brought to you by The Val Lewton Screenplay Collection
"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 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