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    послеоперационный период тур по удалению аденомы
    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!

    Источник: http://www.oocities.org/emruf7/god.html

     
         

     
     
     
     
         
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