Isle of the Dead
Writers: Ardel Wray, Josef Mischel
Genres:
isleofthedead.html "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 seventytwo of the enemy three thousand of our own men. Burial parties are already at work. We are assigning men from every company to clear the field, DR. DROSSOS' VOICE (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 barbersurgeon 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 pincenez glasses set perfectly straight on the bridge of his nose. The fourth is an Adjutant, military enough in dress and bearing but with a great brigand's mustache and merry black eyes. At the General's right hand sits a young American, Oliver Davis, a reporter for the New York Morning Globe. He is dressed in the semiuniform outfit which Richard Harding Davis popularized: breeches, leather leggings and a khaki tunic of military cut. While the rest talk, he is busily scribbling on a pad, without paying the least attention to any of then. The second officer breaks in on the first officer's report, unable to restrain his enthusiasm longer 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 glassycalm, 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 reappears. 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 middleaged Greek woman in peasant costume, with a dark sombre face, comes in. She has an amphora of wine and two glasses in her hands. She pours wine for Oliver and hands him the glass, then turns to the General and begins to pour for him as he and Albrecht talk. 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 forefinger 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 broodmare 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 ViceConsul 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 selfappointed 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 of