God Grante That She Lye Stille

	TEASER

	FADE IN

1	EXT. "BURNING COURT" - DAY - CLOSE ANGLE - ELSPETH CLEWER
	young, lovely, yet frightening in her demoniac wildness --
	stands bound to the stake, "clad only in her shift" as
	in such cases prescribed, bare-shouldered, hair streaming,
	lithe body straining against her bonds. Hands thrusting
	INTO SHOT pile wood around her. CAMERA DRAWS BACK PAST
	smoking torch that casts weird light on Elspeth's face,
	ANGLE WIDENING during:

				WITCH-FINDER'S VOICE
		You, Elspeth Clewer, having been
		accused, tried, and found to be
		most damnably guilty of the
		abominable crime of witchcraft,
		and in truth a dreadful night-prowling
		vampire....

	CAMERA delivers the WITCH-FINDER, who fits authentic
	description of the real-life Matthew Hopkins: "A mean
	gaunt hateful death-bringer, all in funereal black, with
	a hat like a clergyman's, and unwinking empty eyes,
	and a voice devoid of humanity." A hulking EXECUTIONER,
	masked, stripped to the waist, holds the torch -- that
	will soon fire the fuel being placed by two fearful villagers.
	The Witch-Finder brandishes an official parchment, but
	speaks words learned by heart.

				WITCH-FINDER
		Therefore, pursuant to the
		ordinance of Our Gracious King,
		which is but obedient to the text,
		"Thou shalt not suffer a witch
		to live," you stand now exposed
		before the people....

2	SHOT ANGLING PAST ELSPETH - DELIVERING THE WITNESSES
	local gentry, villagers, servants and farm-workers -- a
	microcosm of English country people in the mid-1600s --
	huddle together in front of the Clewer Manor House (a
	principal SET in our picture) as it was 300 years ago.
	It's a lowering, eerie day. Wind tosses treetops beyond
	the walls. A storm will break soon.

				WITCH-FINDER
		...That they may behold, and their
		children's children remember, how
		evil is destroyed, and Satan's
		spawn is given a foretaste of
		Hell on earth....

3	EXECUTIONER'S POV CENTERING ON ELSPETH
	Fire-builders scurry aside. Executioner braces himself
	against Elspeth's supernal unholy contempt.

				WITCH-FINDER
			(trumpeting louder)
		For this is your condemnation,
		Elspeth Clewer. That you shall
		be burned, alive, in the presence
		of your own blood-kin, and your
		mortal frame reduced to ashes...

	INTERCUT with:

4	ANGLE ON ELSPETH - PAST AN ELDERLY MAN AND WOMAN
	Distinguished, well-dressed, they might be her parents,
	Lord and Lady of the Manor. Sorrow and shame have aged
	and broken them.

				WITCH-FINDER
		For unless the body of a witch
		and vampire be utterly consumed 
		by fire, her evil is passed on
		to her posterity, to the last
		generation....

	Suddenly, Elspeth's pealing terrible laughter drowns the
	Witch-Finder's peroration.

				ELSPETH
			(laughing, mocking)
		You fools, you fools, you 
		crawling crying fools! You think
		you can destroy me? Oh, no, no,
		no!....

5	FLASHES OF FACES
	Elspeth strikes terror with contempt and challenge. The
	Executioner recoils. Even the Witch-Finder flinches -- as
	Elspeth continues with shocking clarity:

				ELSPETH
		You rob me of my woman's right,
		to love and to be loved, to marry,
		to bear my husband's children.
		But you cannot destroy what will 
		not burn....

6	CLOSE ON ELSPETH
	She flouts the torch that thrusts toward her contorted
	face -- lighting her, yet obscuring with thick smoke.

				ELSPETH
		What is within me cannot be killed
		and will not rest....

7	ANGLE PAST ELSPETH'S TORCH-LIGHTED FACE
	All in the shot are figures in phantasmagoria during:

				ELSPETH
		And by the Power of Darkness...
		Hear me! Hear me, and remember!...
		I curse those who come after me...
		What I have lost, no woman of
		my clan shall ever have....

				WITCH-FINDER
			(shouting at Executioner)
		Burn her! Burn her!

				PEOPLE IN THE SHOT
			(in AD LIB shouts)
		Burn her! Burn the witch, before
		her curse is spoken!....

				ELSPETH
		Hear me! Hear me, and remember!...
		First fire, then death. So it
		shall always be! Until my body
		is restored to me!....

8	EFFECT SHOT
	Roaring flames engulf Elspeth. Still she screams her 
	curse, laughs shriekingly. ECHOING from all around:

				ELSPETH
		First fire, then death...So it
		shall always be...Until my body
		is restored to me....

	INTERCUT with:

9	CLOSE ON ELDERLY MAN AND WOMAN
	Elspeth's VOICE AND LAUGHTER shriek o.s. The Woman --
	shuddering -- hides her face against her husband's shoulder.
	His arm enfolds her, while he stares sufferingly o.s.

				WITCH-FINDER
		God grant that she lie still!....

10	EFFECT SHOT
	Flames fill screen. Whatever is within them is consumed.
	Flames fade, as through them there appears an ancient
	stone slab -- across which the wind blows drifting twigs
	and leaves. We read the carved epitaph:

			Elspeth Clewer
			1641    1661
		God Grante That She Lye Stille

	There's a blinding flash of lightning. Boris Karloff
	materializes -- refers to the epitaph still in shot.

				BORIS KARLOFF
		"God Grante That She Lye Stille."
		Not "Rest in Peace" -- but a
		prayer against the vampire's
		curse...As Shakespeare had King
		Richard say: "Let's talk of
		graves, of worms and epitaphs..."
		The tale we tell is by Lady
		Cynthia Asquith, of the Writing
		Asquiths -- the titled British
		family that also gave us Lady 
		Margo, whose Autobiography
		scandalized the House of Lords --
		and Herbert, who wrote charming
		poems -- Princess Elizabeth 
		Bibesco, whose romantic fiction
		dealt with high society...But
		Lady Cynthia deals with the
		un-dead, alive and prowling in 
		the night...And to bring the 
		dead to life, we have chosen a
		cast of distinguished players....

			LISTING OF ACTORS AND ACTRESSES --
			EACH SEEN BESIDE A HEADSTONE OR
			TOMB IN A STORM-SWEPT BURYING 
			GROUND, ILLUMINED BRIEFLY BY 
			LIGHTNING FLASHES

		They burned Elspeth Clewer at the 
		stake as a witch and vampire, three 
		hundred years ago. But did they 
		kill the evil that, the poet 
		says, lives after evildoers?
		We'll find out now, my friends.
		As we watch this THRILLER....

					FADE OUT


	END OF TEASER


			ACT I

	FADE IN

11	INT. LADY MARGARET CLEWER'S BEDROOM - NIGHT - CLOSE ANGLE
	SHOT starts on flames like those in Sc. 7 -- wood burning
	like tinder. CAMERA PULLS BACK, ANGLE WIDENING. This
	blaze is in a boudoir fireplace. CAMERA DELIVERS a girl
	in charming modern negligee, who stands with face out of
	CAMERA, looking into the flames. CAMERA ESTABLISHES an
	otherwise shadowed, large, high-ceilinged room -- drapes
	drawn at tall windows, Elizabethan furniture, a canopied
	bed at which SARAH, a starched and matronly maid, turns
	down covers and fluffs pillows. A dog -- by Lady Asquith's
	preference, a golden retriever -- lies near the fire.
	At one side is a birdcage on a stand, in which two canaries
	leap and twitter. Momentarily, we HOLD in peaceful tableau.
	Then the dog starts from doze, bristles, growls, comes up
	snarling and showing teeth though nothing visible
	threatens. The girl, startled, turns INTO CAMERA. And
	we see Elspeth Clewer. Or so it seems momentarily --
	though actually she is LADY MARGARET, with nothing about
	her of the witch and vampire. She speaks to the dog fondly,
	in warmly gentle tones -- utterly unlike Elspeth's.

				LADY MARGARET
		What is it, Sheen? Ghosts? Silly
		dog.
			(she moves to pet him)
		Lie down, Sheen. Go back to 
		sleep.

	The dog ignores her, snarling toward curtained windows.
	And curtains stir, as if there was movement behind them.
	Sarah stares in fright. Lady Margaret starts to windows.

				SARAH
		Lady Margaret. Don't!....

				LADY MARGARET
		Don't what, Sarah?

				SARAH
		There's -- something out there.

				LADY MARGARET
			(lightly; moving on)
		Let's see.

12	SARAH'S ANGLE
	She holds her breath. The dog growls louder. Lady
	Margaret throws drapes aside -- and stands silhouetted
	by moonlight streaming in through windows which open on
	a balcony. She opens the windows. No one is there. But
	the dog retreats, stiff-legged, snarling.

				LADY MARGARET
		You're right, Sarah. You're
		absolutely right. There's something
		out here...There's fresh air.
		And a moon. A witch's moon...
		Come and look.

	Hesitantly, Sarah goes toward Lady Margaret. CAMERA MOVES
	with her -- during:

				LADY MARGARET (contd)
			(calls quietly to the dog)
		Here, Sheen. I'll show you.
		There's not a ghost in sight.

	Despite her command, the dog retreats from her, suddenly
	turns tail and darts out through half-open door to hall.

				LADY MARGARET (contd)
		What on earth has gotten into
		him?

				SARAH
		It's -- probably just -- being
		in a strange house and all. He's
		a very sensitive animal...I'll
		fetch him.

	She starts out, almost as if she fled, but stops in doorway.

				SARAH (contd)
		You really ought to close the
		windows and jump in bed. You'll
		catch your death of cold.

				LADY MARGARET 
		I didn't come home to die of
		anything.

				SARAH
		I -- didn't mean it the way it 
		sounded, Lady Margaret.

				LADY MARGARET 
		I know you didn't, Sarah.

				SARAH
		I'll -- find Sheen.

	She disappears. CAMERA MOVES IN on Lady Margaret. Curtains
	billow strangely on either side. She steps out onto bal-
	cony. CAMERA FOLLOWS her, into:

13	EXT. BALCONY - NIGHT - EFFECT SHOT - HER POV
	Black clouds drift across the moon. The bright sky darkens.
	INTERCUT with:

14	REVERSE - CLOSE ANGLE ON LADY MARGARET
	A gust of wind stirs her draperies. She shivers. More
	than the swiftly, strangely changing night affects her.
	More than accident draws her gaze to:

15	LONG SHOT - ANGLING PAST LADY MARGARET
	She looks out across a tumbled, ivy-covered wall, into
	shadowed village churchyard. Amidst yew trees and grassy
	mounds, there are ghostly white tombstones such as Lady
	Asquith describes, "lying and leaning at all angles."
	Ground-mist drifts in wraith-like forms.

16	REVERSE - CLOSEUP OF LADY MARGARET
	She seems to hear something. Her lips move soundlessly,
	as if she answered. Then:

				LADY MARGARET
			(barely audible)
		No...No...No....

	Turning suddenly, she runs back into:

17	INT. BEDROOM - NIGHT - FULL SHOT
	Sarah and Sheen have not returned. Lady Margaret visibly
	endeavours to cast off some troubling thought by going 
	to the birdcage. INTERCUT with:

18	CLOSE ANGLE - LADY MARGARET AND THE BIRDS
	They twitter in what might be recognition of a friend.
	She seizes on this to ease her inner emotion.

				LADY MARGARET
		And "Good night" to you. I'll
		see you in the morning.

	She draws night-cover over the cage. Wind lashes in.

19	PANNING SHOT
	She runs to close the windows, and freezes at the sight of:

20	EFFECT SHOT - PAST LADY MARGARET
	She looks through the windows at her own face outside.
	Yet it is not hers. We see Elspeth as we saw her at the 
	stake -- "clad only in her shift," alive with evil,
	laughing, mocking, gesturing -- first with false supplica-
	tion, then with demoniac command: "Come out, come out!"

				LADY MARGARET
		No...No...No....

	Wildly, she sweeps the curtains shut -- whirls, fleeing into:

21	MED. SHOT - NEAR BED AND FIREPLACE
	Lady Margaret turns into standing mirror, looks into it
	desperately.

22	EFFECT SHOT - CLOSE ON HER FACE AND MIRROR
	Her face is not reflected. The mirror reflects the bed,
	the fire -- but not what she seeks: herself.

23	ANGLE ON LADY MARGARET
	She turns toward fireplace. Strange flames leap. CAMERA 
	PANS her to:

24	EFFECT SHOT - CENTERING ON CHIPPENDALE WALL MIRROR
	The wide shining sheet of glass reflects the room, but
	not Lady Margaret. She touches her face, her body, and
	is not reassured. She turns and shrieks soundlessly.

25	EFFECT SHOT - PAST LADY MARGARET
	She sees herself, lying in her bed. Or rather, she sees
	Elspeth -- in her torn and muddied shift, stretching like
	a cat or a devil, mockingly triumphant. We HEAR the LAUGH
	that echoed while Elspeth burned.

				ELSPETH'S VOICE
			(from nowhere and 
			everywhere)
		First fire, then death...So it
		shall always be...Until my body --
		is returned to me....

	Impelling force draws Lady Margaret slowly toward the bed.

				LADY MARGARET
			(screaming)
		No!...No!...No!....

26	INT. MANOR HOUSE UPPER CORRIDOR - NIGHT - FULL SHOT
	Sarah comes running from dark stairs in b.g., past an
	effigy in armor and family portraits on shadowed walls.

				LADY MARGARET'S VOICE
		No!...No!...No!....

27	INT. BEDROOM - NIGHT - SARAH'S POV
	As she runs in, Lady Margaret sways, crumples, collapses
	near the bed. The bed is empty. Windows stand open.
	Wind whips curtains. In the fireplace, flames roar --
	casting such a light as we saw in the Burning Court.

					DISSOLVE

28	EXT. "BURNING COURT" - DAY - FULL SHOT
	DR. EDWARD STONE drives his small British car in through
	gates, stops near the Manor House steps, gets out -- and
	appreciatively surveys the sunlit setting Lady Asquith has
	described: time-mellowed ivied walls and charming gables,
	mullioned windows, queer twisted chimneys, a place of
	outward loveliness and peace. But the spell is broken by
	great door opening, Sarah appearing excitedly. 

				SARAH
		Are you the Doctor? Are you
		Dr. Stone?

				STONE
			(moving to her)
		Yes. You called while I was
		away. I got your message from 
		the Constable just a few minutes
		ago.

29	EXT. MANOR HOUSE ENTRANCE - DAY - MED. SHOT ANGLING IN
	We see past Sarah, the "GREAT HALL" within.

				SARAH
		Hurry, Doctor. Please ---

30	INT. "GREAT HALL" - DAY - MOVING SHOT
	Sarah leads through antique splendor, to wide stairs in
	b.g. Furniture is covered, drapes are drawn at windows --
	creating somber, somehow sinister EFFECT.

				SARAH
			(in worried AD LIB)
		Lady Margaret just lies there,
		shivering and moaning. I can't
		wake her. It's as if -- she
		wasn't really here....I've never
		seen her like this before, in
		the five years I've been with her...
		I left her just for a minute, to
		look for her dog. He ran away....
		I couldn't find him. I heard her
		scream. ... It was -- like a lost
		soul.....

	During this, CAMERA TRAVELS them up the stairs. Stone --
	carrying his doctor's bag -- studies Sarah, endeavoring
	to make sense of her apparent random chatter.

				STONE
			(breaking in professionally)
		Has she had any previous attacks?

				SARAH
		No. Never. Not while I've been
		with her. And that's been almost 
		day and night. She's all alone, 
		you know. Alone in the world,
		an orphan....

31	INT. UPPER CORRIDOR - DAY - MOVING SHOT
	They pass the armored effigy and dark family portraits,
	approaching open bedroom door in b.g. -- during:

				SARAH (contd)
			(breathlessly)
		She hated coming back here. But 
		she said she had to.

				STONE
		Why?

				SARAH
		To be here on her twenty-first 
		birthday. That's next Sunday.

32	INT. BEDROOM - DAY - FULL SHOT
	Stone - entering ahead of Sarah - sees Lady Margaret
	in bed, stirring restlessly, eyes closed, hands clenched,
	hair loosened on pillow. For a moment, CAMERA delivers
	her as more like Elspeth than herself. Stone, starting
	to the bed, commands Sarah over-shoulder:

				STONE
		Open the windows. Get some 
		light and air in here.

	He senses her hesitance, and repeats commandingly:

				STONE
		Open those windows.

33	ANGLE ACROSS LADY MARGARET IN BED - SARAH IN B.G.
	Stone studies a patient who is a stranger, while setting
	his bag on night-stand and opening it. Sarah draws
	curtains aside, opens windows. Warm sunlight strikes on
	Lady Margaret's face. And the Elspeth look is erased.
	Now she's all young untouched loveliness. Stone has
	never seen anyone as beautiful. Behind him, Sarah re-
	moves cover from bird-cage. The birds twitter joyfully.
	Stone touches Lady Margaret's wrist -- gently taking her
	pulse. His touch completes the change. Her hands un-
	clench. She relaxes. Sarah approaches, staring. She
	shows awareness that Stone, too, is young, with rugged
	handsomeness. He and Lady Margaret make a fine pair.

34	SARAH'S ANGLE - PAST STONE ON LADY MARGARET
	Stone touches her temples, then her eye-lids. Slowly,
	her eyes open. For a moment, she is still lost in some
	far bourne. Then her gaze clears, as Stone bends close.

				LADY MARGARET
			(vaguely, but without fear)
		I don't know you.

				STONE
		I'm Dr. Edward Stone. Your
		maid called me.

				LADY MARGARET
		Sarah.....

				SARAH
		You mustn't try to talk....

				LADY MARGARET
		I have to.....Who am I?

				SARAH
		You're Lady Margaret. Lady 
		Margaret Clewer.

				LADY MARGARET
		Not -- her?

				SARAH
			(helplessly)
		You're Lady Margaret.

				LADY MARGARET
		I saw -- The Face. My face.
		Outside the window....I couldn't
		find -- myself....I was -- gone.
		And -- she was -- here....

	Suddenly, she shows revulsion for bed on which she lies.
	Stone's hand on her wrist exerts gentle restraint.

				SARAH
		You've been dreaming. You've
		had a bad dream.

				LADY MARGARET
		I was awake. I saw -- her.
		Outside the window. Then -- here....

	Terror too vividly recalled causes her to start up.
	Stone blocks her move.

				STONE
		Lie still please. That's 
		Doctor's orders.

	He bends to listen for her heartbeat -- bringing them 
	very close together. And this proximity quiets her.

35	LADY MARGARET'S CLOSE UP - ANGLE CENTERING ON STONE
	He straightens, regarding her, attempting detachment.

				STONE
		Have you had any recent medical 
		advice?

				LADY MARGARET
		I haven't needed it. I'm
		perfectly well.

				STONE
		You're not, really.

				LADY MARGARET
		But of course I am. I ride,
		I swim, I dance, I travel....

				STONE
		I think we'd better make all 
		that past tense, for a while.

36	STONE'S CLOSE DOWN-ANGLE ON HER - SARAH OUT OF SHOT

				LADY MARGARET
		But why? Just because I....
		imagined something, and....caused
		a silly situation, my first night
		back where I was born?....It
		was -- just the excitement....Old
		times remembered. Being -- at
		home amongst my ancestors. All
		that, plus being rather tired....

	She's improvising, and realizes he knows it.

				LADY MARGARET
		You haven't been a Doctor very 
		long, have you?

				STONE
		Long enough to recognize certain 
		basic symptoms.

				LADY MARGARET
		You're so very serious.

				STONE
		I'm very concerned about you, 
		Lady Margaret.

				LADY MARGARET
			(smiling)
		Then I ought to listen, hadn't
		I?....I'm just not used to
		discussing myself....I'm
		supposed to be completely self-
		sufficient.

	A shadow shows in her eyes, though she continues brittle 
	lightness that is actually defensive.

				LADY MARGARET
		One must be, when one is -- well,
		the last leaf on the family tree.
			(a one-beat pause)
		What's wrong with me, Doctor?

				STONE
		Nothing serious. Your heart seems
		to be rather severely strained...
		I suspect a touch of anemia.

				LADY MARGARET
		That's -- all?

				STONE
		It's enough to call for a long,
		real rest. Physically and
		mentally.

				LADY MARGARET
		Why did you say that? About --
		my mind?

				STONE
		Only that the body can't rest if 
		the mind doesn't.

	He mixes medicines in glass of water, at the night-stand.

				LADY MARGARET
		Is that to -- make me sleep?

				STONE
		With no bad dreams.

	His arm supports her, so she can drink. Again, proximity
	works visible effect on both. She drinks dutifully.

				LADY MARGARET
		When will you come back?

				STONE
		This evening. Now...

				LADY MARGARET
			(smiles up at him)
		Yes, Doctor.
			(suddenly)
		Oh. Sarah. Where's Sheen?

				SARAH
		I couldn't find him.

				LADY MARGARET
			(to Stone)
		Sheen is my dog. My best and
		oldest friend....I can't understand
		him running away. He's never done
		that before....

	She's already sinking into sleep, yet resisting it.

				STONE
			(reassuringly)
		I'll look for him. Close your
		eyes.

				LADY MARGARET
			(sleepily)
		You're -- very kind. Thank 
		you.

	Her hand moves. His hand closes on hers. She sighs --
	and closes her eyes. He hesitates to leave her.

37	ANGLE FROM THE DOOR
	After a long moment, Stone comes INTO CAMERA, with Sarah.
	He looks back at Lady Margaret from the doorway.

				STONE
			(sotto voce)
		What sort of a dog is "Sheen"?

				SARAH
		A golden retriever....He ran off
		because something seemed to frighten
		him.

				STONE
		What?

				SARAH
		She told you she saw a face.

				STONE
		She dreamed she saw a face...
		We don't want any more of that
		kind of dreams, do we, Sarah?

				SARAH
		No, Doctor.

				STONE
		Then -- stay close to her. If
		she wakes before I come back, which
		I don't think she will, call me.

	Sarah acquiesces silently. Stone exits. She closes door
	and on sudden decision, locks it. Hurrying to the open
	windows, she shuts them, drops a bar in place, and draws
	curtains tightly as they were when Stone arrived. Then,
	slowly, she moves toward Lady Margaret.

					DISSOLVE

38	EXT. MANOR HOUSE AND VILLAGE LANE - DAY - PANNING SHOT
	Stone drives out from "Burning Court," along lane past
	high wall beyond which we see upper story of the Manor
	House. Adjoining is the old churchyard into which Lady 
	Margaret looked from her balcony in Sc. 15. Stone stops his
	car, gets out, enters the churchyard, seeks amongst trees
	and graves for the lost Sheen.

39	MOVING SHOT WITH STONE
	as he wanders between "grey lichen-clad memorials, many
	bearing the Clewer name and coat-of-arms...uncouth rhyme
	and shapeless sculpture" (vide Lady Asquith). Then
	suddenly, CAMERA STOPS with him -- in:

40	STONE'S POV - ANGLING ON ELSPETH'S GRAVE
	Directly beneath low-hanging yew branches, in darkest
	corner of the churchyard, littered over by leaves and
	twigs, he sees the time-worn marker established in Sc. 10.
	CAMERA MOVES IN with him, to read more clearly:

			Elspeth Clewer
			1641    1661
		God Grante That She Lye Stille

41	REVERSE ANGLE - ON STONE
	He puzzles over the strange epitaph. Though we hear no 
	words, his lips form "God grant that she lie still." In
	a moment, he straightens, looking o.s.

42	LONG SHOT ANGLING UP - STONE'S POV
	relating the epitaph and slab at his feet, to balcony
	above and beyond wall in b.g. -- from which Lady Margaret
	looked this way. Her windows are curtained, blank.

43	CLOSE ON STONE AND THE SLAB
	He turns from looking toward Lady Margaret's balcony, and
	again regards the epitaph. Then we sense his realization
	he's watched by someone behind him o.s. Turning suddenly,
	he reacts to:

44	STONE'S POV - WEATHERFORD, THE VICAR
	At first sight, he might be the Witch-Finder -- incarnate
	after three centuries. This effect is heightened by the
	fact that he wears skirted black tunic and gaiters, in the
	old style, and a clergyman's hat -- holds papers that
	resemble the parchment death-screed -- stands in deep
	shadow between yew tree and grave marker. Then as he ad-
	vances to Stone, his friendly demeanor belies fancied
	resemblance. Still we can't be sure what lies behind his 
	smile.

				WEATHERFORD
		I'm sorry I startled you.

				STONE
		Not exactly "startled." More
		"surprised."

				WEATHERFORD
		That's an interesting distinction.
		You're the New Doctor from London.
		Dr. Stone, I believe?

	Stone agrees silently.

				WEATHERFORD (contd)
		I'm Jonathan Weatherford, the local
		Vicar. The rectory is just beyond 
		the church. I like to walk while 
		I'm memorizing my sermon. I thought
		I heard someone in the churchyard.

				STONE
		I just stopped by. Made a call 
		at Manor House.

	At Weatherford's look:

	[Stone's line missing?]

				WEATHERFORD
		Oh. Yes. I heard Lady Margaret
		had returned, after being away
		so long. Since her father's
		death, in fact...He's not buried
		here with the others. He was,
		tragically, drowned at sea...
		I chatter, you know, Doctor. It's
		the one small sin I'm allowed.

	INTERCUT with:

45	ANGLE FAVORING STONE
	who finds the loquacious Vicar amusing -- yet indicates
	he wonders why he's being told so much at first meeting.

				WEATHERFORD
			(right on, apparently
			at random)
		The Constable always stops on his
		appointed rounds, to give me the
		village news for the day. He
		said you'd been summoned to the
		Manor House. An emergency. Surely
		not about a lost dog?

				STONE
		No. Lady Margaret is my patient.

				WEATHERFORD
		I'm sorry to hear she's ill. And
		just before her coming of age, when
		she's to receive the Clewer inheritance
		in her own right....

				STONE
		You seem to know a great deal
		about her.

				WEATHERFORD
		Among other things, Doctor, I'm
		the village historian.

46	STONE'S ANGLE - FEATURING EPITAPH AND SLAB

				WEATHERFORD
		Purely as a hobby. There's 
		so much in the past that should not
		be buried under the dust of history.
		Not dates and wars and Kings and
		Queens, but human beings and their 
		lives and deaths....

				STONE
		For example, Elspeth Clewer?

				WEATHERFORD
		That's a rather terrible story, 
		Doctor.

	Yet clearly, he wants to tell it. And Stone encourages.

				STONE
		I rather suspected that.
			(reads from slab)
		"God Grant That She Lie Still...."
			(looks at Weatherford)
		What had she done, to deserve that?

				WEATHERFORD
		She was a witch. And a vampire.

46	ANGLE FAVORING STONE - EPITAPH AND SLAB STILL IN SHOT

				STONE
		You say that seriously.

				WEATHERFORD
		She confessed.

				STONE
			(shrugging)
		Then she was mad. Insane.

				WEATHERFORD
		Can you diagnose from a distance
		of three centuries, Doctor? As
		a matter of fact, exactly three 
		centuries, almost to the day.

	Stone regards him, curiously.

				WEATHERFORD (contd)
			(remembering)
		The Manor House has been closed
		so long...Lady Margaret's mother
		died when she was born. No
		servants...no possibility of
		getting any. No villager would
		stay the night in that accursed 
		house. Yet, she returns. Because
		she must.

	During this, the SHOT DARKENS. Wind rises. Trees stir.
	Leaves flutter. Weatherford takes on the semblance of
	the Witch-Finder -- as he continues:

				WEATHERFORD (contd)
		"What I have lost, no woman of
		my clan shall ever have." Unto
		the last generation, Doctor. Lady
		Margaret's twenty-first birthday
		will also be the three hundredth
		anniversary of the day on which 
		they burned Elspeth Clewer at the
		stake...while she cried a curse
		which has been fulfilled in
		every generation until this.

	Stone is a little taken aback at the Vicar's zeal.

				STONE
		Someone surely had a vivid imagination.

				WEATHERFORD
		No. Every word is true! I have
		records of the trial -- including
		Elspeth Clewer's signed confession!

				STONE
		You don't say.
			(a pause)
		It's really all very interesting,
		Vicar, and I'd like to see them, 
		sometime -- but, if you'll forgive
		me, I have some calls to make...
			(he looks around
			at the sky)
		...before the storm breaks.

	Weatherford regards him solemnly.

				WEATHERFORD
		Yes. Of course. Any time,
		Dr. Stone. At your convenience.

	Stone nods.

				STONE
		Fine. Good-bye.

	He exits. Weatherford stands, watching him leave.

				WEATHERFORD
		Good-bye.

					DISSOLVE

48	INT. STONE'S COTTAGE - NIGHT - CLOSE
	on Stone's hand as he pours a glass of water into the
	pot of a small plant on a table near the door. He stands
	studying it for a moment as CAMERA PULLS AWAY. The PHONE 
	RINGS. He turns, puts the glass on the table and CAMERA 
	PANS him to phone, then PULLS IN to a TIGHT CLOSE SHOT.

				STONE
		Hello. Dr. Stone, here.
			(in stunned reaction)
		What?

49)	OMIT
50)

51	INT. LADY MARGARET'S BEDROOM - NIGHT - CLOSE ANGLE
	Sarah speaks sobbingly on phone near the bed.

				SARAH
		She's gone...That's all I know...
		I left her for just a minute.
		She wanted me to look for Sheen...
		She said I'd find him in the
		graveyard. I told her it's no
		use, I couldn't find him...She
		was angry at me. She wasn't like
		herself at all....

	During this, CAMERA PULLS BACK, CAMERA WIDENING. Balcony
	windows stand open, wind ships curtains. CAMERA notes
	what Sarah doesn't notice. The birdcage is uncovered.

				SARAH (contd)
			(AD LIB on phone)
		She was -- wild...Just -- wild...
		And when I came back, she was --
		gone...Hello, Doctor. Hello....

52	INT. STONE'S COTTAGE - NIGHT - STONE
	who's already hung up on Sarah, grabs his bag and coat and
	runs out the door.

53	EXT. COTTAGE - NIGHT - FULL SHOT
	Stone gets his car started, roars away -- as Weatherford
	comes out in f.g. CAMERA PANS car speeding into the
	gale-swept night.

					DISSOLVE

54	EXT. CHURCHYARD - NIGHT - PANNING FULL SHOT
	Stone flashing electric torch this way and that, runs
	stumblingly amongst trees and graves. There's a stunning
	lightning-bolt -- a shattering CRASH of THUNDER. INTERCUT
	with:

55	MOVING SHOT WITH STONE
	Storm breaks. Rain beats down. He stumbles, falls, loses
	his torch, recovers it while running on. There's another 
	lightning flash and clap of THUNDER. For an instant, the
	grave markers seem to leap at Stone -- and the CAMERA.
	Then harder rain almost obscures him. He runs past a 
	tree. CAMERA STOPS in:

56	MED. SHOT - STONE'S POV
	Lady Margaret lies face-down on the slab that bears
	Elspeth's epitaph. Her hands are outstretched. For all
	CAMERA tells, she's dead. Another lightning flash illumines the
	epitaph at his feet. Then -- with shock EFFECT -- the
	CAMERA delivers Weatherford. Or is the Witch-Finder?

					FADE OUT

			END OF ACT I

	FADE IN

57	INT. LADY MARGARET'S BEDROOM - DAY - CLOSE ANGLE
	She lies in her bed, as still as death, only her faint
	breathing telling that she lives. CAMERA PULLS BACK, 
	ANGLE WIDENING. Stone sits beside the bed, where he has
	watched through the night. Sarah, cap awry, slumbers in
	chair near covered bird-cage. Day's light filters in
	between drawn curtains. Lady Margaret murmurs in sleep.
	Her hands move. Instantly, Stone is up. In a moment,
	her eyes open. She's strangely unsurprised by his 
	presence.

				LADY MARGARET
		Good morning.

				STONE
			(aware of incongruity)
		Good morning.

				LADY MARGARET
		Have you been here long?

	Their voices wake Sarah - saving him from answering.

				SARAH
			(confusedly)
		I must have dozed off. I - tried
		not to.

				LADY MARGARET
		Poor Sarah. I'm such a bother to 
		you.

				SARAH
		Oh, no, Lady Margaret. No...If I
		only knew how to help...

				STONE
		I think Lady Margaret would like
		her tea. I'd rather enjoy a cup
		myself.

				SARAH
		Yes, Doctor. I'll hurry.

	She exits. He crosses, to draw curtains apart and open
	the windows. Sun transforms the room. He starts to
	turn back to Lady Margaret. Then he sees o.s.

58	LONG SHOT THROUGH WINDOWS - STONE'S POV
	He looks into the churchyard, where ground-mist drifts.
	He pauses.

59	LADY MARGARET'S ANGLE - FROM HER BED
	Stone stands at windows, his back to her. Breaking
	SILENCE:

				LADY MARGARET
		What is it, Doctor?

				STONE
			(turning to her; masked)
		Nothing. Nothing at all.

	He starts to her - stops, uncovers the cage. At once,
	the birds are leaping and twittering.

				LADY MARGARET
		Thank you.
			(as he approaches)
		You haven't found Sheen, have you?

				STONE
		Not yet. But we will.

				LADY MARGARET
		You're worried.

				STONE
		That's my professional bedside 
		manner.

60	STONE'S ANGLE ON LADY MARGARET
	He sits down, studying her. Again, there's SILENCE -
	until:

				LADY MARGARET
		No medicine this morning?

				STONE
		Sometimes, just talk is the best 
		medicine...Tell me how you feel.

				LADY MARGARET
		It's - hard to explain...Like -
		water released from a broken bowl.
		Spilling away into emptiness...
			(smiles - but not with 
			her eyes)
		I'm not making any sense.

				STONE
		But you are. All of us, to some
		extent, experience what you're
		trying to describe. It's in the
		nature of every neurosis, to create
		a sense of - well, of standing 
		off and looking at ourselves.

	The analogy is unfortunate. Now her eyes are veiled.

				LADY MARGARET
		That doesn't take us very far, does
		it, Doctor?
			(he waits)
		We both wonder what's really
		the matter with me. Don't we?

61	ANGLE ACROSS THE BED - CENTERING ON STONE
	He is proceeding cautiously, not knowing where he's going.

				STONE
		Have you ever consulted a 
		psychiatrist?

				LADY MARGARET
		No. Why should I?

				STONE
		He'd know, where as a general
		practitioner I can only guess.

				LADY MARGARET
			(oddly)
		Go on guessing, Doctor - It's -
		very interesting.

				STONE
			(slowly)
		You spoke of seeing a Face
		at your windows. You were still
		in shock, when you talked about it.

				LADY MARGARET
		Then I - was hardly a good 
		witness. About anything.

62	STONE'S ANGLE
	We must sense her defensiveness - in which there's fear.

				STONE
		I was taught that the subconscious
		is sometimes stimulated to build
		a kind of symbolic imagery, imposing
		this on the conscious mind to the 
		point of definite illusion...
			(a one-beat pause)
		What do you remember about 
		last night?

	It's the direct question she has anticipated - that she
	cannot, or will not, answer.

				LADY MARGARET
			(after brief pause)
		I went to bed early. I fell
		asleep. That's all I remember.
			(touchingly candid)
		'Til I waked, and saw you, and --
		felt safe.

	He rises, and begins mixing medicine in a glass, his face
	out of CAMERA. In a moment -- bravely:

				LADY MARGARET (contd)
		You'll have to tell me the rest...
		If there's more to tell.

	He turns INTO CAMERA. Again, his thoughts are hidden.

				STONE
		There isn't.

	As before his arm supports her so she can drink.
	Proximity is warming refuge for both, and especially for her.

63	INT. STONE'S COTTAGE - NIGHT - FULL SHOT
	as Stone sits in a chair, reading. Outside the wind
	HOWLS, BANGING a shutter at the window. After several 
	bangs, Stone throws an irritated glance that way, puts
	down his book, and crosses to the window and closes it.
	As he returns to his chair, there is a KNOCK at the
	door. Puzzled, he crosses and opens it, revealing Vicar
	Weatherford.

				STONE
		Vicar.

				WEATHERFORD
		I hope I haven't disturbed you,
		doctor.

				STONE
			(after a moment)
		No. Not at all, won't you come in?

	Weatherford nods and steps inside. He's carrying an
	ancient leather folder.

				WEATHERFORD
			(indicating)
		I've brought you the record of
		Elspeth Clewer's trial.

	He hands the folder to Stone.

				STONE
			(looking at the folder)
		Oh. Thank you, Vicar. I've
		been wanting to take a look....

	He's interrupted by another KNOCK at the door. The two
	men exchange quick glances.

64	OMIT

65	ANGLE ON THE DOOR
	Stone crosses, throws it open, and faces Sarah. Weeping,
	breathless, she has run far through the storm and mud.

				SARAH
			(in wild almost-
			AD LIB)
		Doctor! Come quick! Come quick!

	He's already moving, dropping the folder on the desk, get-
	ting coat and doctor's bag.

				STONE
		Why didn't you call me?

				SARAH
		She'd taken the receiver off
		in her room, and the door was 
		locked against me. So I
		couldn't get through.

				STONE
			(to Weatherford)
		You'll have to excuse me, Vicar.

	Weatherford gives him an understanding nod. Stone pushes
	Sarah toward the door.

				SARAH
		She went wild. She rose
		from her bed and screamed at me...
		But it wasn't her that screamed.
		It was - I don't know what...

66	EXT. COTTAGE AND LANE - NIGHT - MOVING SHOT
	Stone leads Sarah, stumbling beside him, toward his
	car in covered driveway.

				SARAH
			(as they go)
		She thrust me out, and locked her
		door...I begged and pleaded:
		"Lady Margaret, let me in!"...I
		heard her talking to someone,
		talking, crying, begging...She
		called a name I never heard.
		"Elspeth"..."Elspeth..."

	Flash on Stone's face dramatizes his reaction to this.

67	LONG SHOT PANNING THE CAR
	Stone, with Sarah beside him, drives into stormy darkness.

					DISSOLVE

68	INT. MANOR HOUSE UPPER CORRIDOR - NIGHT - FULL SHOT
	Stone rushes from stairs in b.g., ahead of Sarah, to
	closed door of Lady Margaret's bedroom.

69	SARAH'S ANGLE
	She sobs and shudders, while Stone tries door, finds
	it's locked, throws his weight against it. With full
	strength, he slams into the door again. It gives.
	He lurches into:

70	INT. BEDROOM - NIGHT - FULL SHOT
	Lady Margaret - in night-dress startlingly like Elspeth's
	shift, torn, damp, mud-stained - lies on the bed, near
	night-stand lamp, the only light in the room. Windows
	are open. Wind whips curtains in huge, bat-like shapes.
	Stone runs to the bed. Automatically, whilst watching
	him, Sarah closes windows, struggling against the gale,
	and draws the curtains, before she moves into:

71	CLOSE ANGLE - ON LADY MARGARET
	Stone draws blanket over her. It doesn't cover her
	bare, muddy feet. Her hands are clenched.

				SARAH
			(touching her feet)
		Cold as ice. And covered with clay.

				STONE
		Get a hot-water bottle. And
		a basin of warm water, to wash 
		her feet.

	Sarah turns and starts o.s. - and stops, reacting to:

72	SARAH'S ANGLE
	delivering the bird-cage on which her stunned gaze focuses.
	The cage-door stands open. While Stone is busy massaging 
	Lady Margaret's temples, rubbing her wrists, Sarah goes
	to the cage. Her body interposes between CAMERA and what 
	she sees - which is dramatized by:

				SARAH
		Doctor...Doctor!....

	Stone half-turns. She half-faces him - aghast - during:

				SARAH
		The...the birds.
			(gestures at cage)
		Their cage is open. And they're...
		they're - dead.

	CAMERA catches Stone's involuntary reaction. Then:

				STONE
		Never mind the birds. Get that 
		hot-water bottle.

				SARAH
			(reaching into the 
			cage)
		But they - they're not just
		dead...Somebody - tore their
		heads off...
			(unconscious pantomiming 
			gesture)
		Tore - their heads - right off...

	Suddenly, she's fleeing blindly from the room.

				STONE
			(calls commandingly)
		Sarah! Come back here!...

	She runs on. He starts after her. She freezes in doorway -
	retreating from someone or something outside in corridor.

73	ANGLE PAST STONE
	as he reaches Sarah, and sees what she has seen: the
	startling apparition of Weatherford in shadowed corridor.
	A hulking figure looms behind him - who might be the same
	Executioner we saw in Sc. 1. We HOLD for audience impact.
	Then Stone steps out to Weatherford, drawing door almost 
	closed behind him, leaving Sarah with Lady Margaret.
	During this, neither intruder speaks or moves. Light from
	within is full on Weatherford's strange countenance.

74	INT. UPPER CORRIDOR - NIGHT - EFFECT SHOT
	Though he resembles the Witch-Finder, Weatherford speaks
	as well-meaning Vicar. The apparent Executioner hovers.

				WEATHERFORD
		This is my man servant, Garth.
			(smiling; or is it 
			a smile?)
		He's been with me many years.

75	ANGLE CENTERING ON STONE
	He wants to get back to Lady Margaret. But Weatherford
	holds him, and keeps him silent, with:

				WEATHERFORD
		He's found Lady Margaret's dog,
		Doctor. Of all places, in the
		churchyard. Near Elspeth Clewer's 
		grave.
			(half-turns to Garth)
		Show the Doctor, Garth.

76	STONE'S ANGLE ON GARTH
	Now fully delivered as a loutish, probably lack-witted
	COUNTRY FELLOW. But of such are Executioners made. He
	shows Sheen -- or a reasonable facsimile -- carried in
	his muscular arms. Stone's body blocks from CAMERA what
	Garth says laconically -- or is it with inner enjoyment?

				GARTH
		His throat...You see, Doctor?

				STONE
			(with sickened toneless
			finality)
		I see.

				WEATHERFORD
		I felt you'd want to know, Doctor.
		But of course we needn't tell Lady
		Margaret...With your permission,
		Garth will bury the poor animal.

77	ANGLE FAVORING WEATHERFORD AND STONE

				WEATHERFORD
			(breaking SILENCE)
		You might just say, if Lady
		Margaret asks, that the dog has -
		vanished, shall we say?

	Stone, staring strangely at Weatherford, nods slightly.

				WEATHERFORD
		Very well, Garth. You may go.

	Garth starts o.s., carrying his burden.

				WEATHERFORD
		If there's anything more I can 
		do, Doctor...

				STONE
		You've done enough.

				WEATHERFORD
			(as if this were thanks)
		And in any event, "Sufficient unto 
		the day is the evil thereof."...
		Goodnight, Doctor.

78	ANGLE PAST STONE - ALONG CORRIDOR
	He watches shadowy figures - that again, might well be 
	the Witch-Finder and the Executioner - moving away and
	down stairs out of SHOT. Slowly, he turns into CAMERA.
	His face is tortured. He braces, and re-enters:

79	INT. BEDROOM - NIGHT - ANGLE CENTERING ON THE BED

				SARAH
		I can't stay in this house.
		I can't.

	Stone pays no heed. He moves on, to Lady Margaret.

80	ANGLE ON LADY MARGARET
	Some trick of light - if that is the explanation - makes
	it seem she smiles, although unconscious, as Elspeth
	would smile. Slowly, Stone resumes chafing her wrists.
	Gently, he parts her fingers - and reacts in shock to
	discovery the CAMERA does not deliver. Sarah crowds in.

				SARAH
		What is it, Doctor? What is
		it?

	He doesn't answer. His face is out of CAMERA. Her gaze
	goes from his hands, at which he stares, to those of
	Lady Margaret, which she takes in hers.

81	ANGLE ACROSS BED - ON STONE AND SARAH
	who releases Lady Margaret's hands. Staringly:

				SARAH
		Something - sticky and red.
		On her hands...her - mouth...

81A	CHOKER - STONE

				STONE
			(quietly)
		It's blood.

					FADE OUT

			END OF ACT II

	FADE IN

82	INT. LADY MARGARET'S BEDROOM - DAY - CLOSE ANGLE
	Lady Margaret is waking. She's clad now in spotless gown.
	The bed is smooth. Whatever lurks in dark corners of
	her mind, outwardly she is completely the lovely, untouched
	girl we first met in Sc. 11 CAMERA PULLS BACK, ANGLE 
	WIDENING. She looks up at Stone. He has changed clothes
	since Sc. 80 -- and he, too, seems calm and casual.

				LADY MARGARET
		Good morning.

				STONE
		"Morning?" It's afternoon.
		You've slept a long while.

				LADY MARGARET
		I guess I must have enjoyed it.
		I feel very relaxed.

				STONE
		That's exactly as it should be.

				LADY MARGARET
		And, I feel hungry. Where's
		Sarah?

				STONE
			(choosing words
			carefully)
		Oh. I'm afraid Sarah had to
		leave...suddenly. Last night.

				LADY MARGARET
		Why?

				STONE
		Some...family trouble, I believe.

				LADY MARGARET
		Oh.

				STONE
		Sarah's very fond of you. Said
		she hated leaving without saying 
		good-bye.

				LADY MARGARET
		But I want Sarah.

				STONE
		Of course you do. But, you
		mustn't worry. I've engaged a 
		nurse.

83	TWO SHOT
	FAVORING Lady Margaret.

				LADY MARGARET
		A nurse?

				STONE
		Yes. A Miss Emmons. She was
		on staff with me at the hospital
		in London.

				LADY MARGARET
		Do I need a nurse?

				STONE
		She's more companion than nurse, 
		really. I think you'll find 
		her sympathetic and most 
		understanding.

				LADY MARGARET
		Does she specialize in psychiatric
		cases?

				STONE
		Frankly, yes.

				LADY MARGARET
		Will you go on being frank?

				STONE
		I'll try.

84	ANGLE SILHOUETTING THEM FACE TO FACE
	against sunlight through windows in b.g.

				LADY MARGARET
		I - realize I've said some
		strange things about myself. ...
		About faces at windows, and -
		being lost, or - drawn away ...
		You see, I've always been quite 
		alone. ... One develops a habit
		of - over - dramatising one's
		self, to one's self ...
			(breaks off; resumes
			with forced lightness)
		That's awfully involved, isn't 
		it? ... I was never good at
		grammar. ... "one's" and "one's
		self" confuse me ...

				STONE
			(cryptically)
		They puzzle me, too.

				LADY MARGARET
		You mean in my case of - "split
		personality."... Or whatever it
		is.
			(a one-beat pause;
			searchingly, yet fearing
			the answer)
		What is it, Doctor?
			(revealing knowledge -
			but how much we can't 
			guess)
		The birds are gone. My dog is 
		gone. Now Sarah's gone. ...
		All since I came home ... Because
		of - fear of the house... or -
		fear of me?

	He is saved from reply he doesn't want to give, by bustling
	reappearance of Miss Emmons, carrying laden breakfast-tray.

				MISS EMMONS
		Good morning, Lady Margaret.
		It's a perfectly lovely day.
		Here's your breakfast.

				STONE
		Lady Margaret, this is
		Miss Emmons.

				MISS EMMONS
		How do you do?

				LADY MARGARET
			(looking her over)
		I hope I won't be such a burden
		that you'll want to leave me, 
		too.

				MISS EMMONS
		I'm sure we'll get along famously.
		I've toasted the muffins, pursuant
		to directions written out by 
		Sarah, and...

				LADY MARGARET
		You really are a jewel. No
		wonder Dr. Stone has such
		confidence in you.

	She sits in chair placed by Miss Emmons, who pours tea.

				LADY MARGARET
			(to Stone)
		Won't you join me?

				STONE
			(evasive)
		No, I have to go to the village
		to do a few errands and there
		is a prescription I want to 
		have filled for you -- I'll be
		back this evening.

	As he starts out, he exchanges significant look with
	the nurse -- who pantomimes "I'll keep close watch."
	CAMERA notes that Lady Margaret catches this inter-
	change. As Stone looks back at her, she seems utterly
	at peace. Yet we get a FLASH of his still-troubled
	face -- as we

					DISSOLVE

84A	INT. STONE'S COTTAGE - NIGHT - CLOSE
	On the flames of the fireplace. PULL AWAY to reveal
	Stone, in a large chair, reading from the folder left
	at his cottage by Weatherford. Pages covered with
	spidery ancient script, some bearing official seals,
	all faded by age, lie scattered. Stone's hand selects
	another page. CAMERA DRAWS BACK, ANGLE WIDENING.
	Stone, in shirtsleeves, pores over a record that chills
	yet fascinates. And we hear:

				WITCH-FINDER'S VOICE
			(hollow, reverberant --
			as if from a tomb)
		"Item: That she said Elspeth 
		Clewer doth boast and brag she
		hath sold herself to Satan as her
		lord and master..."

84B	ANGLE CENTERING ON STONE'S FACE
	Visibly, he associates Elspeth and Lady Margaret during:

				WITCH-FINDER'S VOICE
		"...That this infernal power
		shall be ever-lasting, so long
		as one of her family may walk 
		on earth..."

	An eerie HOWL of wind outside causes Stone to start.

				WITCH-FINDER'S VOICE
		"...That her own mother and
		father bear true witness, how
		they said Elspeth Clewer hath
		joyed in the slaughter of beasts
		and birds, to drink their blood..."

	Stone can hardly bear to read further -- but takes
	another page in not quite steady hands.

				WITCH-FINDER'S VOICE
		"...That she doth not only confess,
		but taketh pride and pleasure in
		her witchery, and hath drunk human
		blood, according to the horrible
		rites of the hideous tribe of
		vampires..."

	Stone pushes the papers away from him. He stares for a 
	moment into the fire, then slowly rises and starts to 
	put on his coat.

					DISSOLVE

85	EXT. "BURNING COURT" - NIGHT - FULL SHOT
	As Dr. Stone drives in, brakes his car to a stop, and
	jumps out, carrying his bag. He moves quickly to the
	door.

86	EXT. MANOR HOUSE ENTRANCE - NIGHT - CLOSE
	As Stone raps the huge knocker. After a moment's pause,
	the door is opened by Miss Emmons. She steps back to 
	admit him.

87	INT. "GREAT HALL" - NIGHT - FAVORING DOOR
	As Dr. Stone ENTERS. Miss Emmons closes the door.
	CAMERA FOLLOWS them to the stairs.

				MISS EMMONS
		Good evening, Doctor.

				STONE
			(glancing up the stairs)
		Evening. How's our patient?

				MISS EMMONS
		Well, Doctor...right now, she's
		sleeping like a lamb. I gave her
		the evening sedative. It's the
		first time she's been quiet in
		several hours.

	He stops at the foot of the stairs.

				STONE
		Several hours? I told you to
		keep Lady Margaret quiet.

	She bites her lip.

				MISS EMMONS
		I've done my best, sir, but Lady 
		Margaret hasn't seen fit to
		cooperate.

				STONE
		Cooperate? A patient?

				MISS EMMONS
		I don't know what gets into her,
		Doctor -- but whenever you leave,
		she changes. Screaming, shouting....

				STONE
		Lady Margaret? Surely, you must 
		be....

				MISS EMMONS
			(interrupting)
		No, sir. And she's always asking
		me to fetch things...a certain book,
		from the library...this, or that.
		Not that she has any use for 
		whatever I bring her.

88	ANGLE - FAVORING STONE

				STONE
		Obviously she wants to get you 
		out of the room...but why?

				MISS EMMONS
		I don't know, sir. But twice, she
		locked me out...and that's when
		she begins to shriek and yell.

				STONE
		Can you make out what she says?

				MISS EMMONS
		Not all the words, but some of
		them sound like, "Let me in!
		Give way!" And "How can I rest
		without a body?"

				STONE
		"...without a body?"

				MISS EMMONS
		"I must be lodged! I must be
		lodged!" And such a voice I 
		never heard. Not like her own at
		all....

	There is a loud SHRIEK from upstairs. They look up,
	exchange quick glances, then both run up the stairs.

89	INT. LADY MARGARET'S BEDROOM - NIGHT - CLOSE ANGLE
	Shot starts on Lady Margaret, in bed -- eyes closed, and
	seemingly asleep. Yet she fights a battle -- moving,
	turning her head from side to side, murmuring louder
	suddenly:

				LADY MARGARET
			(eyes still closed)
		No!...No!...No!....

	Again, we hear Elspeth's faint, far off LAUGHTER. CAMERA
	PULLS BACK, ANGLE WIDENING. Drawn curtains billow. With
	sudden crashing SOUND, windows swing open. Curtains leap
	in bat-like shapes. The o.s. LAUGHTER IS LOUDER

				LADY MARGARET
			(eyes still closed, but
			louder -- against the
			laughter)
		No!...No!...No!....

	She tosses as if in physical struggle. Suddenly, there's
	muffled distant SOUND of downstairs door slamming. At 
	once, o.s. laughter stops. Curtains settle. We HEAR
	hurrying FOOTSTEPS. Stone bursts in, followed by Miss 
	Emmons. Lady Margaret now lies still.

90	STONE'S ANGLE ON LADY MARGARET
	as he reaches her bed. We get a FLASH of Elspeth's look 
	on Lady Margaret's face. Then as Stone touches her, this 
	vanishes. Gently but firmly, he shakes her.

				STONE
		Lady Margaret. Wake up. Wake up.

	Miss Emmons enters beside him. Lady Margaret stirs and
	murmurs inaudibly. Then her eyes open.

				LADY MARGARET
			(vaguely)
		Is it morning again?

				STONE
		No. Not yet.

				LADY MARGARET
		It seems -- very dark.

				STONE
			(over-shoulder to Miss 
			Emmons)
		Close the windows.

	As Miss Emmons exits o.s.:

				STONE (contd)
		Look at me.

	She obeys.

				STONE (contd)
		Listen to me. This is very important.

				LADY MARGARET
			(ghost of a smile)
		Yes, Doctor. I'm listening.

				STONE
		When this..."spell" strikes you...
		who do you talk with? Who do you 
		scream at?

				LADY MARGARET
		I -- don't understand.

				STONE
		Be honest. Please. With me.
		With yourself.

91	ANGLE ACROSS BED - CENTERING ON STONE
	Miss Emmons stays in b.g. shadows -- during:

				LADY MARGARET
		I want to be. I want to be.

				STONE
		Then tell me...Miss Emmons heard you
		saying -- screaming, in fact..."How
		can I rest without a body? And
		"Let me in. I must be lodged."
		Now...what does this mean?

				LADY MARGARET
		I don't know. I seem to recall
		hearing those things... but it
		all seems part of a bad dream.
		When I wake, it all becomes
		vague and I can't remember...

	He frowns.

				LADY MARGARET (contd)
		I'm sorry to upset you, Doctor.

				STONE
		You upset me by upsetting 
		yourself, Lady Margaret. Really,
		now, you have to relax. This 
		is very hard on you.

92	STONE'S DOWN-ANGLE ON LADY MARGARET
	She smiles and nods.

				LADY MARGARET
			(smiling strangely)
		You're very persuasive, Doctor.
		I'm sleepy, already. ... Very
		sleepy.

	Her eyes close. Perhaps she shams. Perhaps she surrenders
	to sedative influence from which he waked her briefly.
	He stands watching her - with lonely helplessness. Finally,
	he turns to:

93	ANGLE DELIVERING MISS EMMONS - LADY MARGARET IN F.G.
	She considers Stone concernedly.

				MISS EMMONS
		I'll stay with her. I won't
		leave her for a moment, Doctor.
		I - hadn't realized ...

				STONE
			(when she breaks off)
		What, Miss Emmons?

				MISS EMMONS
		That you had taken a ... a
		personal interest in the case.

				STONE
			(noncommittal)
		Oh.

	Margaret stirs, as if the struggle with Elspeth were
	resuming.

				MISS EMMONS
		There's a couch in the alcove.
			(indicating o.s.)
		I'll sleep there, in case she 
		wakes.

				STONE
		All right.

				MISS EMMONS
			(tactfully)
		Perhaps...it would be better if
		you were near. There's a
		bedroom down the hall. I could
		have it ready in a moment --
		if you would care to stay.

	He hesitates for a moment, then nods.

				STONE
		Thank you, I would.

	She gives him the faintest smile, then turns to go.

				STONE
		And if she stirs, call me ...
		no matter when.

	She nods and they exit on the 

					DISSOLVE

94	INT. BEDROOM ALCOVE - NIGHT - CLOSE ON MISS EMMONS
	She has fallen asleep on Elizabethan couch, too short for
	her to lie prone - a quilt drawn over her lower body.
	Light strikes in past half-drawn drape - with EFFECT
	of moon-glow from windows beyond Lady Margaret's bedroom
	o.s. A shadow appears and lengthens, in pool of light
	on floor beside the couch. CAMERA PULLS BACK, ANGLE 
	WIDENING - to slowly reveal Lady Margaret, in night-
	attire, hair streaming, something glittering in her 
	hand. But Elspeth has taken possession. Elspeth's evil,
	not Lady Margaret's volition, moves the victim like a 
	sleepwalker. Feet bare, face transfigured by witch-and-
	vampire control, eyes open but unseeing, Lady Margaret
	approaches the couch. Her hand lifts. She holds a pair
	of gleaming long-bladed shears. In this last moment, 
	something wakens Miss Emmons. We get a FLASH of her
	terrified realization, as the shears stab down. She 
	rolls, screaming, to avoid the blades.

					FADE OUT

			End of Act III

	FADE IN

95	INT. LADY MARGARET'S BEDROOM - NIGHT - VERY CLOSE
	On her face. She lies sleeping peacefully. PULL AWAY
	to REVEAL Dr. Stone bending over her, studying her
	expression. He gives a little frown, shakes his head,
	then straightens, and as the CAMERA FOLLOWS, moves away
	from the bed to Nurse Emmons, who has a bandage on 
	her arm.

				STONE
		I've called Dr. Van de Velde.
		He should be here tomorrow
		afternoon.

				NURSE
		Dr. Van de Velde?

				STONE
			(takes the nurse's arm)
		He's the best psychiatrist I
		know. I called him while you
		were getting her into bed. Now,
		let's have another look at that
		arm.

96	ANOTHER ANGLE
	As Stone examines the wound.

				STONE
		That was a nasty cut. Here...

				NURSE EMMONS
			(looking toward
			Margaret)
		What came over her, Doctor?

				STONE
			(glancing toward 
			the bed)
		Heaven only knows.

				NURSE EMMONS
			(doubtfully)
		Heaven?

	And on his look, we

					DISSOLVE

97	INT. "GREAT HALL" - DAY - FULL SHOT
	With Stone before the fireplace in the f.g., in different
	wardrobe. He glances up toward the top of the stairs.
	Nurse Emmons ENTERS.

				NURSE EMMONS
		Really, Doctor, you should have 
		some lunch. He's apt to be up 
		there for hours.

	He throws his cigarette into the fireplace.

				STONE
		I'm not hungry.

				NURSE EMMONS
		More than any other phrase, I
		think I've heard doctors say,
		"You've got to keep up your 
		strength."

				STONE
			(amused)
		"Physician, heal thyself?"

				NURSE EMMONS
			(a smile)
		No. "Physician feed thyself."

	He gives in.

				STONE
		All right. I'll eat.

	He glances up the stairs once again.

				STONE (contd)
			(frustrated)
		There doesn't seem to be anything 
		else I can do.

	Nurse Emmons starts to exit.

				NURSE EMMONS
		I'll set your place....

	She lets the speech trail off as she notices Stone's
	looking up the stairs.

98	WHAT HE SEES
	is Dr. Van de Velde, a very distinguished man in his
	sixties, who affects a beautiful gray Van Dyke. As he
	descends, Stone moves to meet him. Nurse Emmons follows.

99	TWO SHOT - STONE AND VAN de VELDE
	as the older man reaches the foot of the stairs.

				VAN de VELDE
			(to Nurse Emmons)
		I think you'd better go up stairs
		with her, Nurse.

	Nurse Emmons shoots Stone a short glance.

				NURSE EMMONS
		Yes, sir.

	She goes. Van de Velde moves across the room to the fire-
	place. Stone follows. The older man is deep in thought.

				STONE
		Well, Doctor?

	Van de Velde fits a cigarette into an elegant holder,
	picks up a taper, and lights it as they talk.

				VAN de VELDE
		She's very ill, John.

				STONE
		I know that.

				VAN de VELDE
		When did these delusions first
		occur?

				STONE
		Less than a week ago. When she 
		first returned here.

				VAN de VELDE
			(nodding)
		As soon as she's well enough to
		travel, bring her into London.

				STONE
		I shall.

				VAN de VELDE
		From what you and the nurse say, John,
		it's some form of schizophrenia.
		Deep and difficult to diagnose.

	Stone nods, silently.

				VAN de VELDE
		With time, we can probably help her.

				STONE
			(detects something)
		With time?

				VAN de VELDE
			(gazing into fire)
		I should have said, "If we have 
		time."

				STONE
		Please, Doctor...be specific.

				VAN de VELDE
		Surely man, you noticed her heart?

				STONE
		A murmur...probably the result of...
		rheumatic fever in childhood.

				VAN de VELDE
		A murmur?

				STONE
		Well, that's all it was last night.

	Van de Velde regards him for a long moment.

				VAN de VELDE
		Then, Doctor, I suggest you
		re-examine your patient. The 
		excitement last night....

	Stone whirls and looks upstairs. Then, he looks back at 
	the older man.

				VAN de VELDE (contd)
			(after a pause)
		...there's been severe deterioration.
		Any shock...any stimulation at all
		could prove fatal.

	Stone is stunned.

				VAN de VELDE (contd)
		I'm sorry. I thought you knew.

				STONE
			(shakes his head)
		No. I let her sleep till you
		arrived. I should have....

	Van de Velde puts his hand on Stone's shoulder.

				VAN de VELDE
			(interrupting)
		There was nothing anyone could
		have done.

	Stone nods slowly, comprehending.

				VAN de VELDE (contd)
		Now, I think you should go up and
		see Lady Margaret. She's asking
		for you.

	Stone nods, silently.

				VAN de VELDE (contd)
		I'll show myself out. Rest...
		relaxation...Who knows?

	He moves toward the entrance, pauses, looks around.

				VAN de VELDE (contd)
		If she comes through this...we'll
		go to work on the demon that 
		plagues her. Please let me 
		know, John.

100	CLOSE - STONE
	deep in thought. He rouses.

				STONE
		Oh, yes. I shall, Doctor. Thank 
		you...and good-by.

	He turns and starts toward the stairs, moving faster
	until he's running up them at full speed.

101	INT. UPSTAIRS HALLWAY - DAY - FAVORING HEAD OF STAIRS
	as Stone comes off. In the f.g., Lady Margaret's door
	opens and Nurse Emmons comes out. Stone stops.

				NURSE EMMONS
		I'll bring your broth up here, 
		Doctor.

				STONE
		Never mind that, Nurse, how is she?

				NURSE EMMONS
		Much better. Quite cheery now,
		as a matter of fact.

102	CLOSE - STONE
	as he digests this.

				STONE
		Oh? That's good. Thank you, Nurse.

	She nods as he enters the room.

103	INT. LADY MARGARET'S BEDROOM - DAY - FULL SHOT
	centering on Margaret. She lies propped up in bed, wan
	but ethereally beautiful. She stretches out both hands
	in welcome.

				MARGARET
		Your friend, Dr. Van de Velde
		thinks I'm ill.

				STONE
		You are ill.

				MARGARET
		Then I must be a creature
		incapable of my own distress.

104	CLOSE - STONE
	as he looks down at her, cheered by her mood.

				MARGARET
		Because...I assure you I feel
		quite well....

105	TWO SHOT - FAVORING MARGARET
	as she smiles at him.

				MARGARET
		...and oh, so glad to see my 
		physician!

				STONE
		No more glad than he is to see 
		you...but please, don't overdo.

				MARGARET
			(pursing her lips)
		And doctors don't like happy 
		patients? If that's the case,
		I shall lapse immediately, back 
		into melancholy.

				STONE
			(shaking his head)
		As your physician, madam, I forbid
		it. But, in your condition, I
		prescribe exuberance only in 
		small doses.

	She radiates up at him, then suddenly a change comes into
	her eyes. She takes his hands and holds them tight. Her
	mood has changed completely.

				MARGARET
			(quietly)
		As the tree falls, so shall it lie?
		That's true, isn't it, John?

	She glances quickly up at him.

				MARGARET (contd)
		That is your name, isn't it, Doctor.

	Stone nods. She looks away, o.s., at the window.

				MARGARET (contd)
		It's true in every sort of way.
		As the tree lies, so shall it be...
		all through the days of eternity.
		That's true too, isn't it, John?
		Absolutely true?

				STONE
			(soothing)
		Yes. Yes, of course.

	She seems relieved and looks back to him.

				MARGARET
		Oh John, I've found such a lovely 
		poem. I didn't know it before.
		Listen...to the mournful magic 
		of these lines...
			(she looks away)
		"King Pandion, he is dead
		All thy friends are lapped in lead."
			(looks back at him)
		"Lapped in lead." Doesn't that
		make death sound delicious...and
		luxurious? As though...to be
		alive were something makeshift.

				STONE
		Lady Margaret...you mustn't talk 
		this way.

				MARGARET
			(looking off again)
		"Lapped in lead -- lapped in lead."
		How lovely, and peaceful and
		untormented.

	She looks up at him with a touch of madness in her eyes.

				MARGARET (contd)
		That's the best thing that could 
		happen to me, John. You know that.

	She looks away.

				MARGARET (contd)
		The best thing that could happen 
		to me.

	She's beginning to waver, slipping into a coma.

				MARGARET (contd)
		The best thing...then I would be...
		safe. 

	She's unconscious. He reaches for her wrist, feels the
	pulse, then turns toward the door.

				STONE
		Nurse!

106	ANGLE FAVORING THE DOOR - OVER STONE'S SHOULDER
	The door opens and Nurse Emmons ENTERS.

				NURSE EMMONS
		Yes, doctor...
			(sees Margaret and
			starts forward, startled)
		Is she...?

				STONE
		She's fainted. Prepare a half-cc
		of digitalis.
			(he nods the 
			direction)
		There, in my bag.

	She quickly moves to the bag and brings out a syringe.
	Inserting it in a vial, she draws out the fluid as we:

					DISSOLVE

107	INT. LADY MARGARET'S BEDROOM - NIGHT - CLOSE
	On Lady Margaret's face as she lies sleeping, tranquil,
	and as still as death. PULL AWAY to reveal Dr. Stone
	in his shirt sleeves, sitting at her bedside. He
	studies her carefully. Stone is distracted by a FAINT
	KNOCK at the door downstairs. He throws a look of 
	irritation at the bedroom door. The KNOCKING continues,
	and it GROWS LOUDER. He grinds his teeth and rises,
	pulling a coat about his shoulders as he moves quickly
	to the door. There, he pauses, gives Margaret a worried 
	look, then goes out.

108	INT. HALLWAY - NIGHT
	As Stone hurries to head of stairs.

109	INT. "GREAT HALL" - NIGHT - UPSHOT
	PANNING Stone down the stairs and to the door. All
	through his descent, the KNOCKING continues.

				STONE
		All right. All right! I'm
		coming.

110	FROM BEHIND STONE
	As he opens the door, revealing Weatherford outside.

				WEATHERFORD
		Dr. Stone.

				STONE
		Vicar.

111	CLOSE - STONE
	There's an awkward pause.

				STONE
		Oh, won't you come in?

	He looks past the Vicar, as if disappointed in not seeing 
	someone else.

112	OMIT

113	TWO SHOT - STONE AND WEATHERFORD
	as the Vicar enters. Stone closes the door behind him.

				WEATHERFORD
			(noticing his look)
		Are you expecting someone?

				STONE
		Nurse Emmons. I sent her to
		the chemist for a prescription.

	Weatherford nods. Stone crosses to the great fireplace and
	stands looking down into the flames. Weatherford, rather
	deliberately, takes off his hat and cape and throws them
	on a hall table. Then he crosses to the fireplace.

				WEATHERFORD
			(as if he knew already)
		Lady Margaret's taken a turn 
		for the worse?

	He takes out a pipe and, with a taper from the fireplace, 
	lights it.

				STONE
		She's very ill.

				WEATHERFORD
		I'm sure she is.

	Stone, angered by his matter-of-fact tone, turns abruptly
	on the Vicar.

				STONE
		And what do you mean by that?

114	ANGLE PAST ON WEATHERFORD
	He stares into the fire.

				WEATHERFORD
		"First fire, then death. So it
		shall always be...until my body
		is restored to me."

				STONE
		Who are you? What are you? Why
		are you here?

	Weatherford looks down at Stone.

				WEATHERFORD
			(mildly)
		The vicar, Doctor. You know that.
		I have a duty to my parishioners.

				STONE
		A duty to frighten them out of 
		their wits with ghost stories
		and old wives' tales? What do 
		you have against Lady Margaret?

				WEATHERFORD
		Nothing. I pray for her each day.
		It's the "other."

				STONE
		The "other's" been dead three
		hundred years!

				WEATHERFORD
			(glancing back 
			into the fire)
		Her people prayed "God grant that
		she lie still...."

115	INT. LADY MARGARET'S BEDROOM - NIGHT - CLOSE
	on the sleeping Margaret's face. There is a BANGING of
	the shutters. She stirs. Another RAPPING. Margaret's
	eyes open. She looks around, as if she were in a trance.
	Another RAPPING, and the SOUND of the rising WIND. She
	rises, and like a somnambulist, moves to window. Throw-
	ing aside the draperies, Margaret reaches for handle.

116	CLOSE - MARGARET
	To this point, her face has been a bland mask. Now,
	there is a flicker of reaction.

117	WHAT SHE SEES - THE WINDOW
	and the stormy dark beyond. Outside floats the spectral 
	wraith of ELSPETH CLEWER, a consummately evil version of 
	Lady Margaret. The vision is transparent. It beckons
	for Margaret to open the windows.

118	REVERSE FROM OUTSIDE THE WINDOW
	as it swings open. The diaphanous Elspeth steps inside.
	Margaret, now frightened, retreats toward the bed. Elspeth
	stalks her and CAMERA FOLLOWS them both.

119	SIDE TWO SHOT
	as Margaret tries to escape Elspeth.

				ELSPETH
		Let me in! Give way! How can
		I rest without a body? I must
		be lodged. I must be lodged!

120	CHOKER - ELSPETH
	demoniac, malevolent.

				MARGARET'S VOICE
			(moaning)
		No!...No!...No!

				ELSPETH
		So shall it always be, till my
		body returns to me!

				MARGARET
			(a shuddering shriek)
		No!....

121	TWO SHOT
	The spectral Elspeth steps closer and Margaret falls
	back on the bed.

122	CLOSER SHOT - MARGARET AND ELSPETH
	PULL IN CLOSE on Margaret's face to record her agony.

123	INT. "GREAT HALL" - NIGHT - TWO SHOT - STONE AND WEATHERFORD  
	The latter still stands before the fireplace.

				STONE
		Surely, Vicar, you can't believe 
		that the spirit of a woman dead 
		three hundred years is the cause 
		of Lady Margaret's trouble.

				WEATHERFORD
		"What is in me...will not
		rest...until my body is restored
		to me."

				STONE
		That's nonsense. Stark raving
		nonsense.

				WEATHERFORD
		It is?

	He regards Stone for a moment, then sits on the arm of a 
	chair that matches Stone's.

				WEATHERFORD (contd)
		How do we know what dies, what 
		lives? Nothing is fantasy,
		Dr. Stone, that is totally 
		believed. Or faith could not
		move mountains.

	Eerie EFFECT is heightened by the calm matter-of-factness
	with which Weatherford speaks.

				WEATHERFORD (contd)
		Have you ever read Arthur Machen?

	Stone shakes his head.

				WEATHERFORD (contd)
		He's forgotten nowadays. Regrettably.
		He accepted and understood what
		few of us are brave enough to 
		let ourselves admit.

				STONE
		I'm not interested in literature....

				WEATHERFORD 
			(right on)
		He said that "Sanctity, and sorcery,
		white magic, and black, are equally 
		realities...."

124	ANGLE PAST WEATHERFORD ON STONE
	Fire still blazes in fireplace -- as if the page Stone
	cast there cannot be consumed. SOUND of STORM continues
	o.s.

				WEATHERFORD 
		"...The saint aspires to emulate 
		the angels. The devil in human form,
		and there are such, follows the 
		Fallen Angel, Lucifer, the beautiful
		and damned..." Elspeth Clewer was
		beautiful. ...But she was damned...
		and doomed....

				STONE
		How can you say that, as if you 
		knew of your own knowledge....

				WEATHERFORD 
		Because of who and what I am.

	It seems that fire dies, STORM quiets, as he continues:

				WEATHERFORD 
		Lady Margaret Clewer has an
		unforgotten ancestor. So have I.

125	ANGLE FAVORING WEATHERFORD
	He turns his gaze toward Stone.

				WEATHERFORD 
		If you had read a little further 
		in the records, Doctor, you would 
		have found my ancestor's vow...

	He quotes -- and again seems to be the Witch-Finder,
	albeit not evil, only dedicated.

				WEATHERFORD (contd)
		"I, John Weatherford, who brought 
		the witch and vampire Elspeth Clewer 
		to burning court, do swear that as 
		her curse is placed on her posterity,
		so I now place on mine the duty
		that they shall protect and defend 
		against her, to the last generation..."

	Stone looks at him, incredulous.

				WEATHERFORD (contd)
		I see doubt in your eyes,
		Doctor...but this is the truth.
		The malignant spirit of Elspeth
		Clewer will not rest until she
		reclaims the corpse she lost at 
		the stake. This is her last 
		opportunity. Because of my
		heritage...I am dedicated to
		the protection of Lady Margaret...
		and to the exorcism of Elspeth's
		malevolent incarnation.

	He pauses and the SILENCE throbs. Then, it is broken by
	a chilling SHRIEK from upstairs. The two men exchange a
	quick startled glance, then leap up and run to and up
	the stairs. The younger doctor outstrips Weatherford.

126	INT. UPPER HALL - NIGHT - FAVORING STAIR
	as Stone, followed by Weatherford, runs to Margaret's
	door. He thrusts it open and stands transfixed.

127	OVER STONE'S SHOULDER
	the agony-wracked body of Margaret, on the bed, in the
	final throes of her struggle with Elspeth. Margaret
	gives a last, convulsive shudder and lies still. After
	a moment, from her body emerges the spectral form of 
	Elspeth. The wraith rises, then moves, beaten, to and
	through the window.

128	INT. LADY MARGARET'S BEDROOM - NIGHT - FAVORING DOOR
	as Stone bursts in and runs to the bed. He kneels beside
	Margaret.

129	STONE'S P.O.V - CLOSE - MARGARET'S FACE
	She sighs, gently. Her eyes open and she smiles up at 
	Stone.

				MARGARET
			(faintly)
		It's all right....
			(a pause)
		It's all right. I've won.

130	TWO SHOT - STONE AND MARGARET
	as he takes her in his arms.

				STONE
		Margaret, oh Margaret....

				MARGARET
		I've won. Don't...don't let me
		give way again.

	He lets her lie back against the pillow and takes her
	hands.

				STONE
		Never. Never again.

				MARGARET
		Keep me safe....

131	CLOSE - THEIR HANDS
	HOLD for a moment, then Margaret's hands relax and slip
	away from his.

132	TWO SHOT - STONE AND MARGARET
	She's dead. He buries his head on her breast. After a
	long moment, Weatherford speaks.

				WEATHERFORD (o.s.)
		Doctor Stone. Come here.

133	ANGLE OVER THE BED TOWARD THE WINDOW
	where Weatherford stands, looking down. Slowly, Stone
	raises his head.

				WEATHERFORD (contd)
		Come here. Please!

	Slowly, Stone rises and moves to the window.

134	REVERSE - EXT. WINDOW - STONE AND WEATHERFORD
	looking down. Stone reacts.

135	WHAT THEY SEE
	Elspeth, defeated, moving slowly across the cemetery.
	She pauses at the foot of her grave, then, gracefully,
	spreads her arms and disappears into the earth. ZOOM
	down from Stone's P.O.V. to the headstone, which reads:

			Elspeth Clewer
			1641    1661
		God Grante That She Lye Stille

					FADE OUT


This was a THRILLER!