Isle of the Dead

by
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

						FADE OUT.

FADE IN

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

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 seventy—two of the
	enemy — three thousand of our own
	men. Burial parties are already at
	work. We are assigning men from
	every company to clear the field,

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

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

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

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

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

			SECOND OFFICER
	A greet battle —— a great victory!

MED. CLOSE SHOT — General Pherides and Dr  Drossos.

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

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

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

			DR. DROSSOS
	At least get a decent night's	sleep.
		(smiling)
	Consider it a prescription from my
	father..

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.

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

			GENERAL
	Hero?

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

The General puts his hand on Oliver's arm.

			GENERAL
	Listen ——

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

			GENERAL
	You know that sound, Oliver?

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

			GENERAL
	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.

			OLIVER
	Over there, isn't it?

The General nods and starts off again rapidly, Oliver
following.

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

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

			OLIVER
	Do you mind if I go with you?

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

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

The General- makes a slight gesture of indifference and moves
forward.

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.

			OLIVER
	I'll leave this here to guide us
	back.

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

						WIPE

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.

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

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
Oliver stops.

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

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

			GENERAL
	She is not there. The coffin is
	gone.

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

The General shakes his head..

			GENERAL
	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
melancholy.

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

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

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

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

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

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.

			GENERAL
		(bewilderedly)
	There was no house here.

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

			ALBRECHT'S VOICE
	Come in, come in!

They step through the doorway and the door closes behind
them.

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
instruments.

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.

			ALBRECHT
		(surprised)
	I took it for granted you gentlemen
	were refugees as are my other
	guests.

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

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

Oliver shakes hands with Albrecht. The General bows.

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

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

The people in the room exhibit varying degrees of interest.

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

He half turns to indicate the Consul.

			ALBRECHT
	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.

			ALBRECHT
	--	and Miss St. Aubyn.

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

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

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

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

			ST. AUBYN
	My secretary, Miss Wollsten.

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

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

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

			OLIVER
	Aren't you a little out of
	your territory?

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

He walks unsteadily back to his own seat.

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

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

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

			ALBRECHT
	They were gore before I came here.

			GENERAL
	But why?

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

			ALBRECHT
	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.

			GENERAL
	All the graves?

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

			GENERAL
	I donut understand.

			IDA
	I can explain, Master Soldier.

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

			GENERAL
		(understanding her
		 immediately)
	Vorvolakas!

Hastily Ida crosses herself, at the same time nodding
agreement

			GENERAL
		(not too unpleasantly)
	You are an old fool.

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

			GENERAL
	You are still a fool.

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

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

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

			ALBRECHT

I am, Greek, sir, by affection.

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

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

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

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

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

			JACKS
		(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
	Piccadilly.

			ALBRECHT
	Each to his taste.

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

			JACKS
	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
		 walks)
	I'm not well. I'm not well.
	Something's wrong with me
	——something hurts.

			ST. AUBYN
		(disdainfully)
	Odd way to describe plain
	drunkenness.

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.

			THEA
		(simply)
	He fell.

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

			ALBRECHT
		(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.

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

			IDA
		(disgustedly)
	Never mind. It'll get him to his
	room.

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
agitated.

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.

			ALBRECHT
	My dear sir, you look completely
	exhausted.

The General attempts to pull himself together.

			OLIVER
		(coming into the scene)
	He is exhausted.

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

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

			GENERAL
	Perhaps I had better stay.
	I am tired.

			ALBRECHT
	I'll get Ida to make up your
	bed.

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

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.

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

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

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

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

			GENERAL
	Her name is Thea?

			ST. AUBYN
	Theodosia.

			GENERAL
	Her family name?

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

He wrinkles his forehead.

			ST. AUBYN
	I seem to have forgotten.

The General looks at him suspiciously.

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

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

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

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

			GENERAL
		(with a gesture toward
		 Cathy)
	Your daughter is ill.

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

			GENERAL
		(persistently)
	What is her illness?

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

			GENERAL
	Was she ill before that girl came
	into your household?

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

The General looks at him and then at Thea.

			GENERAL
	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.

			GENERAL
	This girl --

			ST. AUBYN
		(interrupting)
	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.

			GENERAL
	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:

			OLIVER
	I hope Mr. Jacks gets to bed in one
	piece.

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

			THEA
		(gravely)
	You are fortunate in your father.

			CATHY
	Thea is an orphan.

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

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

			CATHY
		(apologetically)
	I adore hearing Thea sing --
	but my poor head's beginning to
	ache.
		(exaggeratedly)
	I'm so sorry.

			OLIVER
		(courteously)
	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.

			THEA
	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.

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

He turns to Thea.

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

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

			THEA
	I was thinking of death when I
	sang.

			CATHY-
		(protesting)
	Thea!

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

			CATHY
	You're making me feel cold.

Thea is instantly concerned.

			CATHY (CONT'D)
	Perhaps my scarf --

Thea nods, smiles and willingly goes to get it.

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

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

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

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

			GENERAL
	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
quickly.

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

Thea is too terrified to speak.

			GENERAL
		(with menacing softness)
	You. You know me?

Thea shakes her head, too torrified to speak.

			GENERAL
	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
gaze.

			GENERAL
		(slowly)
	Maybe you have no memory for the
	past ——
		(in a whisper)
	Vrykolaka!

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.

			THEA
	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.

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

He pinches his arm.

			GENERAL
	Look -- I am alive.

He begins to laugh again.

			GENERAL
	And I thought the same of you!
		(sobering)
	I am ashamed. A grown man --

The General smiles in ridicule of his own foolishness,

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

Thea smiles in agreement.

			GENERAL
	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.

			THEA
	General ——

He turns.

			THEA
	What do they call you? What
	is your name?

			GENERAL
	Nikolas Pherides.

He turns and continues down the corridor.

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

						FADE OUT

						FADE IN

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
"Hellas")

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
herself.

			THEA
	The sea! The sea!

Albrecht stares at her, arrested by the words.

			ALBRECHT
	What made you say that, Thea?

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

			THEA
	I don't know.

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

Smiling, Thea shakes her head.

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

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

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

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

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

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

CLOSE TWO SHOT - Thea and Cathy.

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

			CATHY
	What an odd question!

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

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

Cathy leans over toward her.

			CATHY
	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 --

			THEA
	I do not know him, but I have seen
	him.

			CATHY
	What is it -- what are you talking
	about?

			THEA
	You have forgotten my last name?

Cathy thinks a moment, then smiles.

			CATHY
	I have forgotten it, dear.

			THEA
	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.

			GENERAL
	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,
	strategy.

			OLIVER
		(grinning)
	It doesn't seem to bother you
	much, General.

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

			OLIVER
	Thea?

The General nods.

			GENERAL
	There is something evil about
	her.

			OLIVER
	Oh, now —— now look here ——

			GENERAL
		(interrupting)
	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
	head.

			OLIVER
	But that should make you like her.

The General shakes his head/

			GENERAL
	It makes me fear her.

			OLIVER
		(shrugging)
	I can't understand that.

			GENERAL
	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.

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

			THEA
	But one must love a father.

			CATHY
	The General — you don't even
	know him.

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

			CATHY
	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.

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

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

			CATHY
	Do you like what you've seen, of
	him'?

Thea shakes her head.

			THEA
	I felt he did not like me.

			CATHY
	That should decide it or you --

			THEA
	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.

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

			GENERAL
	We have no time for that.

Oliver shrugs.

			OLIVER
	Ready?

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.

			ALBRECHT
	Wait, gentlemen! Wait!

They turn to him.

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

			OLIVER
	Drunk again?

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

			GENERAL
	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.

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

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.

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

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

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

			OLIVER
		(aghast)
	Plague? There's no possibility
	of that, is there?

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

			ALBRECHT
	I'm not sure that it is the plague.

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

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

						DISSOLVE

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.

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

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

			CATHY
		(smiling)
	Thank you.

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

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

He lifts his hand to his forehead.

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

St. Aubyn dismisses the suggestion with a gesture.

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

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

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

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

			GENERAL
	You're afraid because Mr. Jacks is
	upstairs.

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

Albrecht moves to get up from the table.

			ALBRECHT
	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
questioningly.

			ALBRECHT
	St.  Aubyn?

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

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.

			CATHY
	Good night, Pappa.

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

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
goes in.

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

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

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

			GENERAL
	Did your servant got word to
	Dr. Drossos?

Albrecht picks up the wine bottle and the glasses.

			ALBRECHT
		(nodding)
	Dr. Drossos should be here any
	hour now.

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

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

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

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

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

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.

						DISSOLVE

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
affection.

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

			CATHY
	Good night, Oliver.

			OLIVER
	Sleep well.

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

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

			OLIVER
	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.

						DISSOLVE

INT. MAIN ROOM - NIGHT

The General and Albrecht are still sitting together.

Oliver stands near them.

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

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

			GENERAL
	Better no general than one
	carrying the plague.

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

			GENERAL
		(adamantly)
	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. -

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

			ALBRECHT
		(chuckling)
	Or even spirit messages from
	the next world.

Oliver's eyes widen and then he smiles quizzically at
Albrecht.

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

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

INT. THE CORRIDOR - NIGHT

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

			MISS WOLLSTEN
	Mr. Davis -—

Oliver, startled, stops and stares.

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

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

INT. GIRLS' BEDROOM - NIGHT

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

CLOSE SHOT — Cathy. She sleeps soundly.

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

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
there, listening.

INT. THE CORRIDOR - NIGHT

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

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

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

INT. ST. AUBYN'S ROOM - NIGHT

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

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

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

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

			DR. DROSSOS
		(pityingly)
	I'll make any test you want.
	Look.

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

INSERT	THE FEATHER at St. Aubyn's face.

It doesn't move.

						BACK TO SCENE:

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

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

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

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

			DR. DROSSOS
	You see?

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

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

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

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

As he speaks, the General starts toward the door.

INT. CORRIDOR - NIGHT

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

INT. ST. AUBYN'S ROOM - NIGHT

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

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

						DISSOLVE

INT. MAIN ROOM - DAY

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

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

			CATHY
		(frantically)
	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
	us.

The General turns his head and looks at Cathy without
emotion.

			GENERAL
		(implacably)
	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.

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

Oliver turns to Dr. Drossos, who nods slowly.

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

			ALBRECHT
		(to Drossos gentle
		 mockery)
	Good winds and bad winds!

Albrecht goes to the table.

			DR. DROSSOS
		(patiently)
	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?

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

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

He glances at the General and then at Thea.

			GENERAL
		(with serious
		 determination)
	I do not.

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

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

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

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

MED. SHOT - on remaining group.

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

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

Albrecht goes to the table and replaces the trident.

			DR. DROSSOS
	You're just talking nonsense.

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

Dr. Drossos gives a little snort of disdain.

			ALBRECHT
		(smiles)
	We will see who is the first to
	die.

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

						DISSOLVE OUT

						DISSOLVE IN

EXT. RUINS - NIGHT

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

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

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

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

She gropes around as if looking for something.

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

Thea bestirs herself out of whatever reverie has held her.

			THEA
	I'll find it.

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

			OLIVER
	You can't go down there alone - -

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

			MISS WOLLSTEN
	Cathy --

Cathy looks around at her inquiringly, somewhat startled.

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

			CATHY
	Whet do you mean?

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

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

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

Cathy tries to interrupt, but Miss Wollsten goes on
ruthlessly.

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

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

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

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

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

She points over the balustrade toward the cypress grove
below.

			CATHY
	What would I be thinking?

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

			CATHY
	What if he is?

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

			CATHY
	Why, I'm fond of Thea.

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

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

			MISS WOLLSTEN
	That your father and I ——

			CATHY
	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.

			OLIVER
	Thea.

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.

			OLIVER
	You're crying. Why?

			THEA
		(simply)
	I don't know. Everything's so mixed
	up --

			OLIVER
		(smiling)
	Everything's so simple. I like you.

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

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

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

			OLIVER
	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
look up.

EXT. STAIRS - NIGHT

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

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

			OLIVER
	You gave us quite a start --
	standing there.

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

EXT. GROVE - NIGHT

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

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

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

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

(Note: See famous World-Wide photograph of King Ferdinand of
Bulgaria, taken after the defeat of the Bulgarian armies in
1917.)

			OLIVER
	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.

			GENERAL
		(musing)
	Thea is so like her —— in every
	feature ——

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

The General takes a deep breath and sighs, remembering other
days.

			GENERAL
	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.

			OLIVER
	How did she die?

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

There is a long silence. Oliver stirs restlessly.

			OLIVER
	Is this what you wanted to speak to
	me about?

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

			OLIVER
	I had a notion you had become
	self—appointed chaperone lately —
	why?

			GENERAL
	You are my friend.

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

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

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

			GENERAL
		(earnestly)
	Listen to what I say --

			OLIVER
	When you make sense I'll listen.

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

EXT  THE GROVE - NIGHT

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

EXT. THE RUINS - NIGHT

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

			OLIVER
	Where's Thea?

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

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

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

EXT  THE GROVE - NIGHT

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

EXT  THE RUINS - NIGHT

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

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

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

						FADE OUT

						FADE IN

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

EXT. RUINS - DAY

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

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

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

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

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

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

			DR. DROSSOS
		(dryly)
	Also too late. I owe you a dinner.

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

			ALBRECHT
		(concerned) )
	You feel the symptoms?

			ALBRECHT
	My friend -- what can one say --

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

DISSOLVE

INT. THE MAIN ROOM - NIGHT

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

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

			DR. DROSSOS
		(thickly)
	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
glass.

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

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

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

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

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

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

			OLIVER
	On my word! That's what they
	believe.

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

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

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

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

			OLIVER
		(embellishing)
	Sharp, shiny teeth -- and they
	creep up to your bed --

			CATHY
	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.

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

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

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

			DR. DROSSOS
	Thea! Come here!

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

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

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

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

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

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

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

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

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

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

He continues across and goes out through the door.

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

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

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

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

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

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

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

			DR. DROSSOS
		(with a last spurt of
		 strength)
	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.

			ALBRECHT
	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.

			GENERAL
		(slowly)
	When she stood beside him, I knew.
	I could feel death in the room.

						FADE OUT

						FADE IN

EXT. RUINS - DAY

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

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.

			CATHY
		(emotionally)
	Oliver --

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

			OLIVER
	What is it, Cathy? What's the
	matter?

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
hand.

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

			OLIVER
		(tenderly)
	Poor Cathy --

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

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

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

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

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

			CATHY (CONT'D)
		(feverishly)
	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.

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

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

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
her.

			CATHY
		(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
exhausted.

			GENERAL
		(compassionately)
	Poor child. These must be horrible
	days for you.

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

The General looks at her with heightened attention.

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

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.

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

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

The General stands very still.

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

			CATHY
		(indifferently)
	She has never mentioned her family.

			GENERAL
	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:

			CATHY
		(indifferently)
	I don't know --- fairly young.

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

			CATHY
	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.

						DISSOLVE

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.

			GENERAL
	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.

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

			GENERAL
		(slowly)
	I wish I didn't know.	I wish I had
	never found you again.

			THEA
	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.

			GENERAL
	It isn't hatred. I couldn't hate
	you.

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

			GENERAL
		(somberly)
	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:

			THEA
	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.

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

At this moment, a call comes from above.

			OLIVER'S VOICE
	Thea --

The General looks off towards the voice.

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

			THEA
		(calling)
	I'm here..

The General lets go her arm.

			GENERAL
		(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.

			OLIVER
	Thea, what's wrong?

			THEA
	The General threatened me.

			OLIVER
		(grinning)
	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
	village.

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

			OLIVER
	Well, tell, him.

			THEA
	I can't.

			OLIVER
	Why in the world can't you?

			THEA
	He hates all my race.

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

			THEA
	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.

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

			THEA
		(nodding)
	It is for that he hates me.

Oliver shakes his head.

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

			THEA
	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.

			OLIVER
		(gently)
	They didn't tell you the whole
	truth. Why do you think your mother
	went back to him after you were
	born?

Thea looks at him, uncertain, unconvinced.

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

			THEA
		(slowly)
	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.'

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

			THEA
		(alarmed)
	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.

			OLIVER
	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.

			GENERAL
	Woman, what are you doing here?

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

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

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

			GENERAL
	He's dead enough. God rest his
	soul.

He starts to turn away.

			MISS WOLLSTEN
	General -—

He turns back to her.

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

			GENERAL
		(impatiently)
	Yes?

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

			GENERAL
	I don't understand you.

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

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

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

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

			MISS WOLLSTEN
		(nods)
	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.

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

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

						FADE OUT

						FADE IN

INT. MAIN ROOM - NIGHT

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

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

						DISSOLVE

INT. THE GIRLS' BEDROOM - NIGHT

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

THE WINDOW - NIGHT

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

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

INT. THE CORRIDOR	NIGHT

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

THE TOP OF THE STAIRS - NIGHT

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

INT. THE GIRLS' BEDROOM - NIGHT~

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

			CATHY'S VOICE
	General -—

The General turns back towards the hall door, startled.

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

			CATHY
	What are you doing?

			GENERAL
	I was looking for you.

The General walks over to her.

			GENERAL
	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.

			CATHY
		(pleased)
	How kind you are. It is so
	comforting to know that someone
	cares.

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

			GENERAL
		(kindly)
	You no longer have your father —-
		(smiles almost
		 affectionately)
	And I have no children.

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

			GENERAL
	Miss Wollsten shares the room with
	you?

			CATHY
	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.

			CATHY
		(smiling)
	I'll see you at dinner.

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

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

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

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

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

			CATHY
		(angrily)
	Really, this is idiotic!

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

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

			CATHY
	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.

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

			MISS WOLLSTEN
		(stricken)
	You wouldn't tell that ——

			CATHY
	Wouldn't I?

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

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

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

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.

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

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

			ALBRECHT
	Where is Miss Wollsten?

			CATHY
	She's in her room.

			THEA
	I'll get her	--

Thea gets up and moves quickly across to the stairway.

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

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

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

Cathy turns to Oliver, waiting hopefully for his answer.

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

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

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

INT. THE CORRIDOR - NIGHT

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

INT. MISS WOLLSTEN'S ROOM - NIGHT

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

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

			GENERAL
	She is dead.

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

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

			GENERAL
	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.

			ALBRECHT
	Help me put her on the bed.

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

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

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

INT. THE GIRLS ROOM - NIGHT

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

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

			GENERAL'S VOICE
	Nothing.
		(after a pause)
	There is a way to make sure -—

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

			OLIVER
	No. We can do without that.

INT.  MISS WOLLSTEN'S ROOM - NIGHT

MED. SHOT - the three men.

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

			GENERAL
		(positively)
	No.
		(looking toward the door)
	She shall not be left here.

			ALBRECHT
	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
it.

						DISSOLVE

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.

			ALBRECHT
	Rest in peace.

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

THE LANDING - DAY

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

			OLIVER
		(excitedly)
	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.

			OLIVER
	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.

			GENERAL
	I have had command for the last
	time —-

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

			GENERAL
		(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
echoing.

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.

			OLIVER
		(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.

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

Cathy looks toward the window.

			CATHY
		(looking toward the
		 window)
	It's getting dark. I can't leave
	now.

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

			CATHY
		(comfortingly)
	Shh——— it's all right -— I'll be
	all right.

			GENERAL
	They shall not hurt you

						DISSOLVE

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.

			GENERAL'S VOICE
	Vrykolaka -- Vrykolaka --

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

INT. THE COFFIN — EIGHT

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

			MISS WOLLSTEN
		(screaming)
	Vrykolaka!

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
splinter.

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.

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

			ALBRECHT
		(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.

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

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

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

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

			OLIVER
		(hesitating)
	Well ——

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

			OLIVER
	Thank you, I'll do that. Good
	night.

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.

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

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

			THEA
		(gently)
	She is dead — at peace.

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

			CATHY
		(feverishly)
	Suppose, she isn't dead.
	Suppose it was a cataleptic
	attack?

			THEA
	It was, the plague

			CATHY
		(interrupting)
	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
bed.

			THEA
	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
terror.

			CATHY
		(whispering)
	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
scene.

			CATHY
		(half fearfully half
		 hopefully)
	What are you going to do?

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

			THEA
	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.

			THEA
		(softly)
	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.

			THEA
	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.

			THEA
	Cathy?

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

			MISS WOLLSTEN
	Cathy!

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.

			CATHY
	Thea?

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
awake.

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

			THEA
	Goodnight.

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

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
wound.

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

			GENERAL
		(muttering)
	Vrykolaka.

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
screams.

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
bed.

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
direction.

			GENERAL
		(in a whisper)
	Theodosia --

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

The General looks from one to the other uncomprehendingly.

			GENERAL
	Daughter -- my daughter --

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

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

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 --

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

						DISSOLVE

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.

			OLIVER
		(pressing Albrecht's hand)
	Goodbye.

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

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

						FADE OUT
THE END