The Incredible Doktor Markesan
FADE IN
1 EXT. OAKMOOR ESTATE - NIGHT - LONG SHOT - STOCK
of isolated mansion, half hidden in a forest of trees.
2 EXT. OAKMOOR - DAY - CLOSE SHOT - ANGLING THROUGH
rusting grillwork gates, which sag grotesquely ajar. A
high, vine-covered wall obscures a full view of the
house and grounds, but through the gates we see a
stand of skeletal oaks, naked except for the parasite
moss which drapes their tortured limbs like shreds of
rotted clothing. Beyond the trees is the house - a huge,
moldering aristocrat about as inviting as a tomb. It is
a grey, bitter day, almost dusk and there is NO SOUND
except the THIN, EERIE WIND as we establish our locale
and mood and the weather-beaten sign on the gate which
reads: "NO TRESPASSING - VIOLATORS WILL BE SHOT ON
SIGHT - DOKTOR KONRAD MARKESAN." Then, at the SOUND of
AN APPROACHING CAR, CAMERA PANS to pick up the arrival
of a dilapidated, mud-spattered, two-seater sports car
(a vintage M.G. or Morris perhaps,) occupied by FRED
BANCROFT and his wife MOLLY. Fred is a thin, stooped
Jimmy Stewart type in his twenties. He adores his pert
and pretty Molly and is inclined to worry and press
overmuch because of the hand-to-mouth existence they
are experiencing. And Molly worries about Fred worrying.
But like most young couples, they are wont to bicker
for mental exercise if for no more compelling reason.
3 CLOSE SHOT - FRED AND MOLLY
He switches off the engine, obviously surprised and
disturbed at the looks of Oakmoor as:
FRED
This is it, Molly...Oakmoor...
For Molly, the sight of the place has the effect of
looking at an abandoned graveyard.
MOLLY
This... this "place?" You have
to be kidding.
FRED
No.
MOLLY
What happened to the broad
green lawns and the servants in
the crisp white uniforms?
FRED
(grimly)
Oakmoor was the most beautiful
estate in the County. I can't
imagine why my uncle has let it
run down like this...
MOLLY
Doesn't look to me like your
Uncle...or anybody else...
lives here. I told you we
should have waited for an
answer to our letter.
FRED
You told me, all right - every
mile of the way. But you
didn't suggest what we'd use
for money and an address while
we were waiting.
MOLLY
I only hope he still remembers
you were his favorite nephew.
When did he last dandle you
on his knee -- twenty years
ago?
FRED
Cut the chatter and let's go
inside.
They are out of the car now, and Fred takes their two
battered bags and heads for the gate. Molly follows
with no enthusiasm as he squeezes through the opening
and heads for the house.
4 VERANDA - ANGLE AT FRONT DOOR - FRED AND MOLLY
come on. Fred sets down the bags and raps on the door
with the ancient brass knocker. The sound ECHOES and
RE-ECHOES through the vast house. They wait, their
apprehension growing. Fred raps again. Still no answer.
MOLLY
It's getting dark. Let's go
back to the village.
FRED
(edgily)
I've got exactly twelve dollars
in my pocket. How long do you
think it will keep us?!
He RAPS again - more urgently.
MOLLY
(nervously)
Fred, it's obvious he doesn't
live here anymore.
Fred has tried the door. It is not locked and it GROANS
slowly open to reveal, dimly, a large entry hall and a
spiral staircase beyond.
5 INT. ENTRY FOYER - DAY (DUSK)
Fred steps, rather cautiously, inside, Molly at his
shoulder. Everywhere dust and cobwebs greet their eyes.
Drawn by the pervading mystery of the place they move
to the staircase where:
FRED
(calls out)
Hello...!
(at length)
Hello! Anybody here?!
SILENCE, except for the WHISPER of the WIND and a loose
SHUTTER tapping.
MOLLY
(at length)
Fred. Please, let's go.
6 ANOTHER ANGLE - FRED
moves into the huge living room which is fully furnished
with heavy, mid-victorian pieces - all dust covered.
FRED
Don't be in such a rush.
(calls)
Hello! Anybody here!
(to Molly)
Take a look in there.
He indicates a closed door at the far end of the room -
the library door. Reluctantly she obeys while he checks
the downstairs hallway. CAMERA HOLDS ON MOLLY who opens
the door and glances inside.
MOLLY
(call to him)
Nobody in here.
She rejoins Fred who returns from his exploration, and
lights the candelabrum that stands on a table in the
living room.
FRED
(lamely)
Well, maybe the old boy's away on
a trip or something. Or maybe
he just doesn't use this part of
the house. Anyway, I'm going to
make sure.
He starts up the stairs; she follows. Half way up, he
pauses, then looks back. Molly sees the look on his face
and turns in the direction of his stare, reacts with a
start.
7 OMIT
8 POV SHOT - DOCTOR MARKESAN
is standing in the doorway of the living room - the
candlelight casts an eerie halo around his tall, gaunt
figure and touches the skin of his face with an incredibly
death-like glow. He is clad in a dusty, shapeless black
suit, grey-white shirt and tie.
9 CLOSE SHOT - DOKTOR MARKESAN
He fixes them with eyes which glow with a netherworld
fire, but he remains silent.
10 BACK TO FRED AND MOLLY
Fred finally finds his voice, trying to cover his
surprise and apprehension as:
FRED
(tentatively)
Hello... Uncle.
No answer from the Doktor.
FRED (contd)
(an uneasy laugh)
I... I guess you don't recognize
me. It's Fred.
No reaction from the Doktor.
FRED (contd)
Fred Bancroft... your nephew.
And this is Molly, my wife.
Molly, this is my Uncle...
His voice trails off as his uncle's disturbing stare
has its effect.
MOLLY
(tentatively)
Hello.
No acknowledgment.
MOLLY
(lamely)
I...ah...hope you don't think we
were snooping. We did knock...
and Fred was certain you were here.
They have slowly descended the stairway and are now facing
the forbidding Doktor.
DOKTOR
I was in the library.
MOLLY
In the library?
DOKTOR
Yes.
His voice has all the warmth of a slab in the morgue. Fred
tries to lighten the atmosphere with:
FRED
Well, it certainly is good to see
you again, sir. How've you been?
Fred extends his hand.
10A INSERT - Markesan
withdraws withered hand.
DOKTOR
Come this way...and you
can tell me what you want.
The Doktor turns and "glides" silently into the dim
depths of the living room. Fred starts to follow but
Molly catches his sleeve.
11 CLOSE SHOT - MOLLY AND FRED
MOLLY
(sotto; disturbed)
Fred. I looked in the library.
He wasn't in there! It was
empty!
Fred doesn't know what to say, so he covers his
apprehension with:
FRED
Don't be silly. Come on.
As he moves into the living room, Molly following, we:
CUT TO:
12 INT. CRYPT - NIGHT - MED. SHOT - KARLOFF
KARLOFF
(he looks very puzzled)
You know, there's something vaguely
familiar about that Doktor Markesan.
A creepy, sinister chap, don't you
agree? I have it! He's the kind of
netherworld character who's forever
popping up in nightmares. My
nightmares, at any rate. As for
the Doktor's young - and apparently
uninvited houseguests - well,
something tells me they'll soon
regret disturbing the tomb-like
serenity of this decaying old house.
I dare you to guess what's in
store for...
12A SHOTS OF PLAYERS
thru
12C
KARLOFF (contd)
Fred Bancroft, as played by
Dick York. And Molly, his
charming but frightened young
wife, as played by Carolyn Kearney.
And how will Professor Angus Holden,
as played by Henry Hunter, figure
into the terror which awaits our
unfortunate young couple?
12D HEAD CLOSEUP - KARLOFF
KARLOFF
(contd)
If you think the answers are
entirely dependent upon the
whims of the inhospitable
Doktor Konrad Markesan -- you're
right, my friends...So please --
just sit quietly -- and don't
make a sound...I shudder to think
what would happen if he knew that
you were watching.
FADE OUT
FADE IN:
13 EXT. OAKMOOR ESTATE - NIGHT
14 INT. LIVING ROOM - NIGHT
Fred has started a blazing fire in the huge-native-stone
fireplace and is capping it with another log. Molly huddles
close to warm herself. The Doktor watches from the peri-
meter of the circle of firelight, aloof and icily silent,
the light playing across his cadaverous face.
FRED
(brightly)
There! That ought to do it!
MOLLY
I surely hope we're not intruding.
(a pause)
Brr! I thought I'd never get
warm again!
(to the Doktor)
You know, we drove all the way
from New York in that open car
of ours. And we didn't once
see the sunshine.
Her tentative attempt at a smile moves the Doktor not at
all. Fred now faces his uncle with a forced smile.
FRED
Well, I suppose you got our
letter, explaining everything.
DOKTOR
No.
(cryptically)
I've been away.
FRED
Oh.
Fred and Molly exchange uneasy glances. The oppressive
atmosphere is bad enough, but now, to add to their
discomfort they must make their explanations in person --
and to this strangely frigid man. Still, they do their
best to lighten the gloom, as:
MOLLY
(at length; laughs
tightly)
I guess some explanations are
in order.
FRED
Yes...you must think we're
a couple of nuts, barging in
on you like this.
He pauses, hopefully, for a disclaimer from the Doktor.
He gets only a stony stare.
FRED
(at length)
Well, anyway...to make a long
story short...ah...Molly and I
have been in Paris for the last
three years. Studying.
DOKTOR
(absolutely uninterested)
Yes.
FRED
Well...when we graduated we had
just enough money for a cattle-boat
to New york and that jalopie
outside. That's why I wrote
to you, sir. Molly and I want
to do our post-grad work at
Penrose and...well...if you could
see your way clear to...to...
(he blurts it out)
Well, we're almost broke and we
need a place to stay until we
can find jobs.
Suddenly they both feel like the worst kind of free-loaders
particularly since Doktor Markesan has not been moved
in the least by their story.
FRED
(at length)
It won't be for long, sir. I
figured you might be willing
to use your influence at Penrose...
you know...to get us part-time work
in the cafeteria...or something....
DOKTOR
(at length)
That's impossible. I severed
my connections with the University.
(cryptically)
Years ago.
Fred's disappointment is obvious. But he is desperate, so:
FRED
Oh. Well...I don't suppose it
will take us more than a few
days to find something. Meanwhile,
if you could just put us up, I'd
be glad to pitch in and...well,
I mean...the place could sure do
with some repairs...and the grounds
certainly need tending...
During the preceding, the Doktor -- with no change in his
icy demeanour -- has turned his back on them and is walking
away. Incensed, humiliated, Molly cuts Fred's plea with:
15 CLOSE TWO SHOT - MOLLY AND FRED
MOLLY
(sotto)
Stop begging him, Fred. Let's
get out of here.
FRED
(sotto; angrily)
And go where?!
16 WIDER ANGLE - FEATURE DOKTOR
who has paused in the library doorway.
DOKTOR
Step in here, please.
Doktor Markesan moves into the dim recesses of the library.
After a moment's hesitation, Molly and Fred follow him,
puzzled and apprehensive.
17 INT. LIBRARY - DAY
Another dust-covered room, choked with books and papers and
dominated by a massive, ornately carved desk. Molly and
Fred enter and find the Doktor waiting near the desk. He
gestures, indicating the desk.
DOKTOR
There's money inside. You may
take what you need.
FRED
(reacting)
Well...that's awfully nice of
you, Uncle --
MOLLY
(cuts in, almost
fiercely)
But we're not beggars.
With chilling deliberateness, the Doktor shifts his eyes
to Molly.
FRED
(quickly)
Molly means we couldn't take
your money. We just need a
place to stay for a few days.
Markesan just glares at them.
DOKTOR
I'm afraid what you ask is out of
the question.
Fred pauses, then shrugs.
FRED
All right.
He turns to Molly.
FRED (contd)
Perhaps the people at Penrose
will be a little more hospitable
than Uncle Konrad.
Something stirs in Markesan's face, as if, for he first
time, their intention registers clearly on his brain. It
spells danger for him.
DOKTOR
Do you mean to say you intend
enrolling at Penrose....?
FRED
(puzzled by his reaction)
Yes. That's what I've been talking
about.
MOLLY
That's why we came here.
Markesan pauses, considering this.
DOKTOR
(speculatively)
I see...
(more conciliatory)
Well, then...it wouldn't do for
you to be discussing me in a bad
light with my former colleagues...
would it now...? Perhaps we had
better make some kind of an
arrangement.
FRED
(stung)
Look, we're not trying to force
you into having us if it's
inconvenient....
MOLLY
And we don't go around talking
about people behind their backs.
DOKTOR
I am glad to hear that -- because
I will hold you to your word.
(cryptically)
I am anxious that no one knows that
I've returned. You see the
experiments I'm engaged in are
highly...secret. You do understand?
FRED
(doesn't)
Yes.
DOKTOR
And I'm desirous the news of my
progress remain...absolutely private
until I'm ready...I would ask you
to respect my confidence.
FRED
(willing to deal)
Of course, Uncle Konrad.
DOKTOR
Very well, you may stay -- in
the master suite of the second
floor hall.
(to Molly)
Do what cleaning you deem
necessary in those rooms and
in the kitchen only. Touch
nothing else. Above all do
not seek me out or disturb
me for any reason.
(cryptically)
I have important work to do.
FRED
Whatever you say, Uncle Konrad.
Without a word the Doktor turns and "glides" to the
doorway where he pauses and fixes them again with his
penetrating stare.
DOKTOR
One more condition -- and this
is vital. I don't care to have
you venture out at night. You
must either stay in your room
from dusk to dawn, or leave the
house entirely for the night.
Is that clear?
Fred nods "yes." The Doktor moves away into the living
room, melting silently into the deepening shadows, Fred
and Molly watching as if mesmerized.
MOLLY
(at length)
Fred...
FRED
Yes...?
MOLLY
We're not staying here.
FRED
(too defensively)
Are you out of your mind?! How
long do you think twelve bucks
will last in town?!
MOLLY
(flares back)
I don't care! I hate this
awful place! It frightens me.
It's like a ... a tomb!
(bitterly)
And your gracious Uncle who was
supposed to be so glad to see us---
FRED
(cuts her)
Look. That's enough, Molly!
(a beat)
Don't rub it in any more.
He glares at her, flushed, tortured by his helplessness and
feeling terribly inadequate. She stares back, frightened
by what her criticism has wrought in his face.
MOLLY
(at length; tightly)
Do you realize we're having our
first...real fight...?
Her chin quivers, her eyes flood with tears. Suddenly
filled with contrition, they rush into each others arms.
As she sniffles and snivels appealingly:
FRED
Oh, honey, I'm sorry. I'm
sorry. I...I guess I was so
darned peeved at myself for getting
you into this mess that....that
I just blew my stack.
As he tenderly blots her tears away:
FRED (contd)
If you want to go, we'll go.
We'll make out somehow.
MOLLY
No. You were right, and we
don't have much of a choice. I
was behaving like a spoiled brat.
After all, we agreed we'd have
some tough sledding ahead of us
and...well....
Their glances scan the room with valiant distaste.
FRED
(wryly)
Yeah, but this is pretty ridiculous.
Their eyes meet. They grin grimly, as:
MOLLY
Bring in our things while I
explore the kitchen.
FRED
Good girl. I'm famished.
He kisses her lightly on the lip and leaves. She takes
the candelabra and EXITS toward the kitchen.
18 INT. KITCHEN - NIGHT
A huge room dominated by a monstrous black wood-burning
cook stove and fitted out with every imaginable culinary
convenience all circa 1900. Dust and cobwebs veil every-
thing. The swinging door moves protestingly on rusted
hinges as Molly enters hesitantly. With obvious distaste
she begins to explore cupboards etc. What food she finds is
years old and crumbles to dust under her touch. She opens
another cupboard to discover:
19 CLOSE POV SHOT (SHOOT AT INSERT HOUSE)
A huge RAT glares at her for an instant, then springs for
her face (CAMERA) with a SCREECH.
20 WIDER ANGLE - MOLLY
screams, leaps back, turns to flee and crashes into Fred
who is entering. He grabs her, holds her as:
FRED
Molly! What's wrong?!
MOLLY
A rat! It leapt for my...
(shudders)
...throat...
He folds her into his arms to still her shivering. His
reassurances lack conviction as:
FRED
You...you probably scared it.
I'll set out some traps...
tomorrow. I'm not really hungry,
anyway.
MOLLY
That's good -- because there's
not a crumb fit to eat. Everything's
years old.
To his skeptical frown:
MOLLY (contd)
Look for yourself.
Fred opens one of the cupboards, finds only spiderwebs
and mouldering foodstuffs.
MOLLY (contd)
Fred, how does he exist. What
does he eat? This kitchen hasn't
been used in years!
He turns back to Molly. The atmosphere is charged with her
unspoken question.
FRED
Well...Uncle did say he'd been
away....
It's the obvious answer but neither of them are really
satisfied with it as they silent scan the place.
FRED (contd)
(at length)
Let's have a look at our room.
They exit.
21 INT. ENTRY FOYER - NIGHT
Fred and Molly come on. Fred picks up their bags, which
are at the foot of the stairway, and they slowly ascent,
the rotting treads CREAKING SOFTLY under their weight.
22 INT. HALLWAY - NIGHT
Molly and Fred come on, move apprehensively down the long,
vault-like hallway which is flanked by a gallery of family
portraits, the faces of which stare coldly down at them
from behind a grey veil of dust. Fred sets the bags down
at the end of the hallway, tries the door. It GRATES
SLOWLY OPEN to reveal:
23 INT. MASTER BEDROOM SUITE - NIGHT
A spacious sitting room, off which is a draped alcove and
another door leading into a large bathroom. Fred and
Molly ENTER and, although the place is dusty and cobwebbed,
it has obvious possibilities for comfortable living. Good,
though old-fashioned furniture, a big fireplace, etc. As
they explore the room Molly discovers a huge, fourposter
bed in the alcove, behind the drapes. Fred, meanwhile, is
casing the bathroom.
FRED
(calls to her)
Hey! There's a tub in here
that's almost big enough for
water skiing!
He comes out.
FRED
Not bad, huh?
MOLLY
(plainly pleased)
It needs dusting. And it's
damp.
FRED
A good fire will fix that!
24 ANGLE FEATURING HALLWAY DOOR
As Fred builds a fire, Molly explores the closets, etc.
The DOOR BEGINS TO SLOWLY CLOSE.
25 MED. CLOSE SHOT - MOLLY
finds an old-fashioned telephone.
MOLLY
Look! A telephone!
She gingerly lifts the dusty receiver, listens, juggles
the hook, frowns.
MOLLY
Dead!
Disgustedly, she drops the receiver onto its hook.
26 BACK TO ANGLE FEATURING DOOR
Halfway through its arc now, a sudden draft seems to catch
it and it SLAMS SHUT! Both Fred and Molly whirl around,
startled, she with a stifled CRY. They stare at the door,
rooted.
MOLLY
(at length; a plea)
Fred...
FRED
It was only a draft.
MOLLY
Somebody's out there. I just
know it....
FRED
(irritated)
Really, Molly.
He crosses to the door, intending to investigate the hall,
but he finds, to his surprise, that the door is locked.
He twists the knob, tries to force it. No good.
FRED (contd)
The lock must have sprung.
He puts his shoulder to the door, butts the heavy panelling
and twists the knob. No good. He rattles and bangs,
finally stopping, breathless from his exertions and from
the panic which he tries not to show as:
MOLLY
(at length)
Fred. Your uncle has locked
us in...!
FRED
All right...all right. Don't
get panicky. We can always
bail out of the window ---
He has crossed the room and swept aside the heavy window
drapes to discover:
27 REVERSE ANGLE - FRED AND MOLLY
behind the heavy iron bars which criss-cross the window.
On their reaction, we:
CUT TO:
28 EXT. OAKMOOR GROUNDS - NIGHT
Doktor Markesan gazing up at them from the partial cover
of a shadow-shrouded, moss-slimed fountain (no water running).
After a moment, he melts away into the WIND-WHIPPED shrubbery
and we:
FADE OUT
END OF ACT I
FADE IN
29 INT. MASTER SUITE - DAY - CLOSE SHOT - MOLLY
in her night clothes. She is sleeping fitfully.
HOLD on her lovely face and the SOUND OF HER SOFT BREATHING,
the only sound in the deathly silent house. Then, faintly,
we HEAR the CREAK OF A CAUTIOUS FOOTSTEP on the ancient
floor, and a dark shadow creeps across her face. Slowly,
the shadow makes its impression on her sub-conscious and
she awakens with a stifled cry, shrinking back against
the bedhead as CAMERA PULLS QUICKLY BACK to reveal FRED.
He is carrying a cup of steaming coffee and an old-fashioned
tea kettle of hot water.
FRED
(lightly)
Hey! That's not a very complimentary
good morning for a considerate
husband.
MOLLY
You scared me -- Coffee! Oh,
you wonderful, beautiful man!
She takes the coffee, sips it eagerly, then:
MOLLY (contd)
Where did you find it?
FRED
In the kitchen. There was an
old can that hadn't been opened.
MOLLY
But our door was jammed...!
30 ANOTHER ANGLE TO INCLUDE OPEN HALLWAY DOOR
FRED
It was open. He must have slipped
the bolt before I woke up.
MOLLY
What bolt...!
She abandons the coffee, crossing quickly to the door to
examine:
31 MED. CLOSE SHOT AT DOOR
The outside of the door (which swings into the room) is
fitted with a heavy brass bolt. Ornate and tarnished,
it blends with the color and style of the door framing.
MOLLY works the bolt apprehensively as:
MOLLY
Then he did lock us in...!
FRED
All right. Take it easy. The
old man said we weren't to leave
our rooms after dark. And we
agreed. Guess he just wasn't
taking any chances.
MOLLY
But why? What is he hiding?
What doesn't he want us to see?
FRED
(piqued)
How do I know? Here, drink your coffee
and get dressed. I'm going to shave.
He hands her the coffee cup and goes into the bathroom
with the tea kettle.
DISSOLVE
32 INT. BEDROOM - DAY
Molly, now dressed, comes in thru the hall door. She
looks around.
MOLLY
Fred.
FRED'S VOICE
What?
He comes out of the bathroom, shaved, towelling his face.
MOLLY
I just looked in the hallway.
None of the other doors have
bolts. Just the master suite.
And it's not a new fixture.
Fred acknowledges this with a preoccupied mumble.
MOLLY
(stubbornly)
Fred. There's something you're
not telling me.
His glance shifts to her determined reflection in the mirror.
FRED
(reluctantly)
Well, if you must know, Aunt Lorinda
was off her rocker for years before
she died. But my uncle was very
much in love with her. He refused
to commit her so she lived out
her life in these rooms. At least
that's how the family gossip
went.
MOLLY
Why didn't you tell me that
last night?
FRED
Because you would have panicked
and spoiled everything.
MOLLY
(gathering to
explode)
You're darn right I would have!
Whatever was wrong with your
Aunt Lorinda doesn't excuse
our being locked in like a pair
of sheep --
FRED
Forget it, will you. If it
makes the old boy happy to know
we're not prowling around after
dark - poking into his keepsakes -
well...it doesn't hurt us to
humor him.
MOLLY
But suppose there's a fire some
night?
FRED
(exasperated)
If you aren't the world's worst
worry wart!
MOLLY
(tenaciously)
Anything could happen in
this place.
FRED
All right! All right...I'll
take care of it. But right now
you'd better drive into the village
and buy some food. I'll get
started on the yard work while
you're gone. Here's the bankroll -
twelve whole bucks. See how far
you can stretch it.
He digs the last of his money out of his pocket and hands
it to her.
MOLLY
Fred...what if we can't find jobs
before this runs out?
FRED
We will. Now, go on.
He sends her on her way with a reassuring kiss.
DISSOLVE
33
thru OMIT
35
36 EXT. TOOL SHED - DAY - FRED
ENTERS FRAME and moves to the door. There, he finds a
note. He pulls it off and reads:
37 INSERT - NOTE
in old-fashioned, script.
FRED'S VOICE
"I have gone away, and am not
sure when I shall return. Abide
by your promise. Disturb nothing.
Signed: Markesan."
38 CLOSE SHOT - FRED
as he studies the note, shrugs, wads it up, and jams it in
his pocket. He moves into the shed door.
DISSOLVE
39 OMIT
40 INT. KITCHEN - DAY - FRED
is at the sink, trying to clean some of the rusty, corroded
pots and pans. Molly ENTERS, carrying two large sacks of
groceries. Fred hurries to take them from her.
MOLLY
Hi! How's the K.P.?
FRED
Starving! What took you so long?
MOLLY
(pointedly)
Did you speak to your uncle about
locking us in last night?
FRED
No...
MOLLY
I didn't think you would.
FRED
(stung)
Well, I couldn't! He left a note.
Said he was called away.
MOLLY
For how long?
FRED
The note didn't say.
MOLLY
Well, let's hope we'll be called
away before he returns. I stopped
at the Students' Employment Office
and filled out job applications
for us.
FRED
What's the prognosis?
MOLLY
Hopeful.
FRED
Only hopeful?
MOLLY
Only hopeful.
He glances around the room.
FRED
Well, at least we've got a roof over
our heads. And something to sustain
the corporeal man.
She attempts a smile now as she pulls a long loaf of French
bread from the grocery sack she carries. Like any young,
healthy animal, his response is instantaneous.
FRED (contd)
(grins)
Come on! I'm famished!
They begin to unpack the groceries.
DISSOLVE
41 EXT. OAKMOOR - NIGHT
A LIGHT RAIN is falling. (OPTICAL)
42 INT. MASTER SUIT - NIGHT
Fred, clad in slippers and a fresh pair of levis, with a
bath towel draped around his muscular shoulders, is
rummaging through their bags, which he has opened out on
a small table.
FRED
Didn't realize I was getting so
flabby. There's not a muscle in
my carcass that isn't howling
bloody murder. Honey, where are
my clean tee-shirts?
No answer. He rummages some more, then:
FRED
(impatiently)
Moll-ee!
No answer. He glances up, doesn't see her.
FRED
Molly?
He crosses to the open bathroom. She isn't in there.
Now he notices the hallway door is ajar. Instantly
concerned he goes out.
43 INT. HALLWAY - NIGHT
Fred moves down the hall, pauses to look and listen for
her at the head of the stairs. Only the LIGHT RUSTLE
OF RAIN is HEARD. The house is shrouded in an oppressive
stillness which like a mausoleum, seems to forbid violation.
Thus, Fred's call is almost timorous, as:
FRED
Molly....?
No answer. His alarm growing, he descends the stairway.
44 INT. ENTRY FOYER - NIGHT
At the foot of the stairs, Fred pauses. Night shadows
are closing fast now as a flicker of reflected candlelight
draws him into:
45 INT. LIVING ROOM - NIGHT - POV SHOT
The light is coming from behind the library door which
is ajar.
FRED
Molly? Is that you?
No answer. Fred moves quickly toward the door, reaches
carefully for the knob, but:
46 CLOSER SHOT
The door suddenly swings open and Molly coming out,
collides into him. The lighted candle and the newspapers
she is carrying are jarred from her hands. Both are startled.
She squeals. He covers his reaction with typical male
anger. They scramble for the candle and the fallen newspapers
as:
FRED
What the devil were you doing in
there?!
MOLLY
Looking for something to read. I
have to do something to get my mind
off this place.
FRED
This is the best you could do?
Old newspapers?
MOLLY
If you'd rather curl up to a musty
old science book, help yourself.
His library's full of them --
He has grasped her hand and practically drags her out, as:
FRED
Come on. It's already dark.
We're supposed to be in our room.
47 INT. ENTRY FOYER - NIGHT
Fred and Molly come on. As he hustles her up the stairs
they do not notice the dim figure of DOKTOR MARKESAN
standing in the shadows beneath the stairway. The basement
door at his back is slightly ajar.
48 CLOSER SHOT - DOKTOR
The light from their candle picks out the highlights of
his grey-white face. He remains absolutely motionless,
only his baleful eyes following them up the stairs as:
MOLLY
Fred! Do you have to break my
arm?
FRED
I ought to break your neck. Of
all the stupid things to do!
MOLLY
What'd I do that's so terrible?!
FRED
You know darn well what would
happen if the old man ever caught
you prowling his library.
MOLLY
I can't imagine what he's so worried
about. I doubt if an Einstein
could understand those books and
papers of his.
Their door SLAMS, cutting off the rest of the exchange.
Slowly now, effortlessly, and without a sound, the
DOKTOR moves after them up the stairs.
49 INT. MASTER SUITE - NIGHT
Molly and Fred.
MOLLY
Brrr! Suddenly coming up those
stairs I got duck bumps.
FRED
Light some candles. I'll get a
fire going --
The FAINT SOUND of the BOLT BEING SLOWLY SLIPPED HOME
catches their attention. They glance at each other,
chilled by the very furtiveness of the action. Molly
starts to say something. He signs her to be silent and
quietly moves to the door. Carefully he tests and finds
it is, indeed, bolted.
MOLLY
(sotto)
Fred...?
FRED
(sotto)
What...?
MOLLY
I didn't hear him out there...
I mean, his footsteps. Did you?
FRED
(evasively)
What difference does it make?
Obviously he's back and we're
locked in again. What did you
expect!
He avoids her further speculation by turning to his chore
at the fireplace as we:
DISSOLVE
50 INT. MASTER SUITE - NIGHT - CLOSE
on the now dwindling fire. CAMERA PULLS BACK to discover
Fred, clad in pajamas and robe, stretched out on the floor
at the foot of the couch, leafing through the old newspapers.
Molly, in bed, has dozed off.
FRED
You know, there ought to be a law
requiring everybody to spend one
day a year reading old newspapers.
When you see what we were in such
a sweat about a few years ago,
it makes you laugh. Child's play
compared to today's problems --
He glances up to discover that she is asleep. Quietly,
he folds the paper and puts it aside. We get only a
of a fleeting glimpse of a sub-headline: "PENROSE EDUCATOR
DIES" and a large photo bearing the caption: "EVERETT
LATIMORE, DEAN OF SCIENCE DEPARTMENT." The other headlines
have to do with other news current ten years or so ago.
Fred crosses to the bed.
51 CLOSER SHOT
Fred stares down at Molly, touched by her helpless,
appealing beauty.
FRED
(softly)
Fine thing. While I'm spouting
profundities, you're flirting
with the Sandman.
She makes contented, snuggling, feline SOUNDS. Tenderly,
he tucks her in, then returns to the fireplace, blows out
the candles then moves to the fire to bank it.
52 CLOSER SHOT
As Fred reaches for the poker, he hears the THIN, ALMOST
PIERCING SOUND OF A DOOR CREAKING OPEN downstairs.
Curiously he moves to the hallway door.
51 CLOSE SHOT AT DOOR - FRED
listens intently, hears an INDISTINCT MONTAGE OF QUERULOUS
MOANS AND GROANS that BUILD.
The voices are silent, and now a low, malevolent whisper
of a laugh is heard. Then:
VOICE
Take your usual places, gentlemen...
Fred is chilled but gripped with a kind of curiosity that
urges one to look behind a dark door or into a snakepit.
His glance goes to Molly.
54 CLOSE SHOT - MOLLY
is sleeping soundly, the glow from the single candle at
bedside caressing her lovely face and hair. She reacts
to an O.S. GROAN.
55 BACK TO FRED
He makes his decision. Quickly he goes to a chest nearby,
withdraws a long, sturdy steel wire with a loop on the end.
56 CLOSER SHOT
He carefully inserts the wire into an aperture he has
already made between the door and the casement. With some
effort he twists and works the wire until:
57 INT. HALLWAY - NIGHT - CLOSE ON DOOR CASEMENT AND BOLT
The wire loop gropes for the bolt handle, finally encircles
it. Slowly, carefully, the bolt is drawn, the door quietly
opens and Fred steps out, easing the door shut behind him.
He listens, hearing a MURMUR OF VOICES from downstairs.
Stealthily, he moves down the hall to the head of the stairs.
58 CLOSER SHOT - FRED
reacting to what he sees below:
59 POV SHOT
Through the great double doorway entering the living room
he can see Markesan pacing back and forth listening intently,
and with sadistic malevolence to a MAN (Latimer) whose back
is toward us. The man is addressing an empty chair which is
facing him. Behind him are three similar chairs, two of them
stiffly occupied by TWO MEN whose backs are also to us.
The arrangement of chairs and men suggests a quasi-judicial
proceeding, the bench represented by the empty chair to which
Latimer addresses himself. There seems to be an unearthly
undulating haze in the room which distorts and defaces the
candle-lit scene and its strangely automaton-like characters.
Latimer's voice floats up to Fred in a tortured rasp as:
LATIMER
Naturally, I was dubious when
Professors Grant and Charing came
to me with the story. At first
I thought they were playing some
kind of joke on their colleague.
But when I realized that they
were serious -- that Professor Markesan
had actually --
DOKTOR
(cuts him)
No, no, Latimer. That wasn't
quite your testimony. Try again.
At length Latimer continues as if by rote, and with
infinite weariness.
LATIMER
But when I realized that they were
serious, I summoned Professor
Markesan. It was then that he
told me of his theory about --
DOKTOR
(cuts in)
I believe you qualified the word
"theory."
LATIMER
(corrects it)
-- he told me of his preposterous
theory about...about...
DOKTOR
Go on. Go on!
Latimer turns (TO CAMERA) on Markesan, moving slowly
toward his tormentor and into a better light, where we
see his face. It is the countenance of a corpse long
dead, horrible but still vaguely recognizable. His
tortured eyes burn out of sunken sockets. CAMERA ZOOMS
IN FOR A CLOSE SHOT OF the face as:
LATIMER
(sotto; anguished)
Markesan...in the name of all that's
holy, let us rest. What has been
done, can't be undone.
(a pitiable moan)
Let us rest...!
DOKTOR
(bitterly; hatefully)
When I am finished with you, my
friends, you will have all eternity
to rest.
(with sadistic amusement)
Meanwhile, we will review your
testimony - over and over and over
again. You must be letter-perfect
when our esteemed Dean, Professor
Angus Holden, comes to re-hear
the case. Now continue, please.
60 CLOSE TWO SHOT- FAVOR THE DOKTOR
Latimer doesn't move. Markesan's eyes burn into him and
there is an irresistible force of will power behind:
DOKTOR
(at length; quietly)
Continue, Professor Latimer.
Helplessly, Latimer slowly turns back to the empty chair.
61 BACK TO FRED
Horrified, revolted by what he has seen, as he backs away,
then turns and makes a rush for the master suite.
LATIMER'S VOICE
He told me his preposterous theory
about a new chemical discovery
which he claimed had remarkable
properties when combined with the
tissue of....
62 INT. MASTER SUITE - NIGHT
Fred enters, closes the door. Quickly, with trembling
bands, he rebolts it, pulls the wire into the room; then
goes immediately to the newspapers he discarded earlier.
He crosses with the papers to the candlelight at the bed-
side, takes a good look at:
63 INSERT - HEADLINE AND PHOTO
glimpsed earlier announcing Latimer's death. ZOOM IN
ON THE DATE "September 10, 1951."
64 BACK TO SCENE
On Fred's reaction, which is punctuated by a flash of
lightning and a CRASH of THUNDER as we:
FADE OUT
END OF ACT II
FADE IN:
65 INT. BEDROOM - WINDOW
It is dawn...a cold, gray, wet dawn. PULL AWAY to reveal
Fred, asleep in the bed. His brows knit, then he LEAPS
with an agonized SCREAM. PAN TO bathroom door, from
where Molly enters.
MOLLY
Fred. Fred, what is it?
65A CLOSE - FRED
as he tries to rouse himself.
FRED
(struggling)
I...I....
65B TWO SHOT
He shakes his head, trying to clear it. She sits beside
him on the bed.
MOLLY
Darling, what's the matter?
FRED
I...I was dreaming.
MOLLY
About what?
FRED
My uncle's guests. He had guests,
Molly. Last night.
MOLLY
How do you know?
FRED
I saw them...downstairs.
MOLLY
Downstairs...?! How did you ---?
FRED
(cuts her)
While you were in town yesterday,
I rigged up a wire to draw the
bolt from the inside.
MOLLY
Why didn't you tell me .... !
FRED
Because you were so positive
I wouldn't do anything about us
being locked in.
MOLLY
All right. I'm sorry I sandpapered
your precious ego. Now tell me
what happened.
FRED
You were asleep; I heard voices
downstairs so I went out to
investigate.
He hesitates. Uncertain whether or not he should tell her.
MOLLY
Go on.
The memory of it still makes his blood cold as:
FRED
Well...I...I saw them. In the
living room. My uncle and three
terrible looking men. They were
like...like creatures out of a
nightmare. I couldn't see very
clearly but their faces were...
were horrible.
MOLLY
Corpses? Are you sure you
weren't having a nightmare?
You said yourself you were a
mass of aches and pains last
night.
FRED
I know what I saw.
His glance scans the road again as:
FRED (contd)
But what I don't understand is
how they got here. I didn't
hear any cars. Unless they came
by the footpath beyond the
arboretum.
MOLLY
Do you know what's back of that
arboretum? A swamp! And beyond
the swamp is a graveyard.
FRED
(covered reaction)
How do you know that...?
MOLLY
I got lost driving back from
town yesterday. I learned a
lot about the local geography.
His expression disturbs her as we:
DISSOLVE
66 INT. KITCHEN - DAY - CLOSE ON THE NEWSPAPER
with photo and headlines announcing Latimer's death.
CAMERA PULLS BACK TO DISCOVER Fred seated at the
kitchen table, grimly speculating over it. Molly is
at the stove, her back to him. When she turns and
comes over with the coffee pot, he folds the newspaper
over, pretending to be interested in some other item.
As she pours coffee:
MOLLY
(at length)
Fred...?
FRED
What is it?
MOLLY
(shrewdly)
I don't like the way you're acting.
You're keeping something from me.
FRED
Why should I want to keep anything
from you?
MOLLY
Because you're just silly enough
to try to protect me.
FRED
Protect you?! My big worry is
to protect me from you.
MOLLY
Then why don't you tell me the rest?
FRED
(edgily)
There isn't anything else. Maybe
there wasn't anything to begin
with. Maybe it was just a bad
dream, like you said. In fact,
the more I think of it, the
more certain I am that it was
just a sick nightmare!
He has risen from the table and crossed to the stove with
the newspaper. Now, as if to destroy the whole preposter-
ous episode, he tears up the paper and shoves the pieces
into the fire, as:
FRED (contd)
If it wasn't I'm losing my mind.
I...I just can't understand what's
happened to the place, Molly!
There's...there's something
diseased about it!
Molly has been watching him, silent, worried and trying to
find some way to comfort him.
MOLLY
(at length)
Fred...
FRED
What is it now?
MOLLY
I didn't tell you yesterday
because I didn't want to get
your hopes up. But they told
me at the Students' Employment
Office that there might be
a file clerk's job open next
week. In Professor Holden's
office.
67 CLOSE SHOT - FRED
A covered reaction as:
FRED
Holden...? Angus Holden...?
68 CLOSE SHOT - MOLLY
MOLLY
Yes. He's Dean of the Science
Faculty. Did you know him?
69 BACK TO FRED
FRED
No. I...ah...heard the name
somewhere.
On his grimly speculative reaction we:
DISSOLVE
70 EXT. OAKMOOR - NIGHT
A thick ground fog shrouds the scene. The only SOUND is
the low, mournful call of a great horned owl.
71 INT. MASTER SUITE - NIGHT
CLOSE on Molly sound asleep. CAMERA PULLS BACK to
discover Fred's deserted pillow, then PANS to discover
Fred, in pajamas, at the hallway door, listening with
grim intensity.
72 CLOSE SHOT - FRED
hears only the tomb-like silence which cloaks the house.
Stiff, weary, he finally straightens and is about to
return to bed when he hears a NOISE outside. He goes
quietly to the window, looks down to see:
73 EXT. OAKMOOR - NIGHT - POV SHOT - DOKTOR MARKESAN
emerges from the depths of the arboretum. He is carrying
a strangely shaped glass flask under his cloak; something
obviously precious judging by the care with which he
holds it. Markesan moves effortlessly, silently, through
the fog and out of view onto the veranda.
74 BACK TO FRED
the SOUND of the front door groaning open brings Fred
across the room to listen at the hallway door.
75 CLOSE ANGLE AT HALLWAY DOOR - FRED
listening. Dead SILENCE, then the thin SOUND of another
door opening -- closing. Now Fred finds his wire, inserts
it between the door and casement, feels for the bolt,
locates it, draws it. A moment later he is out the door
and:
76 INT. HALLWAY - NIGHT - ANGLE
pauses to close the door and rebolt it. Then he moves
silently down the dim corridor and descends the stairway.
77 INT. ENTRY FOYER - NIGHT - ANGLE
to bring Fred down the stairs where he pauses, listens
and peers into the darkened rooms for any sound or sign
of his uncle. SILENCE. Then, at length, he hears an
anguished WHISPER. He locates its source - behind him
and down the hall. He follows the chilling sound and
discovers a door beneath the staircase. It is slightly
ajar, framed by a thin border of light from behind it.
Carefully, Fred eases the door open to discover:
78 INT. WINE CELLAR - NIGHT
A narrow, treacherous stairway plunges down into a maze
of cobwebbed wine racks etc. The eerie GASPS are
definitely coming from below and, as Fred cautiously
descends, they gradually grow louder and louder until
they become protesting tortured MOANS which echo and re-
echo through the low-ceilinged cellar.
79 ANOTHER ANGLE - FRED
drawn on by the SOUNDS, moves through the maze of racks
and barrels, etc., to a place where he can observe unseen:
80 POV SHOT
Four coffins, all different, rest side by side on a low
rack. Behind them is a complex network of chemical
apparatus -- rotors and coils and beakers bubbling and
hissing and steaming evilly and passing their contents
up into a huge globe which hangs suspended over the
coffins, and from which five tentacle-like tubes reach
down into the open coffins. Markesan is presiding over
this "machine" with malevolent efficiency, adjusting a
valve here, correcting a flame there, etc., and adding
carefully the contents of the flask we saw him carrying
from the arboretum, earlier.
81 BACK TO FRED
Flabbergasted, he moves to get a look into one of the
coffins.
82 ANOTHER POV SHOT - LATIMER
lying in one of the coffins, his face a mask of undulating
agony. Blood-chilling moans escaping from his mouth as
fluid from the tube filters into a vein at the side of his
neck.
83 CLOSER SHOT - MARKESAN
comes over and watches with obvious satisfaction as Lati-
mer's eyelids flutter open and his groans subside. Marke-
san allows a faint smile to touch his cold lips.
DOKTOR
Good evening, Professor Latimer.
I trust you are rested and more
alert than last night.
Latimer forces a throat-rattling moan. Markesan's low
laugh is mirthless, sadistic, as he closes a valve and re-
moves the tube from Latimer's neck.
DOKTOR
Get up, my friend. It's late
and we still have to arouse Grant
and Charing.
Latimer doesn't move. He seems to be defying Markesan
with what little will power remains in his desiccated
corpse.
DOKTOR (contd)
(a quiet, almost
vicious command)
Up, I say!
Like a zombie Latimer begins to rise, powerless to resist
as CAMERA MOVES WITH Markesan to the next coffin where
Grant lies.
84 BACK TO FRED
who shrinks back from the gruesome incredible scene as
we:
FADE OUT
END OF ACT THREE
FADE IN
85 INT. MASTER SUITE - NIGHT - FRED
bursts into the room, his face ashen with the horror of
what he has just seen. He discovers Molly out of bed
and waiting for him at the door.
MOLLY
Fred, where have you been?!
I woke up and you were gone --
(shocked by his appearance)
Fred... what's wrong...?!
FRED
(breathlessly; almost
incoherently)
I'll tell you later. Right
now I have to get that
Professor Holden...and bring
him back here.
Fred hurriedly slips on his trousers over his pajamas,
exchanges shoes for slippers, shrugs into his old
mackinaw, etc., as:
MOLLY
You'll tell me now! What's
happened?! What did you see
downstairs?!
FRED
The three men I saw last night--
(grimly)
and my uncle.
MOLLY
Is that any reason to go rushing
after a man you don't even know?
FRED
Molly, there's something horrible...
something unholy...going on in this
house! I don't understand it. And
I...I'm not sure I really believe
what I saw... but Holden will know
what to do. He knew my Uncle. He
knew his work. I'm going to bring
him back here!
Lock the door from the inside --
and don't let anyone in until
I get back. Do you understand?!
The forcefulness of his order leaves her no choice but
to comply.
MOLLY
How long will you be gone?
FRED
(checks his watch)
It's nearly midnight now. I'll
be back by one at the latest.
And please, Molly, stay in this
room!
Fred is now dressed and at the hallway door. He cracks
it, checks the hallway, slips quietly out. Molly eases
the door shut and locks it from the inside.
86 INT. HALLWAY - NIGHT
as Fred goes silently toward the stairway, CAMERA MOVES
IN ON DOOR to establish that he has not locked the bolt.
DISSOLVE
87 EXT. PENROSE COLLEGE - NIGHT - STOCK
88 INT. SCIENCE BUILDING CORRIDOR - NIGHT - CLOSE ON
FROSTED GLASS WINDOW WITH legend: "PROFESSOR ANGUS
HOLDEN, DEAN OF SCIENCE FACULTY." CAMERA ZOOMS BACK
as the door is suddenly flung open.
89 INT. LIBRARY - LECTURE ROOM - NIGHT - PROF. HOLDEN
who is bent over a pile of papers and books at his desk,
looks up, momentarily startled.
90 REVERSE ANGLE - FRED
is looming in the doorway, breathless, dishevelled,
obviously distraught. He makes an effort to get hold
of himself, then:
FRED
Professor Holden...?
HOLDEN
Yes...?
Although Holden is an old and very fragile-looking man,
he is neither frightened nor angry at the intrusion.
He is simply mildly curious and on guard as:
FRED
I... I'm sorry to disturb you
but I've got to talk with you.
HOLDEN
Do you realize what time it is,
young man...?
The professor has crossed to the door and attempts to
close it, but Fred blocks it with his body.
FRED
This can't wait. It's about
Konrad Markesan.
A slow, guarded reaction from Holden, punctuated by:
HOLDEN
Markesan...?
(a beat)
Shut the door.
Fred shuts the door and Holden returns to his work as:
HOLDEN
Who are you, young man?
FRED
Fred Bancroft. Konrad Markesan's
nephew. My wife, Molly, and I
are staying at Oakmoor.
HOLDEN
(cryptically)
I see... Well...? What was so
important that you had to see
me at this hour?
FRED
It's about my uncle...and...and
something I saw tonight. Something
so fantastic that...that...well...
He pauses, inarticulate.
HOLDEN
Young man, you're making absolutely
no sense.
FRED
I'm sorry. I...I guess I'm not
exactly rational...after what
I just saw....
HOLDEN
Then I suggest we continue when
you've got yourself under control.
FRED
(desperately)
No! I have to know now! And
you can help me. You were my
uncle's superior. You sat in
judgement on him.
91 CLOSE SHOT - HOLDEN
despite his carefully guarded poise, reacts.
FRED
(pressing)
There was some kind of an
informal trial, wasn't there?
And Professors Grant, Charing and
Latimer testified against my uncle.
Fred pauses to gauge the old man's reaction.
HOLDEN
What else do you know...?
FRED
Nothing definite. But I can
guess that that trial resulted
in Uncle Konrad being dismissed
from the Penrose faculty. Am
I right?
HOLDEN
Yes...it was decided that
Professor Markesan would resign
for reasons of health.
(a pause)
That's all I can tell you.
Good night.
Holden begins to study his notes.
FRED
Why?! Why can't I know?!
HOLDEN
Because I have no intention of
allowing anyone to revive an
old and very ugly scandal.
Fred tries a more reasonable tack, holding himself under
control with great effort as:
FRED
Look... I'm desperate, Professor
Holden! I've seen and heard
things that... that make me
wonder about my sanity. And...
and you're the only one who can
help me!
Holden is visibly moved by Fred's obviously genuine
distress.
FRED (contd)
I swear that I'll never repeat
a word of what you tell me.
Holden hesitates, tempted.
FRED
Please...!
HOLDEN
(at length)
All right. Professor Markesan
claimed that he had devised
certain chemical techniques by
which he could raise the dead.
The key to his discovery --
according to him -- was some
sort of fluid which he
extracted from the mould found
in--
(grimly)
in graves.
92 CLOSE SHOT - FRED
FRED
Then that's where he was coming
from tonight! The graveyard...!
93 TWO SHOT
HOLDEN
What's that?
FRED
I'm sorry. I didn't mean to
interrupt. Go on, please.
HOLDEN
(continues)
To prove this theory, Markesan
invited three of his colleagues
to his laboratory for a secret
demonstration. Naturally,
they notified me.
(grimly incensed)
I found him hovering over a
corpse which he'd appropriated
from our School of Medicine...
waiting to begin his sacrilegious
experiment. He was quite insane.
FRED
(pointedly)
And Professor Latimer...Grant...
Charing. Do you know what
became of them...?
HOLDEN
All three are dead...along with
Markesan. And the matter is
closed.
FRED
(a delayed reaction, then)
What did you say...?!
HOLDEN
I said the matter is closed.
Now if you'll kindly leave...
FRED
No. Before that. You said:
"All three are dead. Along
with Markesan." You mean you
think Konrad Markesan is...is
dead...?!
HOLDEN
Since last winter.
To Fred's stunned reaction:
HOLDEN (contd)
You didn't know...?!
Fred is speechless.
HOLDEN (contd)
(contritely)
Aah...I'm sorry, young man.
When you said you were his
nephew, I naturally assumed you
knew...
In a gesture of sympathy, Holden has touched Fred's arm.
Fred shrinks from the touch, his expression confused and
wildly suspicious as:
FRED
My uncle's alive! I saw him
less than an hour ago!
HOLDEN
That's impossible. Konrad
Markesan was buried in the
family crypt. I attended his
funeral.
FRED
(his sanity shaken)
No...!
HOLDEN
You can confirm what I'm saying
very simply -- go to the crypt
and see for yourself.
FRED
I intend to, Professor. I
intend to.
Fred bolts out the door.
DISSOLVE
94
thru OMIT
99
100 INT. MASTER BEDROOM SUITE - NIGHT - CLOSE ON CLOCK
on fireplace mantel. Time is almost 2 a.m. CAMERA PULLS
BACK to discover Molly gazing up at the clock, obviously
worried and nervous. She crosses to the window, peers out.
101 EXT. OAKMOOR - NIGHT - POV SHOT
The deserted grounds.
102 BACK TO MOLLY
As she turns away from the window, she hears the thin,
high CREAK of the basement door opening. She moves to
the hallway door, listens. SILENCE. Then, faintly,
slow, dragging FOOTSTEPS. Intrigued, Molly carefully
unlocks the door and looks out into the hallway.
103 INT. HALLWAY - NIGHT
She sees nothing, but the SOUND of the shuffling footsteps
draw her to the head of the stairway where she looks down
and sees:
104 POV SHOT - ENTRY FOYER
It is deserted. In the living room beyond, candles have
been lit and chairs for the trial "rehearsal" have been
placed.
105 ANGLE FEATURING MOLLY
Cautiously she descends halfway down the stairs, shrinking
back against the wall as she sees:
106 POV SHOT
Three dim figures emerging from under the stairway - one
behind the other in a slow, heavy, shuffling gate -
Latimer, Grant and Charing. As they move up the hallway and
pass, just beneath her, into the living room, the light
falls across their nightmarish faces.
107 CLOSE SHOT - MOLLY
reacting, bites her knuckles, but her horrified gasp is
not quite stifled.
108 REVERSE ANGLE
The "creatures" stop and slowly turn their heads, fixing
her with their baleful eyes. CAMERA HOLDS on them for
a moment then PANS to discover Markesan, who was following
his slaves, at a little distance, and is also gazing up
at her.
109 CLOSE SHOT - MARKESAN
as his icy expression hardens malevolently and he moves
toward her.
110 CLOSE SHOT - MOLLY
SCR--EAMS!!
DISSOLVE
110A EXT. CEMETERY - NIGHT
110B EXT. CRYPT - NIGHT
The bold legend "MARKESAN" carved on stone over the
narrow entry identifies it as the family resting place.
Fred comes on, through the thick GROUND FOG, pauses to
gather his courage for the gruesome task ahead. Then
he goes to the massive iron door, discovers that it is
secured by a huge, old-fashioned padlock. He finds a
heavy rock and proceeds to smash at the lock until he
springs it. A moment later, he has pulled the rusted door
open and:
110C INT. CRYPT - NIGHT - FRED
pauses in the doorway, snaps on a flashlight and directs
it at the opposite wall.
110D REVERSE ANGLE
The flashlight beam picks out - one by one - a row of
nameplates, each marking the coffin of a Markesan,
sealed in rock. At length, the beam fixes on a gaping
hole where a name plate and coffin should be.
110E ANOTHER ANGLE
As Fred moves forward to examine his discovery, his foot
kicks something on the floor. He directs his light down
to it.
110F POV SHOT
Lying half-buried in the rubble of what was once the
sealing mortar, is a name plate. Fred's hand comes into
frame, pulls it out and turns it over to reveal the legend:
"KONRAD MARKESAN - BORN 1889 - DIED 1961"
DISSOLVE
111 EXT. OAKMOOR - NIGHT - FRED
drives up, switching off his lights and stopping some
distance from the gate. Quietly, stealthily, he enters
the grounds and, keeping in the cover of the shadows,
he goes around to the rear of the house.
112 OMIT
113 OMIT
114 INT. KITCHEN - NIGHT - FRED
enters silently, snaps on a flash light, crosses to a
door which opens onto a back (servants') stairway, ascends.
115 INT. UPSTAIRS HALLWAY - NIGHT
Fred emerges from the door at the top of the servant's
stairway, moves quickly along the hall to the door of the
master suite which he finds open.
116 INT. MASTER SUITE - NIGHT - FRED
enters. Molly is not there. Fred quickly checks the
bathroom as:
FRED
Molly...!
She's not in the bathroom. He rushes out into the hall,
no longer concerned for quiet and stealth.
FRED (contd)
MOLLY!!!
117 INT. ENTRY FOYER - NIGHT - ANGLE
to bring Fred bolting down the stairs, wild fear in his
face.
FRED
MOLL-EEY!!
Fred rushes across the great double doors, entering
the living room, flinging the door aside to discover nothing.
He runs to the cellar stairs and starts down.
118 INT. CELLAR STAIRS - UPSHOT - FRED
as he runs down stairs INTO CAMERA. He STOPS and STARES,
horrified.
119 WHAT HE SEES - FROM OVER HIS SHOULDER - THREE OPEN COFFINS
containing the corpses of Grant, Charing and nearest the
"machine", Latimer. They lie as dead, staring at the ceiling,
their arms crossed over their chests.
120 ANOTHER ANGLE - FRED
as he moves to the foot of the coffins. He looks at the
bodies, then glances sharply around the cellar.
FRED
Molly!
121 FROM OVER FRED TOWARD NICHE
Fred does not see Markesan enter thru the curtain and
move toward him.
FRED (contd)
Molly...where are you?
Markesan approaches Fred.
DOKTOR
(evilly)
Good evening, nephew. We've been
waiting.
Fred whirls around.
122 ANOTHER ANGLE
as Markesan moves to a position beneath the bubbling globe.
DOKTOR (contd)
May I introduce my former
colleagues.
(gestures toward
the coffins)
Professor Latimer, Doctor
Grant ---
123 CLOSE - FRED
Anguished.
FRED
Where's Molly?
124 CLOSE - MARKESAN
He pauses a moment, then speaks.
DOKTOR
(smoothly)
You'll soon be together, have
no fear...
125 TWO SHOT - FAVORING FRED
FRED
Where is she?
DOKTOR
You broke your word, nephew.
Now, both of you must remain in
this house....
126 TWO SHOT - FAVORING MARKESAN
He smiles coldly.
DOKTOR (contd)
...and join our cadaverous little
company. Imagine...being quite
dead, yet returning from the
grave, again and again...as I
will it!
127 TWO SHOT - FAVORING FRED
FRED
(leaping forward)
WHERE IS SHE?
Markesan reaches for something on the table beside him.
128 REVERSE - MARKESAN
has picked up a huge hypodermic syringe. He holds it in
front of him like a foil. He lunges toward Fred.
129 TWO SHOT - FAVORING FRED
as he retreats, staring at the shining needle. Then,
dumbly, he looks up at his maniacal uncle.
130 FRED'S POV - MARKESAN
as he stands below the boiling globe, holding the
syringe. Behind him can be seen Latimer's coffin.
DOKTOR
I had no intention of revealing
the progress of my researches so
prematurely, nephew...but you
and that meddling wife of yours
have forced my hand.
131 CLOSE SHOT - LATIMER
His eyes flutter.
132 TWO SHOT - MARKESAN OVER FRED'S SHOULDER
He holds Fred at bay, gesturing with the syringe.
DOKTOR (contd)
You should be proud of your
Uncle Konrad. He has conquered
death.
133 CLOSE - FRED
He blinks.
134 BACK TO SCENE
DOKTOR (contd)
Did you hear me? I have
conquered death!
Latimer is blinking now. He turns painfully toward
Markesan's "machine."
DOKTOR
(rampant paranoia)
I alone...know the SECRET OF
LIFE itself!!!
FRED
You're mad...
MARKESAN
Not only can I raise the dead,
but, I have the power to prolong
my own existence forever.
FRED
Raving mad.
This characterization only amuses Markesan.
MARKESAN
If that's so, nephew, then
eternity is madness -- for I
am eternity. Ever-lasting.
Without end ---
At this moment, with a loud, piteous moan, Latimer lurches
toward the "machine". The fragile network of tubes crashes
about him and Markesan, who scream. Volatile liquids
combine and release gases and flames. Markesan screams and
struggles to his feet, groping for the support of the
mechanism which raises and lowers the huge liquid filled
globe suspended above the coffins. In his panic he trips
the holding latch and:
135 ANGLE ON GLOBE
as it plummets down.
136 REVERSE - ON MARKESAN
as he tries to get out from under it.
137 CLOSE ON FRED
as the globe crashes and explodes.
138 BACK TO MARKESAN
Flames and vapors engulf him, obscure him for a moment,
then clear enough for us to see that he is being devoured
by the chemicals, his face a screaming skull as he sinks
into the inferno. For an instant, Fred is stunned by
the sudden horror of the cataclysm.
139 FROM OVER THE FLAMES - FRED
Shocked. Behind him is the niche. The flames die down
and there is SILENCE. This is broken by a loud CREAKING.
Fred turns and sees the niche. He moves toward it.
140 ANOTHER ANGLE
as Fred approaches the niche.
141 FROM BEHIND FRED
as he reaches the niche and takes hold of the curtain.
He jerks it aside.
142 CLOSE - FRED
as he reacts. He screams.
143 WHAT HE SEES - MOLLY
seated in a coffin in the niche. Her face is dead white.
She is undead; a zombie. Her eyes stare past Fred, unseeing.
FRED'S VOICE
Molly! No...no...no....
CAMERA BEGINS TO MOVE SLOWLY TOWARD Molly. She raises her
hand, grasps the coffin lid, then slowly, she begins to
lie back, closing the lid after her.
144 CLOSE - FRED
Struck dumb with horror. His mouth works, but no sound emerges.
FADE OUT
THE END
This was a THRILLER!