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!