"ISLE OF THE DEAD"
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 WAR AND TUMULT TORMENT THE EARTH,
THE DEAD ARE DISQUIETED: THERE IS
FRENZY IN THE GRAVE. HERODOTUS
When this inscription has remained on the screen long enough
to be read, underneath it appear in block letters the words:
GREECE - 1912
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.
INT. HEADQUARTERS TENT NIGHT
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 seventytwo 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
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
barbersurgeon who kneels at his side and is engaged in
FIRST OFFICER'S VOICE
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 pincenez 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
semiuniform 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
A greet battle a great victory!
MED. CLOSE SHOT General Pherides and 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
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.
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.
Both men are silent in an attitude of listening - from
outside can be heard distantly the screaming and groaning of
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
EXT. THE MAINLAND BEACH - NIGHT
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 glassycalm, moonlit water. In the f.g. is a broken
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.
EXT. THE MAINLAND BEACH NIGHT
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.
EXT. THE LEDGE BEFORE THE CRYPTS - 'NIGHT
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
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 reappears.
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.
EXT. THE CYPRESS GROVE - NIGHT
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.
EXT. THE STAIRWAY AND TUNNEL MOUTH - NIGHT
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
EXT. THE OTHER END OF THE TUNNEL - NIGHT
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.
Come in, come in!
They step through the doorway and the door closes behind
INT. ALBRECHT'S LIVING ROOM - NIGHT
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
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
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.
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.
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
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
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)
But, come, sit down with us. We are
all anxious to hear of' today's
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.
I came here to visit the crypts. My
wife was buried here. What happened
to the bodies?
They were gore before I came here.
Ida, the woman servant, a middleaged 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 forefinger to each side of her mouth and grimaces
between the upright fingers.
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
(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.
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
broodmare 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
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.
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
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.
The young man, Mr. Davis, seems to
be some kind of an unofficial
observer a correspondent of
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.
I don't really know where Thea
comes from. The ViceConsul at
Adrianople brought her to me..
Her name is Thea?
Her family name?
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.
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
(looks off at his
Miss Wollsten - my secretary,
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.
(brushing off the
She's not too well.
What is her illness?
Nothing, really. She's been under a
great strain -- the journey -- the
Was she ill before that girl came
into your household?
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 --
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
I could never leave him. I should
be utterly helpless by myself.
You are fortunate in your father.
Thea is an orphan.
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
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.
You're making me feel cold.
Thea is instantly concerned.
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
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
(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
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.
What do they call you? What
is your name?
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.
EXT. A RUIN OVERLOOKING THE SEA - MORNING - EFFECT SHOT
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
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
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,
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
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
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
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
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.
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
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.
INT. UPSTAIRS CORRIDOR - DAY
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
In your campaigns, have you never
seen men who staggered before they
died, who talked incoherently
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
Until then you and I remain here.
I will not bring the plague to
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
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.
I'm glad you and the General didn't
have to leave us. We would feel
(with a look which divides
his compliment between
Cathy and Thea)
How could we go back to the wars
with such pleasant company here..
Thea smiles, pleased. Mr. St. Aubyn looks at his daughter,
smiling and gay.
You're feeling better, Cathy?
I must admit your island is
peaceful enough. Even I have
In fact, I feel quite exhausted.
He lifts his hand to his forehead.
Perhaps you should rest for a
little while, Mr. St. Aubyn.
St. Aubyn dismisses the suggestion with a gesture.
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
(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
INT. UPSTAIRS CORRIDOR - NIGHT
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
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
Albrecht picks up the wine bottle and the glasses.
Dr. Drossos should be here any
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.
If you'll forgive me...I've letters
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.
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.
INT. UPSTAIRS CORRIDOR - NIGHT
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.
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
Better no general than one
carrying the plague.
We still don't know that it's the
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
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.
Mr. Davis -
Oliver, startled, stops and stares.
Will you help me? Mr. St. Aubyn
is ill - very ill
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
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.
INSERT THE BOTTOM OF THE DOOR FRAME AND THE FLOOR. Light
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
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.
No. No. I won't believe it.
He's not dead.
This is Dr. Drossos, chief medical
officer of my division.
I don't care who he is. He
doesn't know. He can't tell
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:
He's not dead. I tell you he's
Dr. Drossos sighs. He turns and picks up a hand mirror from
the chest of drawers behind him.
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
(clinging desperately to
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.
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
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
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
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.
If the wind shifts, if the sirocco
blows -- the hot wind from the
South -- all danger will be over in
(to Drossos gentle
Good winds and bad winds!
Albrecht goes to the table.
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 --
They used to believe that sort of
thing in the mountain villages.
Some still do --
He glances at the General and then at Thea.
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
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.
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.
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
Dr. Drossos gives a little snort of disdain.
We will see who is the first to
Very well. I'll wager a dinner.
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.
Cathy looks around at her inquiringly, somewhat startled.
I wish I didn't have such bitter
knowledge of you, Cathy.
Whet do you mean?
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
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
Your father knew it too. But he
was never sure how much was
How do you know what my father
thought - -
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
You were father's secretary -
I never thought - -
Didn't you? But now -- what are you
She points over the balustrade toward the cypress grove
What would I be thinking?
Mr. Davis seems a good prospect
young handsome, sympathetic --
ready to listen to you and feel
sorry for you - -
What if he is?
(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.
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.
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.
EXT. THE CYPRESS GROVE - NIGHT
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
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
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.
ANOTHER ASPECT OF THE GROVE - NIGHT
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
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
You gave us quite a start --
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
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
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
There is a long silence. Oliver stirs restlessly.
Is this what you wanted to speak to
In a way -- this girl, Thea.
You must stay away from her.
I had a notion you had become
selfappointed 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
(turning away; indignant)
That's ridiculous -- Thea's lovely,
Listen to what I say --
When you make sense I'll listen.
He starts off, up the path through the grove, the General
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.
I think she went to bed I saw
her going toward the house
Oliver makes a vague gesture of disappointment and sits down
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
(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.
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.
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.
Also too late. I owe you a dinner.
AS the meaning of this sinks in, Albrecht's bantering manner
You feel the symptoms?
My friend -- what can one say --
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.
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
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
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 --
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!
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.
Thea! Come here!
The others turn to look at the girl as she obeys the summons.
Look at her. Warm, beautiful -
alive. Drink with me, Thea -
Drink to my old enemy, who wins at
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
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.
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
Don't go. You are leaving me, you
are all leaving me --
Albrecht, instantly concerned, gets up and bonds over the
I'm here. The General is here. You
are not alone.
(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.
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'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,
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
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.
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
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.
EXT THE LANDING OUTSIDE THE TUNNEL - DAY
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.
EXT. THE LANDING OUTSIDE THE TUNNEL - DAY
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
At this moment, a call comes from above.
The General looks off towards the voice.
OLIVER'S VOICE (CONT'D)
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.
EXT. THE LOWER END OF THE PATH LEADING FROM THE HOUSE - DAY
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.
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
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.
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 NARROW LEDGE IN FRONT OF THE CRYPTS - DAY
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?
(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 -
(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.
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.
He turns back to her.
I'm a woman -- a lonely woman. I
have few friends.
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.
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.
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?
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
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 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 -
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 dressingtable.
From behind her, out of the darkness of her own room, comes
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
Would you care to explain what
you're talking about?
You've been playing on the
superstitions of that poor old man
working at him turning him
Really, this is idiotic!
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!
You wouldn't tell that
Now, Miss Wollsten's calm leaves her. She almost shrieks at
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.
INT. MISS WOLLSTEN'S ROOM - NIGHT
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.
I suppose you'll be going on to
I don't know now without my
You are right. You shouldn't be
Why don't you make the trip with
Cathy turns to Oliver, waiting hopefully for his answer.
I'd like to, very much -- but it
depends on what dispatches are
waiting for me on the mainland.
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.
INT. MISS WOLLSTEN'S ROOM - NIGHT
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
Oliver goes over to Thea and Albrecht comes to stand beside
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.
(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.
Her heart is stopped -- there is no
(after a pause)
There is a way to make sure -
Oliver moves into Miss Wollsten's room, at the same time
No. We can do without that.
INT. MISS WOLLSTEN'S ROOM - NIGHT
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 LEDGE IN FRONT OF THE CRYPTS - DAY
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 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
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
They shall not hurt you
THE LEDGE OUTSIDE THE CRYPT - NIGHT
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.
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.
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.
I'll go up and take a look at the
General - perhaps sit with him.
He won't even know you're there. He
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.
I can hear any movement down here.
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.
INT. THE GENERAL'S BEDROOM - NIGHT
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.
EXT. THE CONVERGENCE OF THE PATHS LEADING TO THE GROVE AND
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.
EXT. THE CYPRESS GROVE - NIGHT
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.
EXT. THE STEPS LEADING TO THE LANDING - NIGHT
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.
INT THE TUNNEL AHEAD OF THEA - NIGHT
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
Thea turns and runs back toward the landing. Miss Wollsten's
dimly seen figure disappears in the other direction.
THE MOUTH OF THE TUNNEL - NIGHT
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.
INT. THE GENERAL'S BEDROOM - NIGHT
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.
Well, everything seems to be
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
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)
(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
EXT. THE TEMPLE OF HADES - NIGHT
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
EXT. THE FLAG AT THE LANDING - DAY
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.