of Thea passing between the trees, looking for

               EXT  THE RUINS - NIGHT

               MED. CLOSE SHOT - The General. Oliver and Cathy can be seen
               behind him.

                             (in a low voice)
                         Let the doctor guard us against the
                         plague —- I shall stand guard
                         against the other things -- the
                         things we cannot understand.

               MED. FULL SHOT, favoring Oliver and. Cathy. They both look up
               in surprise at the General. He looks at them and then stalks
               off into the darkness toward the house. Cathy watches him.

                                                       FADE OUT

                                                       FADE IN

               MONTAGE OF TIDES - tide running in and out -- day and night,
               over the sound of Grecian reed pipes, and a voice singing
               "The Lament of Konos,' the lament that describes how life
               comes in and goes out with the tides of the sea.

               EXT. RUINS - DAY

               A Greek brazier on a tripod stands before the portal facing
               the sea. A fire burns in the brazier and Albrecht stands
               beside it with a handful of twigs which he is about to put on
               the fire. Dr. Drosssos stands watching him.

                             (turning to him)
                         I suppose you want to hear my
                         prayer to Hermes.

                                   DR. DROSSOS
                         I just came to see if your prayer
                         would entertain me as much as my
                         medicine seems to amuse you.

               Albrecht turns his hand and lets the remaining twigs fall
               onto the fire. It burns up with a bright flame, then a thin
               column of black smoke ascends. He lifts his hands upward in
               the Grecian attitude of prayer.

                         You're too late, my friend. I have
                         already made my prayers. And how
                         about your scientific efforts?

               Dr. Drossos steps forward, bends to pick up some twigs which
               are beside the brazier and puts them on the fire.

                                   DR. DROSSOS
                         Also too late. I owe you a dinner.

               AS the meaning of this sinks in, Albrecht's bantering manner

                             (concerned) )
                         You feel the symptoms?

                         My friend -- what can one say --

                                   DR. DROSSOS
                         You can have your servants prepare
                         a dinner. That is the way I'll meet
                         my old- familiar enemy -- Death --I
                         have fought him before. I've won
                         often. Now he wins. Let him come
                         for me at my own banquet.


               INT. THE MAIN ROOM - NIGHT

               FULL SHOT. The little rays of oil lamps which illuminated the
               room during the dinner have been replaced by a great central
               lamp, also oil-burning. The long table is in a pool of
               brilliance; tongues of light from the manifold wicks of the
               lamp flicker into the outer dimness of the room. As the
               dinner is almost over, there remain on the table only bowls
               of fruit and dates, wine glasses and the many wine jugs and
               bottles, some of them empty. At one end of the table sit Dr.
               Drossos, as host, Miss Wollsten, Albrecht and the General. At
               the opposite end, as if drawn apart by their mutual youth,
               are Cathy, Thea and Oliver. On the stairs sits the man
               servant of Albrecht and his bagpipe under his arm.
               Out of this hairy apparatus he is coaxing folk melodies of
               his native hills. The woman servant, dressed in gay national
               costume, waits on the table.

               MED. SHOT of Dr. Drossos and group at one end of the table.
               Dr. Drossos refills Miss Wollsten's glass and carries the
               bottle to his own glass with an unsteady hand.

                                   DR. DROSSOS
                         When I was a young man, I
                         prescribed moderation in all
                         things. Especially wine.

               Dr. Drossos fills his glass to the brim and then continues
               pouring, so that the bright liquid spills over onto the
               table. Miss Wollsten laughs softly and a little drunkenly and
               Albrecht takes the bottle out of the doctor's hand, setting
               it upright again. The General smiles and picks up his wine

                         When I was young a man was measured
                         by the skins of wine he could

               Albrecht looks toward the other end of the table and lifts
               his glass.

               NED. CLOSE SHOT of Cathy, Thea and Oliver. They are sitting
               with their heads close together, in intimate conversation.
               Cathy and Oliver are smiling gaily. Thea smiles, too, but
               rather puzzledly as if the conversation eluded her. Oliver is
               speaking in a very low tone, almost whispering. Plainly, the
               wine has had an effect

                             (mockly melodramatic)
                         And then - - the Vrykolaka will get
                         you, if you don't watch out...

               Cathy, more animated than we have ever seen her between the
               wine and her growing interest in Oliver, starts to laugh.

                         Oh, no -— it's too delicious!
                         You're making it up!

                         On my word! That's what they

                             (smiling but distressed)
                         Please.. You shouldn't laugh --

                             (teasing her)
                         You see? Thea believes it, too!

               Cathy turns to Thea. Where Oliver's teasing is good-tempered,
               her mocking laughter has an edge of malice to it.

                         Tell me about them, Thea. They have
                         great wings end long teeth --

                         Sharp, shiny teeth -- and they
                         creep up to your bed --

                         Closer and closer —- until they
                         bite into your throat!

               As she says it, Cathy's fingers dart out and touch Thea's
               throat. Thea gives a little muffled cry and throws herself
               back from Cathy. Cathy and Oliver both burst out laughing,
               leaning close together, sharing their childish joke.

                         Oh, my poor simple Thea!
                             (to Oliver)
                         Did you ever see anything so

               Thea, frightened by the conversation and unhappy because
               Oliver and Cathy have been making fun of her, starts to get
               up from the table.

               MED. SHOT of table, including both groups, with Oliver, Cathy
               and Thea in the background. As Thea stands up, Dr. Drossos
               leans forward, peering down the table towards her.

                                   DR. DROSSOS
                         Thea! Come here!

               The others turn to look at the girl as she obeys the summons.

                                   DR. DROSSOS 
                         Look at her. Warm, beautiful -
                         alive. Drink with me, Thea -—
                         Drink to my old enemy, who wins at
                         last --

               As Thea comes to stand beside him, Dr. Drossos picks up
               Albrecht's wine glass and hands it to her. Thea obediently
               drinks. In silence they watch her drain the glass, her head
               going back slowly. It is a beautiful, a pagan gesture.

                             (almost to himself)
                         There is only one place where the
                         women bewitch one with their

               CLOSE SHOT of Thea as she starts singing. It's a primitive,
               sensuous song and Thea's whole body seems to respond..

               MED. CLOSE SHOT of Oliver and Cathy, watching Thea. It is
               obvious that Oliver is bewitched; his eyes follow every move
               the girl makes. Cathy steals a glance at him.

               ANOTHER ANGLE as Thea sings; she moves toward Oliver in a
               series of slow steps. As she comes closer to him, she starts
               to smile, a slow dreamlike smile that seems to well up from
               some deep inner joy. Oliver leans forward, drawn by the girl,
               until as she comes within reach he puts out his hand to take
               her arm. Her smile quivers into a little laugh, at once
               childish and enticing. She eludes him. At this moment, her
               song ends. While the	others applaud, she crosses to the
               door. There, she stops abruptly.

               CLOSEUP of Thea, looking across the room at Oliver. Her face,
               flushed and alive, is a frank invitation, almost innocent in
               its candid admission of desire. Then she slowly turns her
               head away.

               CLOSE SHOT of Oliver as Thea slips out the door in the b.g.
               He gets to his feet. Cathy puts out her hand to hold him back
               but he doesn't even see it. As Oliver walks past the table
               unsteadily, the General gets to his feet and blocks his way.
               Oliver pushes him aside impatiently.

                         Everything's dead in here, dead and
                             (gesturing toward the
                         Out there; the night is alive.

               He continues across and goes out through the door.

                             (starting for the door;
                         Someone should go with him. He's
                         has had too much to drink.

               Suddenly Miss Wollsten laughs. Cathy whirls around to stare
               at her angrily. Miss Wollsten returns the stare.

                                   MISS WOLLSTEN
                         I think Thea is steady enough for
                         both. She has not had too much to

               The General looks at her with hatred and crosses back to his
               chair and sits down. Miss Wollsten, with a smile, turns and
               goes upstairs.

                                   DR. DROSSOS
                             (almost incoherently)
                         Don't go. You are leaving me, you
                         are all leaving me --

               Albrecht, instantly concerned, gets up and bonds over the
               dying man.

                         I'm here. The General is here. You
                         are not alone.

                                   DR. DROSSOS
                             (with a last spurt of
                         I must meet him with laughter -
                         with songs and laughter -- to
                         show him I am not afraid --

               With the last words, Dr. Drossos catches up his wine glass,
               but, before he can lift it to his lips he begins to slump in
               his chair. The echo of his final challenge dies. The General
               steps quickly to his side.

                         He is dying.

               Dr. Drossos doubles up in his chair and falls limply forward
               across the table. His hand relaxes and the wine glass falls,
               the wine spilling out with the doctor's life.

                         When she stood beside him, I knew.
                         I could feel death in the room.

                                                       FADE OUT

                                                       FADE IN

               EXT. RUINS - DAY

               MED. SHOT — Cathy, alone, paces the little terrace outside
               the house. It is evident that she is disturbed and agitated
               by something. After a moment, the sound of Thea's voice,
               singing, comes into the still morning air. Cathy stops,

               CLOSER SHOT of Cathy, her face hardening with angry jealousy
               as she listens to Thea's clear, sweet song. Oliver comes into
               the ruins. Cathy turns as Oliver comes toward her, smiling as
               he looks off in the direction of the singing.

                         Oliver --

               Oliver's smile fades into concern as he comes up to take
               Cathy's hand in quick sympathy.

                         What is it, Cathy? What's the

               MED. CLOSE SHOT of Cathy and Oliver. The singing continues
               over this entire scene, sometimes louder, sometimes fainter,
               as if Thea were strolling about the island.

               Cathy's expression is distraught and she clings to Oliver's

                         My father -- I'm alone, Oliver,
                         completely alone!

                         Poor Cathy --

                             (with rising hysteria)
                         Last night Dr. Drossos -- today you
                         or I -- oh, no, Oliver, it can't be
                         you, I couldn't stand it.

               Cathy, clutching Oliver's hand tightly, leans toward him
               yearningly. Oliver, beginning to find her emotionalism
               awkward and a little distasteful, is deliberately matter-of
               fact now.

                         There's no reason to decide
                         any of us are going to die.

                         If only we could get away - - you
                         and I. The others are strangers,
                         they mean nothing to me

               Struck by this callousness, Oliver's face loses the last
               trace of sympathy for Cathy.

                                   CATHY (CONT'D)
                         We have to get away, we have to
                         live. I have no one in the world --
                         you must stay with me, care for me—

               Making an effort to control his instinctive aversion to her
               closeness, Oliver takes hold of her arms and pulls them away,
               at the same time stepping back from her. He smiles at her,
               trying to return their relationship to a normal footing.

                         We'll talk later, when you're
                         yourself again.

               Cathy still stands motionless and Oliver walks away in the
               direction of Thea's singing, which now comes over the scene
               clearly. CAMERA REMAINS on Cathy, as she watches him go. Her
               face contorts and she starts weeping with rage and
               frustration. Abruptly, she turns and starts off.


               The General stands here, leaning on his sabre, looking toward
               the mainland from which comes the sound of cannonading.
               Behind him is a camp chair.

               EXT. THE MAINLAND - DAY - (MATTE SHOT)

               In the distance small puffs of smoke can be seen and the
               sound of canon fire comes from afar.


               The General looks up at a little flag on a pole which has
               been erected nearby. It blows south, rippling and undulating
               in the brisk north wind. He turns to look back at the other
               shore. Cathy comes out of the tunnel. The General turns to

                             (looking at the flag)
                         The wind has not changed.

               He shakes his head. Cathy sinks down in the camp chair.	Her
               face still drawn from her emotional upset looks frighteningly

                         Poor child. These must be horrible
                         days for you.

                         I'm so ill, I'm so exhausted -- I
                         almost don't care.

               The General looks at her with heightened attention.

                         You look so pale this morning, as
                         if all your blood were drained

               Cathy looks at him, her ego gratefully absorbing this
               attention and sympathy. The General takes a few steps back
               and forth, then stops before her.

                         Has that girl -- has Thea ever told
                         you where she comes from?

                             (not liking the change of
                         Some village in the mountains --
                         Alethera, I think.

               The General stands very still.

                         Has she spoken to you of her father
                         and her mother?

                         She has never mentioned her family.

                         How old is she?

               The General waits tensely for the answer, which means so much
               to him. Cathy, now definitely bored by the trend of the
               conversation, replies cattily:

                         I don't know --- fairly young.

               The General stands silent. Cathy gets up languidly and starts
               for the tunnel.

                         The sun is so strong here.

               The General watches her depart, then walks to the edge of the
               landing and starts down towards the beach.


               EXT. CYPRESS GROVE - DAY -

               LONG SHOT - HIGH CAMERA SETUP. The sunlight drifts in long
               beams between the trees. At the end of one of these rays of
               light, Thea is seated on a block of marble. In her lap are
               some myrtle leaves and she is happily occupied in weaving
               them into a crown.

               MED. CLOSE SHOT - Thea. Suddenly a tall shadow falls over
               her. She looks up.

               ANOTHER ANGLE. The General stands before Thea. She looks up
               without a smile of greeting.

                         You have deceived me long enough.
                         Now I have found out. You are from
                         Alethera -- from where I took you
                         and from where you came to die - -
                         to die without dying - -

               Thea rises and faces him.

                         Why are you making up these things -
                         - why are you wishing evil on me?
                             (as if answering her own
                         You know who I am, don't you?

                         I wish I didn't know.	I wish I had
                         never found you again.

                         I knew you hated me and my people --
                         but I didn't know your hatred was
                         so bitter --

               The General's expression softens. He shakes his head sadly.

                         It isn't hatred. I couldn't hate

               Thea looks at him wonderingly, struck by the change in his

                         I failed you twenty years ago. Now,
                         I've come to do what must be done.

               Thea's face lights up. She says, almost hopefully:

                         To take me with you?

               The General draws back from her in horror, believing as he
               does that she is a Vrykolaka. With his left hand he begins to
               reach inside his tunic.

                             (in a hoarse whisper)
                         No - - no -- to do what I should
                         have done.

               At this moment, a call comes from above.

                                   OLIVER'S VOICE
                         Thea --

               The General looks off towards the voice.

                                   OLIVER'S VOICE (CONT'D)
                         Thea --

                         I'm here..

               The General lets go her arm.

                             (in a low voice)
                         I watched you -- you've bewitched
                         him. But he is my friend.
                         You'll not do to him what you have
                         done to the young English girl.

               Thea turns and runs. The General stands looking after her.


               Oliver comes leisurely down the path to the three or four
               steps which brings it to the floor of the grove. He stops
               suddenly as Thea runs in very agitated. She runs up to him
               and he takes her in his arms.

                         Thea, what's wrong?

                         The General threatened me.

                         Oh, that Vrykolaka business. You
                         mustn't be too angry with him,
                         Thea. He's an old man and now with
                         all this trouble —— the
                         disappointment in not being able to
                         lead his own army to victory --
                         cooped up here waiting for death -
                         naturally his mind goes back to the
                         things he believed when he was an
                         ignorant lad in some mountain

                         He keeps asking for the name of
                         my father and mother.

                         Well, tell, him.

                         I can't.

                         Why in the world can't you?

                         He hates all my race.

                         I knew that feuds still went on,
                         but I didn't think people like you
                         and the General would be involved.

                         It is more than a feud between two
                         families. He stole my mother away
                         from her people.

               Oliver looks at her, holding her out at arm's length.

                         Thea, what is this? What are you
                         trying to tell me? "He stole your
                         mother" —-

                         It is for that he hates me.

               Oliver shakes his head.

                         I don't think so, Thea. He has
                         spoken of your mother. I don't
                         believe he knows you are his

                         Then why does he persecute me? My
                         family told me what kind of man he
                         is, how he stole my mother and then
                         abandoned her --

               Oliver takes her hand.

                         They didn't tell you the whole
                         truth. Why do you think your mother
                         went back to him after you were

               Thea looks at him, uncertain, unconvinced.

                                   OLIVER (CONT'D)
                         Because she loved him.
                         I know him, Thea. Believe me, he is
                         not a cruel man.

                         For a moment, when he looked at me
                         so sadly, I felt that I had wronged
                         him. But then --

               She shudders, remembering her last sight of the General.'

                         Let me tell him. When he knows you
                         are his child, he'll forget these
                         insane notions -—

                         No -- you musn't. He thinks I've
                         bewitched you. He won't believe it
                         —- he'll hate me even more! My only
                         chance is to stay away from him.

               Oliver puts his arm around her in a protective gesture. 

                         Perhaps you are right. He's not
                         himself now. We'll wait —— and in
                         the meantime, don't be afraid I'll
                         take care of you..

               Thea gives him a faint, grateful smile and rests her head
               against his shoulder trustingly.


               The General turns onto the ledge and begins walking. From the
               crypt comes the sound of someone moving about. He stops.

               INT. THE CRYPT - DAY

               A crude wooden coffin stands on two trestles in the center of
               the crypt. Beside it stands Miss Wollsten. Suddenly the body
               of the General blocking the doorway shuts off the light
               falling into the crypt. Miss Wollsten looks up startled.

               TWO SHOT - The General and Miss Wollsten. 

                         Woman, what are you doing here?

                                   MISS WOLLSTEN
                             (rising to her feet and
                              attempting to look more
                              normal and a little
                              strange and guilty)
                         I wanted to be sure of something,
                         General -- something that has
                         always preyed on my mind. I have a
                         horror of being buried alive and
                         awakening to find myself shut in —-
                         entombed —— imprisoned..

                             (pointing to the coffin)
                         He sleeps quietly. He died with a
                         wine glass in his hand -- he died
                         laughing -- a brave man, Drossos,
                         like his father before him.

                                   MISS WOLLSTEN
                         Because he was a brave man -
                         because I liked him -- I came here
                         to be sure.

                         He's dead enough. God rest his

               He starts to turn away.

                                   MISS WOLLSTEN
                         General -—

               He turns back to her.

                                   MISS WOLLSTEN
                         I'm a woman -- a lonely woman. I
                         have few friends.


                                   MISS WOLLSTEN
                         I have not had a happy life --but
                         that one thing - - that terror
                         which brings me awake out of deep
                         sleep —- I want to avoid it.

                         I don't understand you.

                                   MISS WOLLSTEN
                         I don't want to be buried alive. If
                         I die I want to be sure —- quite

                         If you should fall sick we'll be
                         careful. You need not worry.

                                   MISS WOLLSTEN 
                         No, I want more than that. I beg
                         you General, make sure --drive a
                         knife through my heart -- anything.

                             (looking at her in sudden
                         You ask that of me? You're afraid
                         to live in your coffin. You know
                         what that means?

                                   MISS WOLLSTEN
                         That's superstition. That's
                         something out of old tales -- about
                         the dead who live —- I'm talking of
                         something else --cataleptic attacks
                         -- apparent death that is not real.

                         Never fear -- when you are dead you
                         will remain dead. I will see to it
                         that you do not walk about again. I
                         promise you that. There is another
                         one here who can not die. I will
                         watch you both. Never fear.

               He turns and walks away from her. Miss Wollsten looks after
               him with a puzzled expression. She makes a half move as if to
               stop him for explanation then thinks better of it and lets
               him go.

                                                       FADE OUT

                                                       FADE IN

               INT. MAIN ROOM - NIGHT

               Albrecht sits at the long table where he sorts his artifacts.
               Oliver sits on the table facing him.

               THE CAMERA PANS FROM the scientist and Oliver to the woman
               servant who is setting the table and the man servant who is
               pouring charcoal into the brazier. As the charcoal covers the
               live coals that corner of the room grows dim and the CAMERA
               PANS TO the foot of the stairs.


               INT. THE GIRLS' BEDROOM - NIGHT

               Thea stands in front of the mirror brushing her long hair.
               Suddenly, there is a small movement in the glass alongside
               her reflection. She stops brushing, poised in midair, peers
               into the glass, then whirls to look at the window.

               THE WINDOW - NIGHT

               A face hardly discernible and unrecognizable is disappearing
               from the glass.

               CLOSE SHOT - Thea. She looks in puzzlement at the window,
               then with a little shrug, she lays down her brush and begins
               to pile up her hair and put on her head-dress. She finishes,
               bends swiftly to put out the oil light and goes out the door.
               The room is plunged into darkness, except for the lighted
               doorway of Miss Wollsten's room.

               INT. THE CORRIDOR	NIGHT

               DOLLY SHOT The CAMERA MOVES BEFORE Thea as she comes down the
               dark hallway. The top button of her dress needs fastening and
               she is concentrating on it as she walks. Behind her a vague
               form seems to be emerging from the darkness. At the stair
               landing she pauses.

               THE TOP OF THE STAIRS - NIGHT

               FULL CLOSE SHOT - Thea - as she pauses to finish adjusting
               the button. Behind her, the half-seen dimness of the figure
               that has followed her down the hall emerges fully in the
               person of the General. Just as he comes into clear
               perception, Thea finishes fastening the button of her dross
               and starts down the stairs, quite oblivious of his
               threatening proximity. He stops at the top of the stairs.

               INT. THE GIRLS' BEDROOM - NIGHT~

               The CAMERA IS SET UP IN a corner with a wide angle lens
               taking in both the door to the hall and the door to Miss
               Wollsten's room. The room is in darkness, but Miss Wollsten's
               room glows with a dim light. Miss Wollsten comes into the
               doorway of her room. In her hand is one of the little
               lychnoses. She hears a knock at the hall doorway. She
               hesitates a second, then puts out the lamp, plunging the room
               in darkness. At this instant, the door from the hail opens
               admitting light as well as the General. The General strikes a
               match and sets flame to the oil lamp which Thea left in the
               room. When the room is illuminated, Miss Wollsten has
               disappeared and only the black emptiness of her doorway can
               be seen. The General holds up the lamp and looks around. He
               walks into the room and CAMERA PANS WITH him as he crosses to
               the window.

                                   CATHY'S VOICE
                         General -—

               The General turns back towards the hall door, startled.

               ANOTHER ANGLE - including both the General and Cathy, who
               stand in the open doorway to the hall.

                         What are you doing?

                         I was looking for you.

               The General walks over to her.

                         I have been troubled about you. I
                         want you to know that my room is
                         just downstairs --
                             (nodding toward hail)
                         You have only to cry out if you are
                         ill —— or frightened.

                         How kind you are. It is so
                         comforting to know that someone

               As she speaks, Cathy goes into the room and sits on the edge
               of her bed.

                         You no longer have your father —-
                             (smiles almost
                         And I have no children.

               The General turns to leave the room, then looks back toward
               the other bed.

                         Miss Wollsten shares the room with

                         No, that's Thea's bed. Miss
                         Wollsten's bed is in there.

               Cathy gestures toward the darkened doorway of Miss Wollsten's
               room. The General looks for a second longer at Thea's bed and
               then nods as he starts out.

                         I'll see you at dinner.

               As the General closes the door behind him, Cathy gets up and
               crosses to the dressing—table.

               From behind her, out of the darkness of her own room, comes
               Miss Wollsten.

                                   MISS WOLLSTEN
                         I've always known what an evil mind
                         lay behind that pretty weak face of
                         yours —— but this, Cathy -- even I
                         would never have believed it is of

                             (genuinely bewildered)
                         Would you care to explain what
                         you're talking about?

                                   MISS WOLLSTEN 
                         You've been playing on the
                         superstitions of that poor old man
                         — — working at him — — turning him
                         against Thea.

                         Really, this is idiotic!

                                   MISS WOLLSTEN
                         You'd do anything to get Oliver
                         away from Thea. But I'm going to
                         stop you. I'm going to tell Mr.
                         Davis exactly what you are.

               Cathy's bewilderment has this time given way to rage, as the
               ancient antagonism between the two women flares up again.

                         And what makes you think he'll
                         believe you, when I tell him what
                         you are - - what part you played in
                         my father's life --

               Miss Wollsten shrinks back from her, appalled at the
               interpretation Cathy's tone gives to her love for St. Aubyn.

                         When I tell him that you're unfit
                         to live a normal life with normal
                         people —- a cataleptic!

                                   MISS WOLLSTEN
                         You wouldn't tell that ——

                         Wouldn't I?

               Now, Miss Wollsten's calm leaves her. She almost shrieks at
               the girl.

                                   MISS WOLLSTEN
                         Then tell them! You're despicable,
                         a monster of vanity with heart for
                         no one but yourself. Tell them
                         everything -- but I will tell them
                         too —- and you'll lose, Cathy --
                         you understand -- you'll lose!

               She turns from Cathy, picks up the lamp and goes back to her
               own room. Cathy looks after her, her expression of rage
               fading to an irritated frown. Then, with a shrug, she picks
               up the lychnos and walks out of the room to the hall.


               The bed is turned down and a white cotton nightgown hangs
               over the footboard. Miss Wollsten picks up a shawl and
               adjusts it with a frenzied movement about her shoulders. She
               starts to pick up the lamp, then suddenly stops; her face
               contorts, her lips writhe in strangulated agony and very
               slowly her knees buckle. She goes to her knees, to all fours,
               and then slides from this position to the floor.

               INT. MAIN ROOM - NIGHT

               Oliver, Thea, the General and Albrecht an already seated at
               the table  Albrecht has a soup tureen before his and is
               ladling out bowls of soup which the woman servant takes to
               the various places. Cathy, coming across the room from the
               staircase, goes to her place.

                         It has been brisk and warm today.
                         Take comfort  We always have these
                         perfect days before the sirocco

               Albrecht starts to ladle out another portion, looks toward
               the one empty seat and asks:

                         Where is Miss Wollsten?

                         She's in her room.

                         I'll get her	--

               Thea gets up and moves quickly across to the stairway.

                         If Mr. Albrecht is right, we'll all
                         be free in a few days.
                             (to Cathy)
                         I suppose you'll be going on to

                             (the usual)
                          I don't know now without my

                         You are right. You shouldn't be
                         traveling alone.
                             (to Oliver)
                         Why don't you make the trip with

               Cathy turns to Oliver, waiting hopefully for his answer.

                             (politely disinterested)
                         I'd like to, very much -- but it
                         depends on what dispatches are
                         waiting for me on the mainland.

                             (to Oliver)
                         In case you do so, would you --

               Albrecht's words are cut by terrible shriek from the upper
               floor. For a split second, they are sit motionless and then
               they jump up and rush, to the staircase.

               INT. THE CORRIDOR - NIGHT

               MED. SHOT on head of stairway as the group come up the
               stairs. The men, in the lead, cross towards the girls' room
               and Cathy hurries after them.


               MED. CLOSE SHOT of Thea bending over the body of Miss
               Over the scene come the sound of a door opening, quick
               footsteps and ad lib voices. As Thea raises her head, the
               CAMERA DRAWS BACK to show the General in the doorway of the
               room, with Oliver, Albrecht and Cathy behind him. As the
               General stares into the room, Thea's hand goes up to her
               necklace. She rises quickly as the General comes forward and
               steps aside. The General drops to one knee beside Miss
               Wollsten's body.

               Oliver goes over to Thea and Albrecht comes to stand beside
               the General.

                         She is dead.

               Cathy, still standing in the doorway, gives a little gasp and
               draws back into her own room.

               CLOSE SHOT. The General opens the high neck of Miss
               Wollsten's dress and examines the throat and upper bosom.

                         There are no marks.

               He looks off toward Thea.

               MED. SHOT. As Thea shrinks away from the General's look,
               Oliver puts a protective arm around her and leads her into
               the other room.

                         Help me put her on the bed.

               The two men lift Miss Wollsten's body from the floor and
               carry it to the bed.

                         I want to make those tests that Dr.
                         Drossos made.
                             (looking down at the
                         I promised her.

               He looks around the room, then goes to the dresser and picks
               up a hand-mirror.

               INT. THE GIRLS ROOM - NIGHT

               FULL SHOT - SHOOTING THROUGH the open doorway into Miss
               Wollsten's room. In immediate foreground Cathy and Thea sit
               on the bed, their backs to the CAMERA. Thea has her arm
               around Cathy. Leaning on one side of the doorway, so as not
               to obstruct the view, is Oliver.
               The General and Albrecht can be seen bending over Miss
               Wollsten's bed, but we cannot see what they are doing.

                                   ALBRECHT'S VOICE
                         Her heart is stopped -- there is no

                                   GENERAL'S VOICE
                             (after a pause)
                         There is a way to make sure -—

               Oliver moves into Miss Wollsten's room, at the same time
               saying sharply:

                         No. We can do without that.


               MED. SHOT - the three men.

                         Another sad task. We'll bury her
                             (gesturing to door)
                         I think we'd better lock the door
                         for tonight. It will make them less

                             (looking toward the door)
                         She shall not be left here.

                         Maybe you're right. Help me get
                         something to carry her downstairs.

               The figures of the three men go past the CAMERA. Their
               footsteps can be heard as they leave the room; the sound of
               the door closing as they shut it behind them.

               The CAMERA which has remained focused on Miss Wollsten's face
               begins to slowly MOVE IN to an extreme CLOSEUP. Here it holds
               a moment and as it HOLDS there is a sudden twitch of muscles
               in the woman's cheek.

               As the sound of the men's feet scuffling as they bring in a
               heavy burden is heard, the CAMERA begins to PULL BACK in
               order to reveal the General, Albrecht and Oliver carrying in
               a heavy packing box of the sort that the archaeologist uses
               to ship statues and pieces of heavy stone carving.
               They put the box on the floor, line it with a blanket and
               then lift Miss Wollsten and place her in the box. While the
               General and Oliver get the lid from the hall, Albrecht
               notices the white cotton nightgown on the foot of the bed and
               picks it up. They put the lid on the box and start to lift


               THE CYPRESS GROVE - DAY

               LONG SHOT. Thea is seated and she watches Oliver, Albrecht,
               the General and the man servant as they carry the heavy box
               down the path from the house. Behind the men and their burden
               walk Cathy, Thea and the woman servant.


               The little procession comes up onto the ledge and starts
               walking along it to the nearest crypt, the one next to that
               occupied by the remains of Dr. Drossos.

               THE CRYPT - DAY

               The men come in with the box and set it up on two stone
               supports. They group themselves around it and stand a moment
               with bowed heads.

                         Rest in peace.

               They all file quietly out. THE CAMERA does not move from the
               position in which it has been set. It remains focused on the
               coffin for a long moment, then, slowly, it begins to DOLLY
               IN. When it has come very close to the coffin the sound of
               groaning can be heard from within the box, then a muffled
               cry, movement and the sound of fingernails scraping against
               the boards.

               THE LANDING - DAY

               The General sits in his camp chair looking across at the
               mainland. Above his head the flag is streaming to the north 
               and a south wind, blowing, ruffles the General's hair and
               clothing. The General pays no attention to the flag. Oliver,
               half running, comes out of the tunnel.

                         General! The wind --- look the wind
                         has changed to the South.

               The General glances up at the flag indifferently and then
               turns again to watch the mainland.

                         It's the sirocco -- we'll be able
                         to get away from here -- you can
                         take command of your army

               The General shakes his head.

                         I have had command for the last
                         time —-

                         Come —- you'll feel yourself again
                         as soon as we get off this dismal

                             (starting to rise)
                         I shall not leave the island ——

               As he gets to his feet, he staggers. Oliver catches him and
               looks at him in horrified alarm. Slowly the General nods,
               answering the unspoken question. He has the plague. Oliver
               takes his arm, passes it over his own shoulder and begins to
               help him toward the tunnel.

               TNT. CRYPT - DAY

               The coffin is still sealed. But from within comes a muffled
               crying, the sound of fists beating on the boards, the
               slithering scrape of nails.

               INT. COFFIN - DAY

               CLOSE SHOT - Miss Wollsten's face and shoulders. She has
               managed to free her arms from the heavy blanket. With her
               arms lifted above her head she is frantically pushing against
               the coffin lid. As she struggles she screams and her screams
               echo and reverberate in the narrow confines of the coffin.

               Exhausted by her futile efforts, Miss Wollsten stops
               struggling, lies still, breathing deeply, her heavy breathing

               Then she tries to turn in the coffin. It is too narrow. Again
               she beats on the lid. Then she tries to dig her way out with
               her nails. The scrape of her nails on the dull and echoing
               wood is the only sound. Finally, even this is too much for
               her fading strength. She lies quiet, softly moaning.

               INT. CORRIDOR - DAY

               Oliver and the General come up the stairs. With Oliver
               supporting the sick man, they start down the corridor just as
               Cathy comes out from her room. She watches the two men go
               down the corridor. She follows them. When they turn into the
               General's room, she stands waiting in the corridor. A moment
               later, Oliver comes out.

                             (as he passes Cathy)
                         I'm going to get Albrecht. Watch
                         the General for me.

               Cathy nods and goes on into the General's room.

               INT. THE GENERAL'S ROOM - DAY

               Fully clothed, the General lies on his bed. Cathy comes in
               and stands beside him. The General looks up at her.

                         The wind has changed. There's no
                         more danger for the army. You can

               Cathy looks toward the window.

                             (looking toward the
                         It's getting dark. I can't leave

                         In the morning -- go. I'll not die
                         until then —- I'll not die —— I'll
                         watch -— they shall not hurt you.

                         Shh——— it's all right -— I'll be
                         all right.

                         They shall not hurt you



               MED. LONG SHOT~— the mouth of the crypt is solid black in the
               night. From it comes a low mutter of sound.

               INT. THE CRYPT - NIGHT

               The coffin is silhouetted against the lighter darkness of the
               night outside the crypt. Here the muttering, moaning and
               whining of the entombed woman sounds louder.

               INT. THE COFFIN

               Miss Wollsten is almost exhausted by her struggles. Her
               single garment is torn from her exertions; her face is
               scratched and bleeding. She lifts her hands again to tear at
               the wooden ceiling of her prison.

               INSERT	MISS WOLLSTEN'S HANDS. The nails are ragged and
               broken; blood streams from under them.

               CLOSE SHOT — Miss Wollsten. She ceases to struggle; lies
               quietly, her eyes open. There is an expression of awareness
               in her face, almost as if she were listening to something.
               Very faintly, but growing in volume, reverberated by the
               narrow confines can be heard a rhythmic tapping. The sound
               gets louder and louder.

               CLOSE SHOT of the crypt wall. Water is dripping down onto the
               coffin. It drops with a certain, finite measure like the word
               "vrykolaka", quickly and rhythmically.

               Several times Miss Wollsten's lips move as if repeating the
               words. Then another word begins to come in from underneath
               the phrases of the General. At first it is so low in volume
               then it is barely perceptible,then it grows in volume.

                                   GENERAL'S VOICE
                         Vrykolaka -- Vrykolaka --

               SHOT of the crypt wall. The water continues to drip onto the
               coffin in the same rhythm as the word~

               INT. THE COFFIN — EIGHT

               CLOSE SHOT — Miss Wollsten's face. She is listening to the
               drumming of the water on the coffin. The word "Vrykolaka"
               repeated over and over again to the same rhythm grows louder
               and more insistent. She breathes rapidly. She turns her head
               from side to side, then finally her whole body tenses, her
               mouth opens and she screams.

                                   MISS WOLLSTEN

               With the word a convulsive movement, a frenzy of strength
               takes possession of her. She arches her back -and forces her
               whole body against the lid of the coffin. It begins to

               INT. THE MAIN ROOM - NIGHT

               Albrecht is seated at his work bench. He has a small square
               of emery paper in his hand and is meticulously attempting to
               remove the dirt and corrosion of the ages from Poseidon's
               bronze trident. Oliver is watching him.

                         It doesn't look much like the fish
                         spears I knew back in Marblehead..

                             (holding it up between him
                              and the light)
                         Our friend, Poseidon, didn't use it
                         for fishing. He raked the sea with
                         it and stirred up the big waves.

                             (getting up)
                         I'll go up and take a look at the
                         General —- perhaps sit with him.

                         He won't even know you're there. He
                         is delirious.

                         All the more reason to watch him.
                         He's had some wild notions lately.

                         Don't bother. Go to bed and get
                         some sleep. I'll be working late.
                             (pointing upstairs)
                         I can hear any movement down here.

                         Well ——

                         Go ahead. I'll wake you up when I
                         go to bed. Then you can watch him.

                         Thank you, I'll do that. Good

               Oliver walks to the stairs.

               INT. THE CRYPT - NIGHT

               Miss Wollsten is emerging from the shattered coffin. There is
               a wild and maniacal gleam in her eyes. The remnants of the
               white blanket still cling about her shoulders. Her white
               nightgown is in voluminous tatters about her bony body. She
               starts out from the crypt.

               INT. THE GIRLS' ROOM - NIGHT

               An oil lamp is burning on the dresser and a lighted lychnos
               stands on a little table beside Cathy's bed. Cathy is in bed,
               propped up against the pillows. Her face is drawn, her eyes
               unhappy and almost haunted. Thea sits on the foot of Cathy's
               bed, watching her anxiously.

                         You should sleep, Cathy. Lie down
                         and close your eyes. Try to forget

                             (shaking her head)
                         When I close my eyes, I see Miss
                         Wollsten. I can't think of anything

                         She is dead — at peace.

               With a movement so sudden that it startles Thea, Cathy sits

                         Suppose, she isn't dead.
                         Suppose it was a cataleptic

                         It was, the plague

                         We quarreled. She never dared
                         get angry or frightened -- but I
                         said things to her -- it was an
                         attack, I know it was.

               Half convinced by Cathy's certainty, Thea gets up from the

                         Then let us go to her, Cathy.
                         We'll make sure — and your
                         mind will be at rest.

               Cathy shrinks back against the pillows, her eyes	widening in

                         Oh, no —- I couldn't Thea.
                         I couldn't go into the crypt.  I'm
                         afraid, you know I'm afraid.

               For a moment, Thea stands looking at Cathy in silence. Then,
               with an air of decision she crosses to the dresser. She picks
               up a shawl, then puts out the oil lamp. The room fills with
               shadows and only the dim glow of the lychnos illuminates the

                             (half fearfully half
                         What are you going to do?

               Thea goes to the door and there turns back to face Cathy.

                         I'll be back soon. Don't
                         worry anymore, Cathy.

               Thea goes out, quietly closing the door behind her. Cathy
               stares after her.


               A candle burns beside the bed. In the bed the Genera~ lies
               restlessly tossing, muttering in delirium.

               INT. THE GIRLS' ROOM NIGHT

               The lychnos is burning dimly on a little table beside Cathy's
               bed. She lies awake, her eyes wide open, watching the shadows
               across the ceiling. She hears Oliver's footsteps, listens,
               identifies them, then resumes looking at the shadows.

               THE CRYPTS - NIGHT

               Thea descends the steps to the two paths and starts to take
               the right-hand turn. She stops as she sees something ahead of
               her and peers out into the darkness. There is a low moaning
               sound. It stops. She takes two steps forward. The moaning
               sounds again. Thea is frightened. She stops a moment and then
               decides to take the left-hand path to the cypress grove and
               the beach. She has hardly disappeared from view into the
               darkness of the left-hand path, when Miss Wollsten comes
               along the path from the crypts. She wanders in a dazed
               condition and there is madness in her eyes. She seems puzzled
               as to which way she should go.


               Thea walks through the cypress grove under the dark trees.
               She is nervous and stops several times. Even the sudden trill
               of a nightingale causes her to catch her breath in surprise
               and stand stock still until she has identified the sound,
               smile at her own nervousness and pass on. All the little
               night sounds of the wood are exaggerated and nerve shattering
               to her oversensitive ears. Finally, she reaches the little
               beach at the end of the cliffs and stands here safe; the
               space around her a guarantee against surprise.

               INT. THE MAIN ROOM - NIGHT

               Albrecht is nodding over his work bench. He almost falls
               asleep, but catches himself and takes a draught of beer from
               the glass beside him. He then goes on polishing the trident.


               Thea, listening and alert, starts to climb the steps. A
               sudden break of surf on the shingle of the beach makes her
               tense. She goes on up the steps to the landing.

               EXT.. THE LANDING - NIGHT

               Thea comes up. The dark tunnel faces her. In the center
               through the broken roofing a shaft of moonlight cuts in. She
               stands hesitantly before the opening, then almost as if
               taking her courage into her hands, she begins to walk slowly,
               shuffling one foot after the other.

               INT. THE TUNNEL - NIGHT

               Thea comes through the darkness.

               MED. FULL SHOT - the patch of moonlight in the tunnel. Thea
               comes into the patch of moonlight and breathes a little more
               easily. She starts to take a firmer step. Ahead of her in the
               darkness is a tiny unidentified noise. She freezes.

               CLOSE SHOT - Thea. She listens. Again there is the tiny
               unidentifiable noise; someone moving.

                         Who is there?

               She waits for an answer. The echo of her voice is flung back
               at her, "Who is there —— Who is there" and dies away on the
               word 'Who —— Who."

               MED. FULL SHOT - Thea in the tunnel. Ahead of her in the
               darkness is the movement of something white.

                         Is that you, Oliver?

               The echoes ring around her with her own words. They die away.

               CLOSE SHOT — Thea. She peers into the darkness.


               A dimly seen figure has advanced a few steps. Thea can see it
               is a woman.

               MED. CLOSE SHOT - THEA.


               FULL SHOT - Thea and the dim figure ahead of her. From the
               darkness comes a, ringing peal of maniacal laughter and a
               shouted name.

                                   MISS WOLLSTEN

               Thea turns and runs back toward the landing. Miss Wollsten's
               dimly seen figure disappears in the other direction.


               Miss Wollsten comes running madly out of the mouth of the
               tunnel. She stops, peers around suspiciously, then goes to
               the door of the house and opens it softly.

               INT. THE MAIN ROOM - NIGHT

               The fire is low in the brazier. At his work bench Albrecht
               has tipped his chair back against the wall and is sleeping.
               Before him on the bench lies the bronze trident, its sharp
               burnished points catching the fire light. Miss Wollsten
               creeps in, closes the door softly behind her and on tiptoe,
               with the cunning of madness, crosses the room to Albrecht.
               She looks at him. He continues to sleep. Stealthily she
               reaches between his limp hands and takes up the trident.

               With the trident in her hand she begins to cross the main
               room toward the stairs.


               He is fitfully tossing.

               EXT.	THE BEACH - NIGHT

               Thea still very frightened, crouches against the stone which
               supports Cerberus. She listens and there is no sound and
               finally taking courage, she begins to walk through the grove
               of cypress trees to the house.

               INT. THE GIRL'S ROOM - NIGHT

               Cathy lies still, wide awake, her eyes on the shadows on the
               ceiling. Suddenly the door opens-- quietly and closes again.
               Cathy half turns her head.


               There is a rush in the darkness a stifled exclamation of
               fear, a quick blow with the trident and Cathy falls back on
               her pillow dead, blood streaming from two puncture marks on
               her throat. Miss Wollsten straightens, gazes about her for a
               moment, then disappears into the shadows of the room.

               INT. THE MAIN ROOM - NIGHT

               Thea comes in, closes the door softly behind her, smiles as
               she sees Albrecht asleep, crosses to him and shakes him

                         Oh -— sleeping -- Oliver
                         wouldn't like that.
                             (he listens)
                         Well, everything seems to be
                         all right.


               She starts across the room and up the stairs. Albrecht,
               realizing his hands are empty, begins looking for the

               INT. THE GIRL'S ROOM - NIGHT

               It is so still that Miss Wollsten's movements around the wall
               in the darkness can be heard. Thea opens the door and comes
               in. She looks over at Cathy's bed. Cathy seems to be asleep.
               Without bothering to turn up the oil light, Thea turns back
               the covers of her bed and begins to undress. Several times
               she pauses to listen as if she had hoard a slight sound, then
               continues to take off another piece of clothing until she is
               down to her shift. As she begins to pull down the shoulder
               straps of her shift a little louder noise in the darkness
               causes her to stop. There is no repetition of the sound.
               Again she starts to slip down her shoulder straps.

               INT. MAIN ROOM - NIGHT

               Albrecht is still looking for his trident. He finally gives
               up and takes a drink of beer.

               INT. THE GENERAL'S ROOM - NIGHT

               The General is tossing wildly. He is awake and his eyes are
               glazed with fever. He gets up. He is dressed in his uniform
               trousers and a shirt. He wears neither boots nor tunic. He
               begins to stagger toward the door.

               INT. MAIN ROOM - NIGHT

               The General comes out of his room, supporting himself
               with one hand against the wall.  He moves blindly into the
               corridor. Several times he passes his hand before his eyes as
               if trying to clear his vision, but the blindness of the
               plague is upon him.

               INT. CORRIDOR - NIGHT

               CLOSER SHOT - He comes up the stairs. He finds the door to
               the girls' room by touch and opens it. He has to support
               himself on the door jamb to prevent collapse. He shuffles in.

               INT. THE GIRLS' ROOM - NIGHT

               The General blindly gropes his way in.

               CLOSE SHOT — Thea. She looks over in horror from the bed
               where she is now lying.

               MED. FULL SHOT - The General as he gropes his way across to
               Cathy's bed. He kneels down beside it.

               CLOSE SHOT — The General and Cathy. He gropes over her face
               with his hand. One hand touches the wound at her throat. He
               touches the blood stained hand against the fingers of the
               other hand to test the wetness, then gropes again for the

               CLOSE SHOT — The General and Cathy. He touches the two
               puncture marks.


               His hand goes down to feel Cathy's heart beat. There is none.
               The General straightens up and from his belt takes the small,
               sharp stick of hazel-wood. He turns and begins blindly
               staggering toward the other bed with outstretched hands. His
               unseeing footsteps take him out of the periphery of the light
               into the darkness.

               CLOSE SHOT - Thea. She lies still, holding her breath, trying
               desperately not to move, not to make a sound, not to attract
               the General's attention and, give direction to his murderous
               footsteps. She looks up at the shadows on the ceiling. The
               lychnos casts weird moving shadows.

               CLOSE SHOT -- The General, as he gropes his way. 

               CLOSE SHOT - Thea, straining to see into the shadows beyond
               her bed. Suddenly, her face becomes completely terrorized. 
               Out of the darkness beyond the bed materialises the general's
               hand holding the hazel-wood stick, as it comes into the
               periphery of the light from to lychnos.

               CLOSEUP - Thea's face. She can no longer control herself. She

               MED. FULL SHOT - The General comes out of the darkness,
               throws himself blindly, toward Thea.

               ANOTHER ANGLE - silently, swiftly, Miss Wollsten comes out of
               the darkness, the trident gleaming in her hand. She strikes
               down. The General's hands fall limp and harmless. The hazel
               stick falls to the floor as the General collapses over the

               INT. THE CORRIDOR - NIGHT

               Oliver, rubbing the sleep from his eyes, startled by Thea's
               scream, comes out into the corridor.

               Suddenly he becomes completely alert as from the girls' room,
               Miss Wollsten emerges. Oliver looks at her with shocked
               horror and then rushes towards the girls' room.

               INT. THE MAIN ROOM - NIGHT

               Miss Wollsten comes rushing down the stairs. Albrecht looks
               at her in amazement. His glass of beer falls to the floor.
               She dashes through the door into the darkness.

               EXT. THE HOUSE - NIGHT

               Albrecht comes out and peers off into the moonlight.
               Evidently he sees the direction of Miss Wollsten's flight.
               Picking up a lantern, he runs after her.

               INT. THE GIRL'S ROOM - NIGHT

               MED. CLOSE SHOT - The General lies on Thea's bed. Thea, now
               in her robe, and Oliver bent over him. The General opens his
               eyes. He seems darned, but his lace is calm in contrast to
               his former appearance  He turns his head slightly in Thea's

                             (in a whisper)
                         Theodosia --

                             (with great sympathy)
                         Not Theodosia. Theodosia's
                         daughter -- your daughter.

               The General looks from one to the other uncomprehendingly.

                         Daughter -- my daughter --

                         She was born before your wife
                         returned here to die. You never

               An expression of full realization comes into the General's
               face. He attempts to smile at Thea and makes an effort to
               move his hand toward her. Thea understands the gesture and
               puts her hand over his warmly. 'The touch of her hand induces
               a state of euphoria in the General. He looks at Thea
               gratefully, peacefully.


               Fog is rising from the sea so that although the temple is
               still clear, the cliff ends abruptly in a curtain of grey and
               watery vapor. Miss Wollsten, the trident held before her,
               comes running into the temple. She pauses, looks forward into
               the grey wall before her. Behind her she can hear Albrecht's
               footsteps. She throws down the trident, it rings on the
               marble pavement of the temple. Then, almost with composure,
               she walks slowly forward and suddenly disappears into the
               grey fog. From the fog comes a long, descending scream. A
               moment later, Albrecht appears with the lantern and stands
               looking off. Glancing down, Albrecht sees the trident
               gleaming in the light. He picks it up, examines it --

                             (softly to himself)
                         With Poseidon's trident she paid
                         her way to Hades. He let her pass
                         through the portals into his dark



               The wind blows free from the South.

               EXT. THE BEACH - DAY

               It is early morning and the cliffs cast long shadows over the
               rippling catspaws on the water. A small boat is drawn up on
               the beach. Albrecht's man servant stands in the stern,
               leaning on a sculling oar that he presses against the bottom
               to hold the boat steady. Thea, with her bundle of possessions
               beside her, sits on the thwart. Oliver stands on the beach,
               holding the bow, and talking to Albrecht.

                             (pressing Albrecht's hand)

                         May life be good to you both. As
                         for the others —— they will be
                         quiet here —— and I will be with

               Albrecht smiles at Thea and Oliver. Oliver steps into the
               bow.. The servant shoves the boat off from the beach.

                                                       FADE OUT
               THE END