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Based on the short story by John Polidori
FADE IN:
EXT. MERCER BUILDING - EVENING
Dusk approaching on a dreary, foggy day. A FULL MOON is barely
visible through the mist. A soft rain falls outside the
building - the private residence of Lord and Lady Mercer - as
a small coach led by a single horse approaches.
TITLE CARD: "London, February 1819"
As the coach comes to a stop, its door has already been opened
from the inside by WILLIAM AUBREY, a tall, conservatively
dressed man in his early twenties. William exits the coach and
reaches back to assist his sister, MARY, a strong-willed and
beautiful 17-year-old.
INT. FOYER - EVENING
Inside, o.s., GUESTS are CHATTERING and LAUGHING and a STRING
QUARTET plays Baroque MUSIC. A SERVANT takes the coats and
other accouterments from William and his sister as they
continue an argument:
WILLIAM (to Mary)
And I should be back home, planning
my trip. I tell you, the only
reason I came here is -
MARY
The only reason you came here was
because I dragged you here!
WILLIAM
I only came here to see Christian.
And I might say the same for you.
The two of you shouldn't be
carrying on as you do, you know ...
you really should have a proper
presentation.
MARY
Yes, yes, after your trip, when I'm
18 years of age. Just because I
haven't been presented does not
mean Christian and I can't enjoy
each other's company, my dear
brother.
William and Mary walk toward the entrance of the drawing room,
but are stopped before they can enter by William's friend
CHRISTIAN.
CHRISTIAN
Master Aubrey! And the charming
Mary! Excellent to see you again,
my friends. I'm sure Lady Mercer
will be thrilled to see you at her
drawing-room.
William smiles broadly.
WILLIAM
Oh, she might ... if she knew me!
CHRISTIAN
Well, I'd introduce you myself if I
could only find her. But who needs
Lady Mercer when we are graced with
the presence of such beauty in your
sister?
WILLIAM
Christian....
MARY
Brother, if you stop him now, I
swear that I'll never forgive you.
The three join in LAUGHTER at Mary's comment. Christian leads
the group into the drawing room.
CHRISTIAN
Honestly, the two of you....
(pause)
Come, let's join the crowd.
INT. DRAWING ROOM - EVENING
The drawing room is packed. A few guests are dancing, some are
TALKING, some are drinking, and some simply enjoy the MUSIC of
the quartet.
LADY MERCER chats with a MYSTERIOUS MAN. The man sits in a
plush velvet chair; his hair is long, dark brown, and streaked
with grey, although he still appears youthful. His eyes show
no emotion.
LADY MERCER
So, milord, do you plan to stay
with us through the whole evening
tonight, or sneak off per usual?
The mysterious man smiles, though his eyes do not seem to
share the gesture.
MYSTERIOUS MAN
We'll just have to see how things
progress, Lady Mercer.
LADY MERCER
Well, I'm sure you can find
something to suit your fancy. We
seem to have quite an interesting
crowd tonight.
MYSTERIOUS MAN
Aye, that you do. But then, when
have your drawing-rooms not
produced a most interesting crowd?
LADY MERCER
Ah, but you flatter me, you
scoundrel. I'd swear it was you
they all came to see.
MYSTERIOUS MAN
Oh, surely I can't be quite so
interesting.
A chair opens up next to the mysterious man. Lady Mercer
daintily lowers herself into it and leans close to him.
LADY MERCER
To me, you're the most interesting
man here.
INT. DRAWING ROOM - LATER THAT EVENING
In another area of the drawing room, William, Mary, and
Christian are smiling and LAUGHING, apparently at William's
expense.
CHRISTIAN
Oh, old reliable "Oxford Aubrey." I
tell you, Mary, you brother's a
great friend, but not the best at
conversation.
WILLIAM
Well, you still must admit, it
is quite warm for this time
of year.
CHRISTIAN
Maybe so, Aubrey, but I haven't
seen you for eight months, and
that's the best you could do for
conversation?
WILLIAM
You may not be seeing much of me,
but you're certainly seeing more
than enough of my sister.
CHRISTIAN
Enough, William. You know very well
that this isn't the place to
discuss my involvement with Mary. I
mean, if you'd only have taken an
appropriate moment to talk with me.
MARY
(overlapping)
Oh, you mustn't treat him so
harshly, Christian. My brother has
been so busy lately, he hardly even
has time to talk with me.
WILLIAM
I will always have time for you,
Dearheart. After all, you're the
only family I have.
Christian SMILES.
CHRISTIAN
All right, all right, enough of
this blathering sentimental
nonsense. What exactly has made you
so busy you haven't had time for a
visit to Birmingham? These days, I
do see Mary more than I see you.
Not that I don't enjoy every minute
of that, of course. But she's not
one to speak of her pig-headed
brother often.
MARY
He hasn't told you his plans?
CHRISTIAN
He hasn't spoken to me!
WILLIAM
As Mary said, I've been busy,
Chris. I'm planning a trip abroad.
CHRISTIAN
All right, now that would certainly
explain it. Where are you planning
to go?
WILLIAM
Well, that remains undecided.
MARY
I think he's just waiting for
someone to whisk him off and
tell him where to go.
CHRISTIAN
Oh, come on now, Aubrey, don't you
know it's you that's supposed to do
the whisking? At this rate, you'll
never find yourself a companion for
your old age!
MARY
Why do you think I keep forcing him
to go to these drawing-rooms?
WILLIAM
I don't really think women make the
best travel companions anyway.
CHRISTIAN
Oh? And why is that, my friend?
MARY
Yes, William, my dear brother - why
is that?
The crowd has begun to thin out; people are moving to the
dining area, o.s. The atmosphere has become more relaxed and
the music is down to one VIOLIN.
Lady Mercer and the mysterious man are now visible from the
vantage of Christian and Mary, but not from that of William,
as his back is turned. Lady Mercer is practically in the
mysterious man's lap - he, however, seems quite uninterested.
WILLIAM
Oh, I don't want to get into this
discussion again, Mary. Women are
simply less well fit for travel.
Mary notices Lady Mercer.
MARY
Well that one certainly is!
William starts to turn around, but Christian grabs his arm.
CHRISTIAN
Careful, Aubrey, wouldn't want to
be rude, now. It seems Mary has
found our gracious hostess.
MARY
That is Lady Mercer? She
doesn't seem like much of a lady to
me.
WILLIAM
Why? What is she doing?
MARY
Nearly everything but removing all
her clothing and straddling that
man!
WILLIAM
Mary!
Christian can't help but burst into UPROARIOUS LAUGHTER at
Mary's comment. Hearing the laughter, and sensing an
opportunity for escape, the mysterious man looks up.
Lady Mercer, caught being less than ladylike, stands and
rushes out of the drawing room.
MARY
Who is that man? People have been
flocking to him since we arrived.
William turns around, no longer able to suppress his
curiosity. The mysterious man stands and begins to walk to the
trio.
CHRISTIAN
Well, he's on his way over. It will
be my pleasure to introduce you.
The mysterious man arrives, with an expression on his face
almost approaching jovial. William is completely transfixed by
the man's appearance, unable to divert his eyes or remove the
inquisitive look from them.
MYSTERIOUS MAN
Good Christian, how does this
evening find you?
CHRISTIAN
Quite well, Vincent, as always.
Please, let me introduce a friend
from my days at university, William
Aubrey, and his enchanting sister
Mary. Aubrey, Mary ... this
incredibly handsome man is Lord
Vincent Ruthven.
Mary suppresses a GIGGLE. Ruthven LAUGHS outright, but his
eyes continue to show nothing.
RUTHVEN
Oh, you make me out to be more than
I am, sir. Don't rely on his words
as a measure of my attractiveness.
CHRISTIAN
Of course not.
(pause)
Rely on the ladies that seem to
fall at his feet at every drawing
-room.
William finally seems to break out of his trance.
WILLIAM
Well, regardless of your relative
attractiveness, it is a pleasure to
make your acquaintance, milord.
RUTHVEN
Oh, please ... call me "Ruthven" or
"Vincent." I do so hate being
called "lord"; it implies an
undeserved superiority.
MARY
And what makes you think you do not
deserve it?
RUTHVEN
Well, aren't you quite the little
inquisitive one?
WILLIAM
You'll have to excuse my sister,
Ruthven. She has had the benefit of
little supervision other than my
own, and I'm afraid I haven't done
a very good job of it.
RUTHVEN
Oh? I'm not so sure of that.
MARY
I'm not so sure he ever supervised
me.
CHRISTIAN
I'm not so sure you can be
supervised, Mary. But I know I
wouldn't mind being the one to try!
William shoots Christian a glance. The four guests are now the
only ones to remain in the drawing room. Everyone else has
entered the dining room, and SERVANTS have begun to clean the
area.
RUTHVEN
There are some people who were
never meant to be supervised.
Though my sympathy goes with those
who still attempt to control.
CHRISTIAN
And who can help but succumb to
your control, Ruthven? Come, my
friends, to the dining room. I must
tell you how I came to meet this
most intriguing fellow.
INT. DINING ROOM - NIGHT
This room is enormous, even more grand than the drawing room.
The string quartet is here, playing SOFT MUSIC in the
background.
A large, rectangular table around which many guests are seated
dominates the center of the room. LORD MERCER sits at the head
of this table, but Lady Mercer is nowhere to be found. Several
smaller round tables encircle the larger table.
CHRISTIAN
Come, there is an open table yet.
WILLIAM (to Mary)
Do you see Lady Mercer anywhere?
MARY (to William)
Would you be seen in public if you
had behaved as she just did?
The foursome work their way to an open table. Mary begins to
take a chair with its back to the center of the room, but
Ruthven grabs her arm.
RUTHVEN
Please. The visage of one so fair
should not be denied this good
company. Allow me.
Ruthven pulls a chair out for Mary, one that provides its
occupant with a better view of the other guests (or vice
versa), and sits in the chair in which she had originally
planned to sit. Christian sits down next to Ruthven and
William takes the remaining seat.
A light meal has already been placed at each setting, but no
one starts to eat. A carafe of red wine is in the center of
the table; everyone's glasses are empty.
CHRISTIAN
So I was saying -
Christian takes the carafe and fills everyone's glasses.
CHRISTIAN (Cont.)
Ruthven and I met in that casino in
town. The one where -
RUTHVEN
Really, Christian, must you relate
this tale again?
WILLIAM
No, I'd like to hear it.
RUTHVEN
Oh, very well then. Continue.
CHRISTIAN
(laughing)
Oh, as if you could stop me if you
tried! Anyway, this is really a
most intriguing story. So I was at
that casino, playing baccarat. And
you know baccarat is simply not my
game. I may be an expert at whist -
WILLIAM
I'm always smart enough to have you
on my team, am I not?
CHRISTIAN
Right. So I'm actually winning for
once, surprising as that may sound.
The poor fellow next to me,
however, was not having quite as
much luck....
FADE TO:
INT. CASINO - EVENING
Flashback. Posh, crowded, overdecorated atmosphere. Christian
and three other PLAYERS are seated at a baccarat table. The
two players to Christian's left are extravagantly dressed and
dripping with jewelry; Player 1, to his right, is dressed
plainly and looks a bit unkempt (more like he has lost sleep
than he can't afford to look better). Christian provides the
perfect balance.
CHRISTIAN V.O.
It was only a few weeks ago; I had
just gotten into town and felt like
getting out for a night.
The DEALER makes casual CONVERSATION with the bejeweled
players as he tosses out cards. Player 1 talks to his hands.
PLAYER 1
Last round for me. Out after this
is what I am.
Christian feels obligated to answer.
CHRISTIAN
Bad luck tonight, sir?
No reply.
CHRISTIAN (Cont.)
I say, not winning much tonight?
PLAYER 1
Winning, you bloody fool? Down to
my last pence, I am.
CHRISTIAN
Hard luck, hard luck. Look, if you
need to borrow -
PLAYER
Borrow? Sir, you mistake me for the
indigent man. I can assure you, I
have wealth enough at home. Only
trying to recoup my losses for
tonight, I am.
Ruthven walks over from another area of the casino and stands
behind the two bejeweled players. The dealer finishes passing
out cards.
CHRISTIAN V.O.
I certainly didn't mean to insult
the man, of course. There was no
need for his haughtiness.
(pause)
Anyway, Vincent walks over then,
and has the nerve to stop
the hand just as we're placing our
bets.
The players begin to move chips around on the table. Ruthven
leans forward between the two bejeweled players and raises a
hand.
RUTHVEN
Excuse me. Dealer? Would it be
possible to join the game for this
hand?
DEALER
I'm sorry, sir. Once the cards have
hit the table, that's not allowed.
RUTHVEN
Oh, but surely these fine gentlemen
won't mind if you deal this hand
again.
Ruthven clasps a hand on the shoulder of one of the bejeweled
players. A LIGHT briefly glows behind Ruthven's normally dull
eyes, as if they were the eyes of a cat. The light dies as
quickly as it appears.
There is a long, uncomfortable pause.
BEJEWELED PLAYER
Oh, we may as well let the man in.
Yes, let's deal this hand again and
allow him to play.
No one else reacts, but the bejeweled player places his cards
in front of the dealer, face up, then reaches for Christian's
cards and does the same. Ruthven grins.
RUTHVEN
Misdeal.
INT. DINING ROOM - NIGHT
Ruthven stares blankly at Christian.
RUTHVEN
I did not say that.
Christian looks highly amused at his own story, William seems
to be hanging on his every word, and Mary just looks
embarrassed.
CHRISTIAN
Oh, the devil you didn't! It didn't
matter anyway, that was probably my
worst hand of the night.
WILLIAM
So did they deal you in?
RUTHVEN
Of course.
MARY
It doesn't seem like you gave them
much of a choice.
CHRISTIAN
Anyway, no matter. He sat there for
a few more hands. That one poor
fellow won a few, so he stayed in
the game for a while. But his luck
started to turn in a frightening
way.
INT. CASINO - EVENING
A hand is in progress. Player 1 is obviously trying to hold
back a smile; Ruthven has a poker face any card shark would
envy.
Christian lifts a corner of his cards to peek at them, then
throws a chip in front of him.
CHRISTIAN V.O.
The take had grown quite large on
this one hand. My cards were fair
at best, but I figured I'd stay in
a while longer.
Player 1 doesn't even look at his cards. He takes a small
stack of chips and slides them into the growing pot.
PLAYER 1
To you, Lord Ruthven!
Ruthven matches Player 1's bet.
RUTHVEN
I call, sir.
CHRISTIAN V.O.
I had thought the man would have
left the game on the last hand,
which he broke even on, but he just
wanted Vincent's money, I suppose.
Player 1, his face BEAMING like the cat that swallowed the
canary, turns his cards over - a five and a three. Christian,
an obvious loser, tosses his cards in face-down.
Ruthven does not move.
PLAYER 1
Then I've won? Yes! The last hand
equaled my losses; this will
certainly turn tonight into a big
winning!
He reaches for the chips.
RUTHVEN
Sir, I have not yet shown my cards.
PLAYER 1
Yes, but surely -
Ruthven reveals his cards - the three remaining threes. Player
1 picks up his cards and THROWS them at the dealer in
frustration.
PLAYER 1
Bah! My luck was turning! Never
should've let you in the game.
RUTHVEN
If you recall, sir, your luck
turned after I joined.
BEJEWELED PLAYER
'Tis true, 'tis true.
PLAYER 1
Dealer, kindly extend some credit
to me that I might continue ... in
the amount of -
DEALER
I'm sorry, sir, but we extend
credit only to a few of our most -
PLAYER 1
What, most rich? Master Dealer, I
am more than capable of covering
any debt you may advance, I can
assure you.
DEALER
That may be so, but our policy -
PLAYER 1
To Hell and Damnation with your
policy! Extend the credit, or I
shall be forced to speak with the
proprietor of this establishment!
Ruthven holds up a hand in front of the dealer before he has a
chance to retort.
RUTHVEN (to Player 1)
Now then. I don't think that will
be necessary, my friend.
Ruthven and the dealer begin a CONVERSATION, with occasional
PROTESTATIONS by Player 1, but it is the voices of Christian
and the others that we hear:
CHRISTIAN V.O.
I thought Ruthven was about to
reach into his coat pocket and hand
the man a roll of 100-pound notes!
MARY V.O.
So what did he do?
CHRISTIAN V.O.
Nothing short of convince the
dealer to extend credit from the
casino.
WILLIAM V.O.
But I thought they would never do
that without an established,
prepaid account.
CHRISTIAN V.O.
As did I. It's all in the
persuasive art, I tell you, and
this man is a master. A lord.
RUTHVEN V.O.
Oh, you give me far too much
credit.
MARY V.O.
I should say.
The loan to Player 1 is transacted, Player 1 signs a paper,
and the dealer begins to pass out cards. Player 1's hands
tremble when he picks up his cards.
INT. DINING ROOM - NIGHT
Servants clear the dinner plates from the tables; some guests
start to leave. The quantity of food on Ruthven's plate
remains the same, though its contents have been moved around.
WILLIAM
Phenomenal bit of charity.
CHRISTIAN
That's not the end of it.
WILLIAM
Oh?
CHRISTIAN
Not quite. Turned out that the man
had wagered his lands to cover that
loan. He won a hand or two, but his
bad-luck streak returned and he
lost the entire loan by the time he
was through.
MARY
The casino allowed him a loan
against his own home?
Ruthven responds matter-of-factly, as if the answer were
patently obvious.
RUTHVEN
That's what I could arrange.
MARY
Horrid. Simply horrid.
CHRISTIAN
Maybe so, but at least the man was
happy for a time. He was given the
opportunity to live like a lord.
WILLIAM
Quite intriguing.
A pause ensues during which William and Mary absorb
Christian's story. Ruthven stands.
RUTHVEN
Sorry as I am not to offer an ...
alternate representation of my
character, I'm afraid I must
proceed into the night.
CHRISTIAN
Sounds like a fine idea for us all,
in fact.
RUTHVEN
Until next time, then, my friends.
Ruthven hastens away from the table.
CHRISTIAN
Say, Ruthven, wait just one moment!
RUTHVEN
Yes?
CHRISTIAN
You've done quite a bit of
traveling, have you not?
Ruthven turns and walks back to the table. William senses that
Christian is about to mention his ill-planned trip.
WILLIAM
Christian, please....
CHRISTIAN
Nonsense.
RUTHVEN
Actually, I seem to travel more
often than I stay in one place.
CHRISTIAN
Well then, I'd say you're in a
unique position to assist our
friend William here. He's planning
a trip of his own shortly.
RUTHVEN
Oh?
WILLIAM
Well ... yes, I am. A "coming-of
-age" trip, you might say.
RUTHVEN
Where do you plan to go?
MARY
That's the problem, he can't
decide!
CHRISTIAN
You must understand, Ruthven, my
friend William has never been the
best at convincing himself of
anything.
WILLIAM
Thank you, but I believe I'm
capable of speaking for myself.
Ruthven seems to be getting impatient.
RUTHVEN
Very well, very well. I must take
my leave for tonight, but send a
man for me tomorrow evening,
William. I shall be honored to
assist you in planning your trip.
Now ... good evening to you all.
He briskly EXITS.
CHRISTIAN
There. Now was that so horrible?
WILLIAM
Well no. At least not for me, at
least not yet. We'll have to see
how tomorrow goes.
(pause)
Interesting as I found him and your
story, I fear he isn't overly fond
of me.
Christian LAUGHS.
CHRISTIAN
Oh, William. You're putting too
much thought into this - that's
just his manner. He's more than
happy to offer his assistance, I'm
sure.
MARY
Still, there is something odd about
that man.
EXT. MERCER BUILDING - NIGHT
The weather has improved, developing into a clear night.
Ruthven comes outside and walks to a SERVANT who stands by the
door. He QUESTIONS the servant, but we hear:
CHRISTIAN V.O.
How so?
MARY V.O.
Oh, I don't know. He seems somehow
falsely charming. As if he were
trying too hard.
Ruthven begins to walk down the street.
INT. DINING ROOM - NIGHT
Mary, Christian, and William continue their conversation.
Servants clear the dining room.
CHRISTIAN
Not everyone can be as genuinely
charming as I, my dear.
Mary GIGGLES demurely.
WILLIAM
He certainly charmed Lady Mercer
into making a royal fool of
herself, at any rate.
INSERT (EXT. LONDON - NIGHT): Lady Mercer makes her way down a
deserted London Street, dabbing at tears with a handkerchief.
CHRISTIAN
Oh, I don't see how you could blame
Ruthven for that.
WILLIAM
Who's blaming? I only wish I had
that sort of persuasive power over
all the women I come into contact
with!
Christian and William LAUGH at the idea. Mary just SMILES.
MARY
Still, you'd think she'd have the
decency to make an appearance for
the meal after her own drawing
room. I mean, does anyone even know
where she disappeared to?
INSERT (EXT. LONDON - NIGHT): Lady Mercer rounds a corner into
a dark alleyway.
CHRISTIAN
Not if she has anything to say of
it, I have no doubt.
WILLIAM
One would think she had returned by
this time of night, anyway. Most
likely she simply retired without
having to make excuses to anyone.
MARY
I haven't any doubt this will all
be explained away tomorrow. But for
now, my brother, I am tired. And
sleep awaits.
The three walk out of the room, continuing with idle
CONVERSATION as they exit.
EXT. LONDON - NIGHT
Lady Mercer walks in an alley lit only by the moon. As she
approaches a well-lit main street, a SHADOWY FIGURE grabs her
from behind, back into the alley.
Lights from the main street glint off a dagger, as the shadowy
figure plunges it into Lady Mercer's neck. The silent night is
pierced by her SCREAM, though it is quickly muffled.
INT. AUBREY HOME (LIBRARY) - NIGHT
Ruthven and William sit in large, leather-backed chairs, which
are set at an angle on opposite sides of a small mahogany end
table. Several books are piled on the table, obviously removed
from the myriad of shelves in the room.
WILLIAM
I really am sorry to have asked you
here so late, Ruthven. I tried
again to decide on my own where to
travel, but -
RUTHVEN
Really, do not even give it a
second thought. I am happy to
assist you, and I prefer the night,
anyway.
WILLIAM
Well. Good. I really am quite
anxious to get your opinions on the
trip. From the way Christian was
talking, I got the impression that
you were quite well traveled.
RUTHVEN
I certainly have seen my share of
the world, I suppose. But there are
always places one desires to see
again.
WILLIAM
Right, right. Exactly. Which is why
I wished to consult with you. Books
can only say so much about
someplace, whereas you can give me
more of a first-hand account.
RUTHVEN
(overlapping)
Ah, but I am only one man, with one
opinion. And these books -
Ruthven lifts a book off the mahogany table and begins leafing
through it.
RUTHVEN (Cont.)
- are but another.
WILLIAM
I suppose what I want from you is
to find out what makes one want to
return to a place. What do we see
that embeds good places in our
minds and makes us want to return?
RUTHVEN
'Tis not mere sight, my friend, that
draws us to return, but more of a
combination of the senses. The sight
in conjunction with the smell, the
sounds, the feel of a place ... the
taste.
(pause)
And it is not always a sense of good
that brings us back time and time
again. Both good and horrific
experiences play equally on the mind;
one type of experience holds just as
dear a place as the other, whether we
wish it to or not. Strong memories
can be both sweet and sad. It is the
strength of the final effect that such
a memory has on our mind - and not its
type - that brings the memory to the
fore and makes us long to relive it.
(pause)
Or some memories, we cannot help but
relive ... though we may constantly
try to forget them, striving to
release the tormenting grasp that they
maintain on us, to force them out of
our heads, the thoughts continue to
come to the fore of our minds, of our
dreams, occasionally peeping through
and troubling our waking thoughts.
Think back to the first memory of your
youth, my friend. For most people, it
is some traumatic moment, a moment
that they would prefer not to remember
yet it still lingers in their thoughts.
A pause ensues, during which William seems to be deep in
thought, entranced by Ruthven's speech. Finally, he regains
the power of speech.
WILLIAM
What of your first memory?
RUTHVEN
I remember very little of my youth.
Ruthven shifts uncomfortably in his chair. He closes the book
he was holding and places it back on the table.
WILLIAM
Very little, sure, but your first
memory, what was it of? Was it a
traumatic one?
RUTHVEN
I just told you, I remember almost
nothing.
Ruthven begins to grow agitated.
WILLIAM
Your first memory, though,
Ruthven. I mean, surely you have a
first memory.
An uncomfortable pause, then nothing. A LIGHT appears behind
Ruthven's eyes, then quickly fades away. William speaks
hesitantly.
WILLIAM (Cont.)
I apologize, Lord Ruthven. It is
obviously not something you wish to
speak of.
RUTHVEN
Ah, no, it is I who should
apologize to you. I suppose I am
the one who started talking about
first memories to begin with.
WILLIAM
But it was me who would not let the
subject go.
RUTHVEN
Enough, I will hear no more. Your
trip, William, is what I am here to
discuss.
WILLIAM
Yes, well.
(pause)
I believe I have a general plan in
mind, and I would very much
appreciate your opinions on it.
Ruthven nods.
WILLIAM (Cont.)
I was considering beginning in
France, Paris most likely. I have
heard such wonderful -
RUTHVEN
Excuse me, William.
WILLIAM
Yes?
RUTHVEN
Are you a child?
WILLIAM
What?
RUTHVEN
A child, William. Do you consider
yourself to still be a child? Or do
you wish to take this trip as an
adult?
WILLIAM
Well, an adult, of course. What
exactly are you getting at?
RUTHVEN
Paris is a place for children, my
friend. Drunkards and bad poets.
Nothing more than children playing
the roles of adults: le théatre des
bouffons. It is not a place to
which I would ever return.
William throws up his hands in disgust.
WILLIAM
It took me three months to
determine this much, and you
dismiss it so quickly. At this rate
I'll be lucky to leave London
before my death.
RUTHVEN
Relax, my friend. I can just as
quickly plan an entire trip for us.
WILLIAM
Us?
RUTHVEN
Well, I have been meaning to begin
traveling again for a few days. As
I have said, I do not usually
remain in one place for very long.
WILLIAM
I am more than flattered, Lord
Ruthven. It would be an honor to
have you accompany me.
RUTHVEN
Yes, yes. On with the task at hand.
WILLIAM
Right.
RUTHVEN
Interests, my friend. What is it
that interests you?
William pauses and looks around at the books in the room as if
they might give him the answer.
WILLIAM
Well ... in my studies at
university, I did a lot of research
on architecture - ruins and such,
you know. I found that quite
interesting.
RUTHVEN
Splendid! Problem solved. We leave
two days from now.
Ruthven stands and walks to the door.
WILLIAM
What? But where? Wait a moment!
RUTHVEN
Italy, and perhaps on to Greece.
There you will find all you desire
and memories to relive for
centuries!
WILLIAM
Amazing ... you certainly do know
what you want. And, it would seem,
what I want.
RUTHVEN
Indeed ... indeed. I can find my
own way out.
He exits.
INT. AUBREY HOME - AFTERNOON
Sunlight streams through an open window of a bedroom in the
house. Two trunks sit in a corner of the room: One is closed,
and the other is half packed. Mary follows William around the
room as he adds items to the second trunk.
MARY
So where exactly are you going,
anyway? You still haven't told me.
WILLIAM
That's because I hardly know
myself. We start in Rome; I know
that much. From there, I believe
it's somewhere in Greece.... Beyond
that, Mary, I really don't know.
MARY
Didn't you have any say at all in
planning your own trip?
WILLIAM
It's not really my own trip anymore
now, is it? I mean, it's mine and
Ruthven's together.
Two SERVANTS come by to carry the first trunk away. Mary
patiently waits for them to exit.
MARY
Don't you think he seems to be in
an awful hurry to leave?
WILLIAM
What is that supposed to mean?
MARY
Oh, nothing. Never mind.
William stops, with a few items in his hands, and turns to
face Mary.
WILLIAM
Stop this nonsense, Mary, and tell
me what's wrong. Since I told you
I'd be taking this trip with
Ruthven, you've been refusing to
discuss the gentleman at all.
MARY
I find Lord Vincent Ruthven to be
far less than a gentleman, brother.
WILLIAM
Mary!
MARY
Well I'm sorry, but I do! I can't
explain how or why, but I just know
that there is something he's trying
to hide. Something in his past,
something in his present.
(pause)
I don't know, maybe something in
his future.
William returns to packing. He crams a few last items into the
trunk, then SLAMS it closed.
WILLIAM
Now you're just talking nonsense.
MARY
Am I?
No response.
MARY (Cont.)
Fine, William. Maybe I am.
(pause)
Just promise me you'll be careful.
WILLIAM
Of course. Though I don't see how
it's a younger sister's place to
tell this to an older brother.
The servants reenter and carry the final trunk away. William
turns to lock his sister's gaze.
WILLIAM
Now, about this matter with you and
Christian.
MARY
Brother -
WILLIAM
Stop and let me speak a moment. You
know there is nothing I'd rather
see than the two of you together,
but ... Mary ... I'm not asking you
to wait long.
MARY
You know I've never been one to
follow convention, William.
WILLIAM
Yes, I know. But I also know that
you know I only have your
best interests at heart. Mary, it's
just not proper, and for
once, I'd like you to do something
the proper way.
MARY
Fine.
(pause)
It's a long ride, brother; you're
going to miss the ship.
William slings a small bag over his shoulder and starts
walking out of the room.
MARY (Cont.)
You will remember to write me,
won't you?
WILLIAM
Of course, Dearheart.
Mary runs over and HUGS William.
MARY
A safe and fruitful voyage,
brother.
WILLIAM
I know of no other kind.
MARY
And be sure to write!
He exits.
WILLIAM (O.S.)
Yes, yes.
Mary walks to the window.
P.O.V. Mary:
William exits the house and meets a waiting carriage. Servants
lift the trunk into the back. William walks to the DRIVER and
SPEAKS to him, but it is too far for Mary to hear.
EXT. AUBREY HOME - AFTERNOON
William and the carriage driver conclude their conversation,
and William climbs into the carriage. From the window of the
home, we see Mary wave good-bye. Over this scene, we hear
William's voice reading his first letter to Mary:
WILLIAM V.O.
"Dear Mary ... It has been only a
week since my arrival in Rome, but
I fear your hasty judgment of Lord
Ruthven may have been more accurate
than I had imagined. His conduct,
it seems, has been far less than
exemplary, particularly for a man
of his standing in society."
P.O.V. Mary:
The driver CRACKS a whip, and the carriage drives away.
INT. AUBREY HOME - AFTERNOON
Mary slowly turns from the window. She walks around the room
and examines its emptiness.
WILLIAM V.O. (Cont.)
"It seems strangeness follows the
man wherever he goes. He did not
even appear on our ship until the
night after it had set sail!
I still have no idea how or when he
got on board, and he was entirely
unwilling to share such
information, so I cannot relate any
more of that story as I have not
been made privy to any more of it."
FADE TO:
INT. AUBREY HOME - WEEKS LATER - NIGHT
Mary stands, reading from William's letter, which she holds in
her hands. Christian reads over her shoulder.
WILLIAM V.O. (Cont.)
"I can, however, relate what has
happened since we arrived in Rome.
After Ruthven's numerous encounters
with females en route (I think he's
left a ruined woman at every stop
we have made!), I finally feel
forced to confront him here, as I
know we plan to stay at least a
month. It seems he has gained the
favor of another young innocent
whose reputation I am now certain
he intends to tarnish. This time,
however, the girl is the daughter
of the very family who has been
kind enough to take us in."
INT. BERCOVICCI HOME (WILLIAM'S ROOM) - DUSK
TITLE CARD: "Rome, March 1819"
William sits at a writing desk in the home of the Bercoviccis,
the family with whom he and Ruthven are staying. A single
candle lights the sparsely-furnished room.
WILLIAM V.O. (Cont.)
"I will of course attempt to put an
end to his scheming, assuming I can
even track the man down. He has
become rather difficult to even
locate since we arrived in Rome."
William replenishes the ink in his pen, then returns to his
letter.
WILLIAM V.O. (Cont.)
I will be sure to write again when
the issue is resolved. Please take
care to behave, Dearheart. As
always, William."
He finishes the letter, folds it in thirds, and seals it with
a few drops of wax from the candle. As a final touch, he marks
the wax with a signet ring.
Ruthven walks past the open door to the room just as William
looks up from sealing his letter.
WILLIAM
Ruthven!
RUTHVEN (O.S.)
What?
WILLIAM
Please, Vincent. A moment of your
time.
RUTHVEN (O.S.)
Can't this wait until later? I have
an encounter at which I am
expected, William.
WILLIAM
With Anna Bercovicci, no doubt?
Must you choose to pursue and ...
demean the daughter of our hosts?
A moment passes, then Ruthven reappears in the doorway. The
amount of grey in his hair has increased, and he looks pale
and haggard. Only his eyes seem more animated than previously,
afire with a red glow.
RUTHVEN
So now you feel the need to meddle
in my personal affairs? Of all the
impudence! Demean...! Was it not I
who...?
(pause)
You would never have even taken
this trip if not for me!
WILLIAM
I only meant to -
RUTHVEN
To what? Harass me? Am I not
entitled to a moment's peace?
WILLIAM
Peace? What is "peace" to you,
Ruthven? Playing with the lives of
the affluent until they end up
festering in a dungeon when you
abandon them? Or worse, cast out
from the society in which they once
held the highest stature?
RUTHVEN
What?!
William stands from behind the writing desk.
WILLIAM
Oh, you can't tell me you have no
idea what I'm talking about! In
every stop we've made en route to
Rome, the noble are turned ignoble
at your hand.
RUTHVEN
My dear William, that is nothing
short of an ignoratio elenchi.
WILLIAM
Pardon? A what?
RUTHVEN
Indeed ... Latin scholarship is not
what it once was.
(pause)
An ignoratio elenchi. A simple
error in logic. Because the
virtuous become infamous, does that
mean it must be due to my actions?
WILLIAM
Well, no, but you still must
admit.... That is, I mean to say,
why must it always be those with
whom you have had the most intimate
contact?
RUTHVEN
Coincidence.
William SLAPS his hand against the writing desk in frustration
and turns his back to Ruthven.
WILLIAM
You can't reasonably expect me to
believe that this has all been mere
coincidence?
RUTHVEN
Yes, I can.
A LIGHT glows behind Ruthven's eyes as William turns back
around to face him.
RUTHVEN (Cont.)
And can you honestly say that such
occurrences were not
coincidental?
William straightens the items remaining on the writing desk,
takes his letter to Mary in hand, and walks toward the door of
the room.
WILLIAM
I suppose perhaps I cannot.
(pause)
But this does not change things. Do
you deny that you intend to see
Anna this evening?
RUTHVEN
I do not.
WILLIAM
Very well. Then I leave your
company immediately. This evening.
For I am certain of two things:
that your intentions with Anna are
less than honorable and that our
host will take such intentions
harshly.
RUTHVEN
You may do as you choose, my
friend. Though I still say I do not
aim to sully the virtue of Anna or
of any other. But "honor," William
... "honor" is an outdated concept.
WILLIAM
Maybe to you.
William exits. Ruthven takes one step into the room and looks
in the direction of the candle. The candle, seemingly
assaulted by a breeze from Ruthven's direction, is
extinguished.
INT. DRAWING ROOM - NIGHT
TITLE CARD: "London, May 1819"
GUESTS interact in a reception room more lush than Lady
Mercer's. The room is aglow with candlelight from a huge
chandelier and several candelabra that sit on tables
throughout the room.
Christian and Mary sit at one of these tables and stare at
each other for a few moments without speaking.
CHRISTIAN
Do you suppose we should write your
brother and tell him?
MARY
Tell him what?
CHRISTIAN
About us, Mary.
Christian picks up a glass of white wine from the table and
drinks from it.
MARY
Oh come now, Christian. Really,
what is there to tell?
CHRISTIAN
Mary....
MARY
What?
No reply. Christian puts his glass back on the table.
MARY (Cont.)
If there is one thing that my
brother has taught me it's the
virtue of patience. I have no
intention of abruptly announcing a
betrothal to you when other suitors
have not even had the chance to -
CHRISTIAN
I am not suggesting a public
announcement, Mary. Besides, you
have only heard my offer. You
haven't exactly promised to accept
it.
MARY
You know I can't do that,
Christian.
CHRISTIAN
Of course I do. I understand and
appreciate etiquette as well as any
educated man, which is why I don't
get upset by your utter lack of
response to my proposal. But did
you not say that you are concerned
for William's safety?
MARY
Yes.
CHRISTIAN
Well, don't you think this might
entice him to cut his trip a bit
short? Besides, he's not a fool; he
knows I've been pursuing you for
years.
He reaches out and takes Mary's hands in his own.
CHRISTIAN (Cont.)
I love you, Mary. The sun rises
when you smile and sets when you
leave me. And damn the "other
suitors," anyway. I intend to win
your heart and your hand ... I
always have.
Mary BLUSHES and tries to hide a smile, but she pulls her
hands away.
MARY
It's just not proper, Christian.
(pause)
You know I feel for you, but ... I
simply cannot promise anything
right now. And how can I lie to my
brother and tell him I have
promised what I have not?
A SERVANT comes by and stops at the table. Some of the guests
begin to exit the drawing room.
SERVANT
Pardon me gentleman, miss ... but
Lord Manning has requested that the
guests join him in the dining room
for a brief repast.
CHRISTIAN
Yes, of course.
The servant walks away. Christian stands.
CHRISTIAN (to Mary)
Shall we go?
Mary does not respond. She stares absentmindedly at the ground
as the servant walks away.
CHRISTIAN
Mary?
MARY
Has Lady Mercer been found yet?
Mary looks up. Christian takes a deep breath.
CHRISTIAN
No.
(pause)
She hasn't been seen since her last
drawing-room, with Lord Ruthven.
But no one has seen much of Lord
Mercer lately either.
(pause)
She's just embarrassed, Mary, I'm
sure it's nothing more. She
arranges a drawing-room twice a
year, and I'm sure she'll reappear
by the summer. I mean, Lord Ruthven
isn't even here.
MARY
Nothing ever seems to happen when
he's here; it's only when he leaves
that disaster is revealed.
CHRISTIAN
William can take care of himself,
Mary. I'm sure he's fine.
Mary stands.
MARY
I know in my heart that you're
right. I know he's fine and I'm
sure he will be fine. But it's just
that....
CHRISTIAN
What is it?
MARY
Write the letter.
CHRISTIAN
Are you sure that's what you want?
MARY
Write him; tell him we're madly in
love and intend to wed tomorrow if
you must. Just bring him home
before this Lord Vincent Ruthven
destroys him. Just know that what
you write is not what I feel.
Christian smiles, walks to Mary, and pulls her into an
embrace. Mary willingly succumbs.
CHRISTIAN
I know very well what you feel.
INT. AUBREY HOME (FOYER) - THE NEXT DAY
Sunlight streams in from large windows at the front of the
home. Mary paces back and forth, wax-sealed papers in her
hand.
There is a booming KNOCK at the door. Mary rushes and flings
the door open, revealing Christian on the other side.
CHRISTIAN
I came as soon as I got the news.
When did the letter arrive?
MARY
Two letters. They arrived only just
last night, while we were at Lord
Manning's.
CHRISTIAN
So all is all right?
MARY
I haven't even broken the seal yet.
CHRISTIAN
So what are you waiting for?
Mary smiles.
MARY
You.
(pause)
Come, let's read them out in the
garden; it is such a beautiful day!
EXT. GARDEN - DAY
Mary and Christian walk along a path in a resplendent garden,
filled with purple and white flowers, beautiful trees and
bushes, statues, stone benches, and in the center, a large
gurgling fountain.
The seal has been broken on one of the letters, which Mary now
holds in her hands, reading aloud. Christian holds the still
-sealed second letter.
MARY
"... and so I left him the
following morning. Anna Bercovicci
had gone missing the night before
(I of course assume she met with
Ruthven as they had secretly
planned), and the whereabouts of
Ruthven himself were also unknown.
I fear the worst."
(pause)
"I fear the worst"? what do you
suppose he means by that?
CHRISTIAN
He doesn't say?
MARY
No, that's the end of that letter.
Except for his usual admonitions
for me to behave and so forth.
They reach the center of the garden and sit next to each other
on a bench facing the fountain. Christian then hands the
second letter to Mary, who breaks its seal.
MARY
Well, I suppose he's fine, anyway,
since this letter is dated after
the first.
CHRISTIAN
Does he say where he is now?
Mary begins to scan the letter:
MARY
"Dear Mary" ... "hope all is going
well" ... "have neither seen nor
heard from Ruthven since my arrival
in Athens."
CHRISTIAN
Athens!
EXT. ATHENS - DAY
TITLE CARD: "Athens, May 1819"
Establishing shots of Athens, mainly architectural ruins (such
as the Parthenon), architectural achievements (intact
temples), and archeological sites.
WILLIAM V.O.
"Athens was to be the next major
stop on the trip Lord Ruthven had
designed, and I must say, it is the
perfect choice. The
architectural ruins alone make this
the most spectacular place I have
ever known! I sit and sketch for
hours upon hours; the work that the
ancient Greeks put into their
architecture is phenomenal. Plus I
take frequent trips into the woods
... oh, you would love it here,
Dearheart! But there is more, Mary.
As you predicted, I have met
someone."
EXT. ATHENS (OVERLOOKING RUINS) - DAY
At the top of a tall, grassy hill that overlooks some minor
architectural ruins, William sits and draws in a large
sketchbook. Running in dizzying circles in the fields around
him is IANTHE, a naturally beautiful, young, Greek woman.
Ianthe wears a long, loose-fitting dress that flows in the
breeze behind her as she runs. Her dark, long hair is tied
back into a loose braid that bounces with each step.
WILLIAM V.O. (Cont.)
"Her name is Ianthe, the daughter
of the family I'm staying with. She
is the most beautiful, delicate,
and innocent creature I have ever
laid my eyes upon. Michelangelo
created this kind of beauty; I
never thought it could exist in
front of me in a living being such
as this. This is a beauty
unencumbered by drawing-rooms,
parties, and other affectations of
society. Ianthe is truly natural,
unlike anyone I have ever seen. I
am in love at last."
Ianthe finally tires of her circuitous route. She runs to
William, drops down beside him, and falls into a fit of
GIGGLES. William attempts to hide a smile.
WILLIAM
Silly.
Ianthe sits up next to William and leans in to see what he is
doing in the sketchbook, but William pulls back. She speaks
with a Greek accent:
IANTHE
What are you doing?
WILLIAM
Drawing.
IANTHE
(mocking William's accent)
"Drawing." You're always "drawing,"
William. Do you not have any
interests besides "drawing"?
WILLIAM
I have you.
IANTHE
Oh, you think you do?
Ianthe resumes her GIGGLING fit and William can't help but
join in.
WILLIAM
You are the silliest person on this
earth, Ianthe. And I love every bit
of you. You know if it were not for
my fascination with these ruins -
IANTHE
And with your walks in the woods.
WILLIAM
And with my walks in the woods. If
not for those two things, I would
spend every waking moment in your
company.
IANTHE
Ha! And you call me silly!
William stares at Ianthe for a moment, then tosses his
sketchbook aside. He leans over to tackle Ianthe and after a
bit of wrestling, has her pinned to the ground. The two are
LAUGHING hysterically.
WILLIAM
Yes, I call you silly. And
what do you intend to do
about it?
IANTHE
Maybe I intend to do ...
this!
With that, Ianthe flips William onto his back, pins his arms
to the ground over his head, and sits on his stomach. William
lets out a weak little OOF.
WILLIAM
Fine, fine, I give up. I'm yours
for the rest of the day, Ianthe.
IANTHE
That is all I ask.
Ianthe leans in and gives William a little KISS on the nose.
She's about to get back up when William PULLS her down to him,
and soon enough, the two are passionately KISSING and rolling
around in the grass.
EXT. ATHENS (RUINS) - DAY
A lone figure watches from the ruins below.
EXT. ATHENS (OVERLOOKING RUINS) - AFTERNOON
William and Ianthe lie on their backs, gazing at the sky. A
FULL MOON has just become visible, low in the sky just behind
the ruins. Clouds threaten from the west.
IANTHE
Full moon tonight.
WILLIAM
Yes. Should be a beautiful night,
if that storm holds back.
(pause)
I'm thinking a ride through that
wooded area just outside of town is
in store for me later this
afternoon.
Ianthe turns on her side to face William, a look of concern in
her face.
IANTHE
Oh, William ... you mustn't. Not
tonight. No.
WILLIAM
Why ever not?
Ianthe looks back to the sky as if the answer might lie there.
IANTHE
The ... the storm, of course.
WILLIAM
Now you're just being overly
worrisome. Even if the storm does
come, it won't be any bother for
me.
(pause)
I'm reasonably sure I won't melt in
the rain, after all.
IANTHE
Don't be that way, William; I'm
serious.
WILLIAM
Serious about what? You
can't expect me to heed any
warnings if you're not going to
elaborate.
Ianthe stands and turns her back on William.
IANTHE
Fine. If your opinion of me is not
high enough to take me at my
word.... Besides, if I told you,
you'd only call me "silly" again.
She starts to walk away. William darts up after her and puts
an arm on her shoulder. They begin to walk together back
toward Ianthe's village.
WILLIAM
You know how much I value your
company and your opinion, Ianthe.
You know I love you and would do
nothing to harm you. But this isn't
you; it's me. And you've given me
no viable reason for your concern.
IANTHE
My concern in itself is not enough?
WILLIAM
I'm afraid not.
(pause)
And besides, it's obvious that you
have your reasons. You should never
hesitate to share anything with me,
no matter how silly -
Ianthe throws William's hand off her shoulder and stops
walking.
IANTHE
There's that word again!
WILLIAM
Oh, you know that's not what I
meant!
IANTHE
Do I? All I know is that you're not
willing to take me seriously!
WILLIAM
You're not giving me a chance!
Ianthe is now on the verge of tears. She turns away from
William.
WILLIAM (Cont.)
Ianthe ... Ianthe, I'm sorry. I-I
didn't mean to yell.
He walks over to comfort her. She speaks between sobs.
IANTHE
I know, William ... I know.
(pause)
It's just that ... it's ... I don't
know whether to believe in it
myself....
WILLIAM
Believe in what? Please, tell me.
IANTHE
The stories of that wood, William.
When I was a child, my nurse would
tell me horrible stories of that
place. No Greek would ever remain
in that wood at night, not under
any circumstances. In that wood ...
at night ... on the night of the
full moon....
William's interest reaches its peak.
WILLIAM
What? What would happen on the
night of the full moon?
IANTHE
The ... vampyre.
No reaction.
IANTHE (Cont.)
By light of day, this creature would
pass unnoticed amongst friends and
society - so my nurse would speak.
Oh, the stories of horror she would
tell, William.
(pause)
At night, on the night of a full
moon, the fiend would be forced to
drain the blood from a victim to
prolong his ... his "existence" for
another year. The victims would
often be horribly ... mutilated ...
cut up by whatever weapon was at
hand. Oh, I can never forget those
horrible, horrible stories she
would tell.
Still no reaction from William. Ianthe begins to regain her
composure and end her sobbing.
IANTHE (Cont.)
You don't believe me.
WILLIAM
I didn't say that.
They begin walking back to Ianthe's village.
IANTHE
Maybe not. But I can tell by your
reaction.
(pause)
Then you won't cancel your ride
tonight?
WILLIAM
No.
IANTHE
If you won't believe me, then talk
to Mr. Paulus, my neighbor. He lost
a niece. Mutilated three years ago
and completely drained of blood.
(pause)
Or the blacksmith, Granaupoulis.
His own wife, sixteen years ago
almost to the day.
WILLIAM
And you have spoken to these
people?
IANTHE
Of course not. If you had lived
through such events, would you want
to talk of them?
WILLIAM
Ianthe, has it ever occurred to you
that your nurse was trying to
instill some fear in you? That she
didn't want you wandering off
without supervision? That she
wanted to maintain some sort of ...
I don't know ... control over you?
Ianthe does not respond.
WILLIAM (Cont.)
I can't see canceling my ride based
on your nurse's fictions.
IANTHE
You may choose not to believe me,
William, but it is said that those
who question the existence of the
vampyre always have proof thrust in
their faces. I cannot stop you from
doing what you wish ... but that
does not mean I must agree with it.
(pause)
There are times, my love, when you
can be the most frustrating man I
have ever met. But I, for one, can
put my faith in you, for you are
where my love lies.
WILLIAM
My love lies with you, as well,
Ianthe.
IANTHE
But apparently not your trust. Just
promise me one thing.
WILLIAM
I promise you my heart. Is that not
enough?
IANTHE
William, just promise me you'll
return before nightfall. It is the
night that allows the full power of
these creatures to come to light.
WILLIAM
Oh, I still simply cannot see how
you expect me to -
IANTHE
Just promise me that. If your heart
truly lies with me, surely you can
grant me that one promise?
William SIGHS, tired of the argument.
WILLIAM
Very well, Ianthe. Ere night falls
upon the wood, I will return.
INT. AUBREY HOME (LIBRARY) - MORNING
Mary and Christian walk around the stacks of books. One of
them occasionally pulls a book off a shelf, searching for a
particular volume.
CHRISTIAN
You sent the letter yesterday?
MARY
Christian, I just told you I
finished it but this morning - how
could I have sent it yesterday? I
swear, you are as nervous as if you
had actually proposed marriage.
CHRISTIAN
Are you saying that I didn't?
MARY
Christian....
CHRISTIAN
What, Mary? We both know that my
proposal was genuine, despite what
you may try to convince yourself in
order to please your brother. And
though I may love William like a
brother, I still wish to know if
the greater love that I have for
his sister has any chance of
becoming....
MARY
(overlapping)
Enough! Christian, enough! I cannot
tolerate any more discussion of
this proposal.
CHRISTIAN
But you cannot deny that you agreed
to -
MARY
I agreed to use this as a ruse to
bring my brother home, and nothing
more. And if you continue to insist
that there was anything else in our
understanding, then I'm afraid any
potential future agreement may be
in jeopardy.
(pause)
Now, can we please set this
discussion aside?
CHRISTIAN
Yes, I suppose so. Though I still
feel as if this is a step in -
MARY
I keep trying to tell you, this is
not a step at all. And if you
continue to insist on thinking that
way, I won't ever let the letter
leave this house.
CHRISTIAN
I understand.
MARY
Do you? It certainly doesn't seem
that you do. Much as I care for
you, I shall not go against my
brother's wishes.
CHRISTIAN
What about your own wishes?
MARY
What of them?
CHRISTIAN
Do you intend to deny your feelings
for me? Deny what we've shared?
Deny what we could share in the
future?
Christian moves to take Mary into an embrace, but Mary pushes
him away. She turns to hunt through the shelves of books.
MARY
Could share, Christian.
Could, not will; you just said it
yourself. Do not continue to take
me for granted, for you will find
you have lost me.
(pause)
Please, just help me find that book
already.
Christian picks a book of a shelf and carries it to Mary.
CHRISTIAN
The love I feel for you could never
be taken for granted, Mary, not for
a second.
(pause)
Is this the book? Some of the pages
have been marked.
With an inquisitive look on her face, Mary takes the book and
leafs through the first few pages.
MARY
Where did you find that?
CHRISTIAN
Here.
Christian leads her to the shelf from which he removed the
book. Mary replaces the book and pulls one from a bit further
down the shelf. She suppresses a smirk.
MARY
Athens is in Greece, dear.
EXT. ATHENS (WOOD) - EVENING
A FULL MOON is ensconced in thick clouds. A strong wind HOWLS
through the trees. William, carrying a lantern in his hand,
stands and studies the foliage and the land around. Obviously
lost in his work, he occasionally scribbles on a few sheets of
paper that he carries. A sturdy-looking, coal-black horse
(SARDIS) is tied to a tree nearby.
A RUMBLE OF THUNDER sounds; Sardis rears up and WHINNIES in
response. William, his concentration broken, quickly walks
over to try and calm the horse.
WILLIAM
Calm, Sardis ... calm. It's only
the storm.
Another PEAL OF THUNDER, louder than the last, pierces the
air. This time it is William who is startled. He turns to look
at the sky just as a few RAINDROPS begin to fall.
The lantern is extinguished by a GUST of wind.
WILLIAM
I believe now might be an ideal
time to head back home.
William unties the horse and mounts with a quick, smooth
movement. The WIND picks up again, causing another LOUD HOWL
through the trees, accompanied by more THUNDER.
As William goads Sardis into motion, a TORRENT OF RAIN
suddenly lets loose. In moments, the horse is SLOSHING through
mud; William grips tightly to the slippery reins as Sardis
picks up speed.
An intensely bright FLASH OF LIGHTNING lights up the sky.
Another ROLL OF THUNDER follows almost immediately. William
goads Sardis on through the mud.
EXT. ATHENS (ANOTHER AREA OF THE WOOD) - EVENING
The RAIN continues pouring out of the sky. A BOLT OF LIGHTNING
flashes out of the sky and hits the base of a tree,
SPLINTERING it in half. THUNDER follows.
Half the stricken tree falls into the mud-soaked road leading
toward Ianthe's village. William and Sardis gallop into view
just as the tree hits the road. Sardis REARS back and
WHINNIES, then speeds off the road, deeper into the wood. It
takes all of William's effort to avoid being thrown off his
horse.
EXT. ATHENS (OUTSIDE IANTHE'S VILLAGE) - EVENING
The STORM continues to rage. Even this deep in the wood, the
rain is managing to work its way through the dense foliage. A
few buildings, grown over with vines and appearing almost like
part of the forest, are sparsely scattered in the area.
The MUFFLED SLOSH of hoofbeats on wet ground gradually grows
louder. Eventually, Sardis gallops into view; William appears
to be regaining control of the horse.
WILLIAM
Hold, Sardis ... hold! Easy, girl.
Sardis finally comes to a stop about fifty yards from what
appears to be a small, abandoned house. A FLASH of lightning
illuminates this sight, and William notices it for the first
time as he dismounts from the horse.
WILLIAM
What place is this? Are we near
Ianthe's village, Sardis?
A loud SNORT is as close to an answer Sardis seems willing to
give. William LAUGHS.
WILLIAM
I'm not sure if I should take that
as a "yes" or a "no." Still ...
maybe there's someone here who can
tell us how to get back, hmm? Or at
least there's shelter to keep me
dry until this storm passes.
As William looks for a tree to tie Sardis to, THUNDER again
sounds - this time, however, it is accompanied by a woman's
SHRIEK. William looks up and toward the abandoned house,
unsure if he actually heard a scream or if the storm was
playing tricks on him.
He stands there, staring, unsure of whether to react. Just as
he starts to go back to his task of tying up Sardis, the
woman's SHRIEK again sounds, this time blending into a man's
MOCKING LAUGHTER.
William's head raises toward the house again, and this time he
drops the reins of the horse and runs to investigate. With the
force of pure adrenaline, he kicks in the door to the house as
another ROLL OF THUNDER resounds.
INT. ABandONED HOUSE - NIGHT
The inside of the house is totally black with darkness.
William stands cautiously in the doorway, at first silhouetted
by the dim moonlight, then suddenly lit up with a FLASH of
lightning.
WILLIAM
Hello?
Another SCREAM sounds and William's head jerks to the right.
He enters the house and walks to his right, immediately
becoming enveloped by the darkness. The door SLAMS shut behind
him, leaving total blackness. The MOCKING LAUGHTER continues.
WILLIAM
Is anyone there?
No response for a moment, then another SHRIEK. William's
FOOTSTEPS suddenly become loud and rapid; a FLASH of lightning
shows he is running toward the source of the noises - a WOMAN
lying on the ground with a MYSTERIOUS MAN standing over her.
WILLIAM
Stop! Immediately, whoever you are,
stop at once!
The woman's SHRIEKING has become weak and half-hearted, but
the mysterious man's LAUGHTER continues. Another FLASH of
lightning shows that the man holds some sort of blade in his
hand. The mysterious man's face cannot be seen, as his back is
to William, but the woman is Ianthe.
WILLIAM
Ianthe!
William reaches the mysterious man, bumping into him in the
dark, and tries to seize hold of him from behind.
WILLIAM
What have you done!? My beautiful
Ianthe ... my love.... Stop!
MYSTERIOUS MAN
Again, baffled!
As another BOLT OF LIGHTNING illuminates the scene, the
mysterious man picks William off the floor by his throat, HITS
him twice across the cheek, and HURLS him to the ground across
the room, like a rag doll. The mysterious man's LAUGHTER again
resounds.
William lets out a painful GASP as the mysterious man's knee
comes down with a THUD on his chest. The man raises his right
hand above William. A glint of light SHINES off an oddly
-shaped dagger poised above William's neck. The mysterious man
suddenly turns around, looking over his shoulder.
EXT. ABANDONED HOUSE - NIGHT
The source of light that shines off the dagger has come from a
group of PEASANTS carrying torches. They approach the
abandoned house. Nothing is visible through the window of the
house but the mysterious man's dagger and a LIGHT that glows
behind his eyes.
INT. ABANDONED HOUSE - NIGHT
The mysterious man lets out another LAUGH, then disappears out
the front door as fast as the wind itself. The oddly shaped
dagger CLINKS to the ground next to William. William can do
little but let out a feeble GROAN.
WILLIAM
Ianthe....
The peasants reach the door and enter the house. The
torchlight fills the room and clearly illuminates the mud
-encrusted walls for the first time. One of the peasants
notices William, who continues to GROAN incoherently.
PEASANT 1
Sir? Sir, can you hear me? Are you
alright?
(to another peasant)
Cerus, over here.
WILLIAM
Ianthe.... Please, Ianthe....
Cerus comes over to Peasant 1, who is attempting to clean the
blood off William's face.
PEASANT 1
I think he's calling for someone.
Sounded like "Ianthe."
CERUS
Yes, I hear.
(pause)
Sir, please, where is she?
WILLIAM
Ianthe ... Ianthe....
William feebly raises his head and looks to an obscured corner
of the room. Cerus and Peasant 1 turn to follow his gaze. They
signal for light to be brought to that corner.
As some of the peasants move their torches to the obscured
corner, their bodies block the view of William and the others.
A few of the peasants who went to investigate the corner GASP
in shock. After a moment of MURMURING, a consensus is reached,
and the peasants lift something from the corner, carry it
over, and lie it next to William.
William shuts his eyes to the sight - the lifeless form of
Ianthe - and starts to SOB. Ianthe's face is completely devoid
of color; even her lips are pale and ashen. Her neck and
breast are covered in blood, most of the damage probably done
by the mysterious man's dagger.
On one side of her neck, however, are what appear to be teeth
marks. One of the peasants notices these marks and points at
them in a panic.
PEASANT 2
A vampyre! A vampyre!
This cry starts a general PANIC amongst the other peasants.
PEASANT 1
Cerus?
CERUS
We must leave this place, at once.
(to William)
Sir, are you able to walk?
WILLIAM
Ianthe....
CERUS
We'll have to carry him. Before
that demon returns. Come on.
Cerus and Peasant 1 pick up William and carry him out the
front door of the abandoned house. Two other peasants carry
out Ianthe's body.
Grasped in William's hand is the oddly shaped dagger of the
mysterious man.
INT. IANTHE'S HOME (WILLIAM'S ROOM) - DAY
William lies in bed, with the curtains drawn. His eyes are
open, but he just stares out into space. DARVELL and GEORGINA,
Ianthe's parents, walk in quietly. Her mother carries a letter
in her hand.
DARVELL
William?
GEORGINA
William ... this letter came for
you. From England, some time ago
... we thought it best not to
burden you with it earlier, but ...
DARVELL
It's an urgent communication,
William. From your sister.
Ianthe's parents pause, hoping for some reaction, but there is
none.
DARVELL
Just leave it for him, Georgina.
I'm sure he'll soon recover from -
William suddenly jerks up in bed.
WILLIAM
Ruthven! No, Ruthven, spare her!
Take whomever you will, take me,
save yourself, but spare Ianthe!
Ianthe's mother (Georgina) rushes to William's side and
attempts to calm him.
GEORGINA
William....
WILLIAM
You've destroyed her! My only love!
You contemptible.... No! Spare her,
Ruthven! If only her, spare her!
Save us, Ruthven! Lord Ruthven,
please, help me! Help me, please
... please, help me....
GEORGINA
William, calm yourself. There is no
Ruthven here. Ianthe is already ...
she's already....
Georgina starts to WEEP, and the father walks over to take her
out of the room.
DARVELL
Just leave him be. I have no doubt,
he will recover. Just leave him be.
She places the letter from William's sister on a nightstand
beside the bed and exits with Ianthe's father.
CU - LETTER
"Urgent news" is written on the front of the letter and
underlined twice.
WILLIAM V.O.
Help me ... Ruthven, help....
EXT. AUBREY HOME (GARDEN) - DAY
Christian and Mary sit on the stone benches outside the
fountain. Mary's face is twisted with a look of concern.
CHRISTIAN
No reply at all?
MARY
What do you think, Christian, that
I'm lying to you? If I had gotten a
reply, I surely would have told
you.
(pause)
I'm concerned, Christian ... I'm
very concerned. This isn't at all
like William, to not even respond
to such a thing.
CHRISTIAN
Maybe he's on his way home.
MARY
Without sending word ahead?
CHRISTIAN
Considering that he could most
likely arrive himself as quickly as
his word could, maybe he simply
chose not to send word?
MARY
I suppose that's possible, but it
just doesn't add up.
CHRISTIAN
His last letter did say how happy
he was.
MARY
Exactly. Which makes me question
why he would have left at all. I
think he would have been more
likely to simply write back, beg of
us to wait for his return -
CHRISTIAN
- with Ianthe.
MARY
Right, with Ianthe. Chris, what if
Lord Ruthven found him? I mean,
what if he tracked him down and
found him?
CHRISTIAN
And what? Mary, you can't honestly
think that Ruthven would do him any
physical harm?
MARY
And why not? What would stop him?
The man has been doing enough harm
around here, even though he left
months ago. Certainly, you can
argue that he may not have done
physical harm directly, but
somehow, I don't think Lord Mercer
would agree with that.
(pause)
People have died, Christian!
I mean, what kind of a man can
cause something like that to happen
when he isn't even here?
CHRISTIAN
How can you connect Ruthven to
that, Mary? What evidence do you
have?
MARY
What evidence do I need? What
evidence do you have that gives any
other cause?
CHRISTIAN
Why should I need any evidence?
It's not like I'm trying to defend
myself against anything,
after all.
MARY
Aren't you? Or perhaps you don't
recall who introduced us to Lord
Ruthven in the first place?
CHRISTIAN
Oh, now you certainly can't be
holding that against me!
MARY
Why can't I?
Christian stands and walks over to the fountain.
CHRISTIAN
Honestly, Mary, I feel I can hardly
recognize you as the woman I love
any longer. I love you for who you
are, or who you have been, but ...
I just don't know who you are
anymore.
MARY
The same woman I have always been.
Can't you see that? Can't you see
how I care for my brother, as I do
care for you? And I can't imagine
what that friend of yours has done
to my brother.
Christian returns to the bench, sits beside Mary, and pulls
her into an embrace. Mary succumbs.
CHRISTIAN
Anyone who could hurt you, or any
member of your family, is no friend
of mine.
Mary lies for a while in his arms, then sits up and glares.
MARY
You're only trying to distract me.
Despite your claims, you still have
to admit you've supported Ruthven
all along. You brought him to our
table, all but invited him into our
home, and did nothing to intervene
on my brother's behalf.
CHRISTIAN
What do you call the letter I
suggested you write?
MARY
Ha! You had your own motivations
for that letter, Christian, and you
know that!
CHRISTIAN
Well, that may be so, but does that
mean I don't care for your brother?
MARY
Your intentions with me are
certainly clear.
(pause)
Or are they?
CHRISTIAN
You know how I feel about you.
MARY
Do I? I mean, you certainly know
that William and I shall both be
quite wealthy, once we're of age
and our guardians release their
hold on the Aubrey estate. It's all
so clear! You seduce me, become my
betrothed, then have this Ruthven
make certain that William is not
around to make any claims on the
fortune! And God only knows what
plans you have for me once I'm no
longer needed as a means to my
estate!
CHRISTIAN
Mary! You're being simply
ludicrous!
Mary stands and walks briskly toward the house.
MARY
Fine. Maybe I am! You know your own
way out. Good day, Christian.
Christian POUNDS his fist against the back of the bench in
frustration.
INT. IANTHE'S HOME (HALLWAY) - AFTERNOON
Ianthe's parents stand outside William's room, quietly looking
in. The curtains in his room are now open, and the late
afternoon sunlight casts shadows across the bed. Sitting in a
chair at the side of William's bed, CHATTING with an
apparently coherent William, is Lord Ruthven. Ruthven seems to
be a changed man, jovial and animated, as is William.
DARVELL
And this is the Ruthven that
William spoke of in his delirium?
GEORGINA
I assume so. I mean, it's not as if
I could ask William. How would you
broach such a subject?
DARVELL
I suppose you're right. Besides, I
don't imagine he'd remember who he
was speaking of while under the
influence of such a violent fever.
They observe William and Ruthven a while longer. William says
something that causes Ruthven to LAUGH BOISTEROUSLY. It is the
laugh of the mysterious man, but William either doesn't notice
or doesn't care.
DARVELL (Cont.)
William seems well, at any rate. I
imagine he owes a debt of gratitude
to this Lord Ruthven fellow.
GEORGINA
Yes, I suppose so.
Ruthven and William LAUGH together.
DARVELL
It's good to see the boy back to
his old self.
GEORGINA
How is this back to his old self?
He still hardly leaves his bed. His
delirium certainly seems to have
passed, but still -
Georgina is interrupted as William notices that he and Ruthven
are being watched.
WILLIAM
Georgina, Darvell! Please, a moment
of your time. Ruthven, of course
you've met Ianthe's parents.
INT. IANTHE'S HOME (WILLIAM'S ROOM) - DAY
Darvell and Georgina, smiles on their faces, enter the room.
Ruthven stands and offers his chair to Georgina.
RUTHVEN
Please, sit.
Georgina nods her head "thank you" and takes the chair.
WILLIAM
You know the two of you have my
deepest sympathies at the loss of
one so fair as Ianthe.
DARVELL
Please, William ... you, too have
lost -
WILLIAM
No, I will hear nothing of what I
have lost, Darvell. There can be no
greater loss than the loss of a
child. As for what I have lost.
(pause)
What I have found is that I have a
great many friends and supporters.
In you, in the gracious Lord
Ruthven, and in the villagers who
have stood by and inquired of me,
despite ... despite the fact that I
was unable to help -
DARVELL
Enough, William. What is it you
wish to say?
William takes a moment to regain his composure.
WILLIAM
The time has come for me to move
on. I'm well enough again, and
Ruthven has suggested a trip
through the mountains, the thought
of which appeals to me greatly. It
will allow me a chance to clear my
head before my return to London.
Darvell and Georgina exchange openmouthed looks.
GEORGINA
But, William ... have you not
heard? The-the dangers in the
mountains? The robbers?
DARVELL
Aye, William, she speaks the truth.
Many have returned from there with
stories, took upon by robbers ...
with firearms. Some have left in
pairs and returned alone. Guards
and guides alike are providing
stern warnings against -
Ruthven dismisses this with a wave of his hand.
RUTHVEN
Nonsense, sir. Merely a fiction
created by these same guards and
guides so that they might raise
their fees for guarding and
guiding. I assure you, William and
I will be quite fine on our own.
DARVELL
And there is nothing I might do to
convince you to stay with us,
William?
(pause)
We have come to think of you as ...
well, as something of a son, I
suppose.
WILLIAM
Touched as I am by your sentiment,
I'm afraid commitments would prompt
my return to London shortly anyway.
Which reminds me....
William reaches into a drawer in the nightstand next to his
bed and pulls out a sealed letter.
WILLIAM (Cont.)
You'll see that this is sent back
to London for me, won't you?
Georgina takes the letter.
GEORGINA
Certainly, William.
(pause)
A letter to your sister, I suppose?
WILLIAM
Of course. She's been fearing for
me unnecessarily since before I
even left on this trip, and I can't
imagine what she's thinking since
she hasn't heard from me for so
long. Ruthven and I will be off on
our brief mountain excursion, and
with any luck, the letter will
reach London before my return.
GEORGINA
I'll see to it, William.
DARVELL
Do be careful, my boy.
WILLIAM
Yes, yes ... I always am.
FADE TO:
EXT. MOUNTAINS - DUSK
Ruthven follows William down a rocky path between two
outcroppings of rock. The sun settles behind the mountains,
casting long shadows in front of them. They each carry a small
pack of their belongings.
They walk along in silence for a while until a SCUTTLING SOUND
behind them causes William to suddenly halt his progress.
Ruthven nearly walks into William as William stops, turns back
to the sun, and strains to listen.
Ruthven turns around for a moment and SQUINTS into the bright
sun behind them. He WINCES almost as if in pain.
RUTHVEN
What is it?
William SHUSHES him and continues his attempts to hear.
Another moment passes, and Ruthven finally grows impatient.
RUTHVEN
Come on, Aubrey, it's obvious
there's nothing there. Let's go
already.
William doesn't react.
RUTHVEN (Cont.)
Let's move, William!
Ruthven nudges William into motion just as the sound of a
single GUNSHOT splits the air. William dives to the ground and
drags Ruthven into the dust with him.
WILLIAM
Down!
The air again falls silent as William looks around for a safe
spot of shelter. He spots a large boulder about a hundred
yards ahead of them and indicates it to Ruthven.
WILLIAM
(quietly)
There. I'll crawl over; you follow.
Ruthven nods.
William begins to crawl along the rocks toward the shelter.
Ruthven remains lying on the ground, looking to the rocks
around them to see if he can spot anyone.
EXT. MOUNTAINS (BEHIND BOULDER) - DUSK
William raises himself up on his knees and peers around the
boulder to Ruthven. Ruthven does not move, but lies on the
ground, listening. William motions for Ruthven to follow him
behind the boulder.
Ruthven does not move.
WILLIAM
(whispering, barely audible)
Ruthven.
No reaction.
WILLIAM
(a little louder)
Ruthven.
Ruthven turns back but waves William off. He sits up
cautiously and begins to look around until it appears that he
has spotted something. He turns back to William and gestures
to the outcropping of rock to his left.
Just as William looks to the source of Ruthven's gesture,
another SHOT is fired.
WILLIAM
Ruthven!
A third shot RESOUNDS immediately - this time catching Ruthven
in the left shoulder. Ruthven SCREAMS out in apparent agony as
William rushes out from behind the boulder.
EXT. MOUNTAINS - DUSK
Ruthven is lying on his back. The remaining sun is streaking
down onto his body. His right hand, covered in blood, grips
his left shoulder.
As William rushes out to check on his friend, two ROBBERS
descend from the outcroppings of rock above. They are all
brandishing pistols.
WILLIAM
Ruthven, are you hurt?
RUTHVEN
Am I hurt? What the devil does it
look like, you simpleton!? Of
course I'm hurt!
ROBBER 1 (to Robber 2)
See? I told ya you hit 'im! Damned
if that ain't the finest shot I
ever saw!
ROBBER 2
As if it mattered.
(to William)
Gentlemen, let's have your
valuables. Come on, out with 'em.
WILLIAM
Varlet! Can't you see the man's
hurt? Give me a damned moment!
William tries to tend to Ruthven's wounds, but Robber 1 pulls
him away. Ruthven lets out a pained GRUNT.
ROBBER 1
Try that again, and you'll be in
the same state as your friend here,
understand? I believe you were just
asked for your valuables. Why don't
we tend to that first, okay?
William makes a move as if to lunge at the man, but Ruthven
manages to forcefully GRAB him before he can get himself into
any trouble.
RUTHVEN
William, no!
A brief moment passes while William decides on the best course
of action. He attempts to negotiate:
WILLIAM
Sir, surely you can wait a moment
for me to tend to my friend's wound
here. One way or another, you'll
get what you -
He is cut off as Robber 1 lowers his gun and FIRES two shots
into Ruthven's wounded shoulder. Ruthven lets out another YELP
of pain.
WILLIAM
NO!
William throws himself across Ruthven's body to shield it from
any further shots.
ROBBER 1
Hesitate any more, and you're going
to have quite a few more wounds to
tend to. Just give us what we want,
and we'll be on our way.
William looks up at the robbers, down at Ruthven, and finally
makes up his mind. He takes the two packs that he and Ruthven
were carrying and HURLS them toward one of the outcroppings of
rock.
WILLIAM
There! Perfect! Take it; take it
all! For what have I left to live
for? The love of my life, my Ianthe
... dead! My friend ... wounded by
... by ... the likes of you! My
sister, set to wed before her life
has even begun! I cannot take
anything more! You want what's left
of my life? Take it! Why should
someone such as myself, someone
bereft of possessions of the heart,
of the soul ... why should I
possess worldly goods? What right
have I to any possessions at all? I
who cannot protect those who mean
so much to me? For I have no need
to live, I have no need to save
myself ... how can I, when I cannot
save my Ianthe, my-my Mary, my-my
-my-
ROBBER 2
Yeah, thanks.
The two robbers walk over, pick up the packs, and depart over
the hills. William collapses to the ground, exhausted from his
emotional outpouring. He has apparently forgotten about
Ruthven entirely.
RUTHVEN
William?
Ruthven struggles to prop himself up on his good arm and look
over at William. Finally, William lifts his head and looks at
Ruthven.
WILLIAM
I-I'm sorry, Ruthven. Can I ... is
there anything I can do? Are you
... will you be all right? Or is it
... I mean, how badly are you
wounded?
RUTHVEN
William, your assistance is greatly
appreciated, as always.
WILLIAM
But what? What have I done? What
can I do?
He walks over to Ruthven and is sickened by the mere sight of
his wounds. Blood has been spattered across the side of
Ruthven's face and the front of his body. His right hand still
grips his left shoulder, though blood no longer flows from the
wounds. His left arm has practically been severed from his
body. Surprisingly, however, Ruthven seems quite calm - his
face shows no pain or fear for his life.
RUTHVEN
You may save me yet.
WILLIAM
But.... Lord Ruthven, I fear these
wounds will prove quite fatal. I
don't see how I can possibly save
you!
RUTHVEN
But save me you must!
WILLIAM
How can I save your life now? The
wounds, Ruthven, the-the gunshots,
the blood....
RUTHVEN
I do not refer to my life, William.
The death of my earthly existence
means as little to me as the
passing of the day. But William, if
you heed me as a friend, as a
compatriot, you may yet save my
honor.
WILLIAM
Anything, my friend.
RUTHVNE
Help me, William.
WILLIAM
But how? Please, Vincent, tell me
how. I would do anything - anything
at all to assist you; you need
merely ask.
RUTHVEN
I ask but little of you. I have
little time left....
Ruthven takes a deep, apparently painful breath and slowly
lets it out through his mouth. He adjusts the position of his
body, sits up a bit, and lets out a weak GRUNT.
RUTHVEN (Cont.)
I fear I cannot explain the whole
situation, for I have such little
time left. But ... if you could
conceal all you know of me - all
you have learned, all you have
discovered, all you have presumed.
If my honor were to remain intact,
my character to remain unstained in
the world's mouth.... And-and if
... if my death were to remain
unknown for some time back in
England. I believe ... I believe
that....
His strength waning, Ruthven collapses back onto the ground.
William rushes to his side and cradles the dying man's head in
his hands.
WILLIAM
It shall not be known.
Ruthven once again struggles to a sitting position. An all
-too-familiar LIGHT glows behind his eyes. He seems, in fact,
to become quite animated - almost energetic - as he speaks.
RUTHVEN
Swear! Swear to it, William. Swear
by all your soul reveres, by all
your heart desires, and by all your
nature fears! Swear that for a year
and a day you shall not impart any
knowledge of me that you have
obtained upon any living being in
any way. Any knowledge of ... of my
crimes, of my misdeeds ... of my
death. Whatever you may see,
whatever may happen, swear,
William, that you will not reveal
any of this to anyone!
WILLIAM
I swear!
RUTHVEN
You must, William ... you must
uphold this oath. Do not reveal my
life or my death. One year and one
day!
Ruthven again collapses to the ground with a GRUNT.
RUTHVEN (Cont.)
By all that ... all that you love
... all you hold sacred.
(pause)
William: Remember your oath.
WILLIAM
Yes! Yes, Ruthven! You have my
word! Upon my very soul, I do
swear!
Finally, Ruthven DIES. William collapses on the ground next to
him, obviously the victim of extreme emotional distress. His
body begins to shake as some BREATHY NOISES emanate from him,
but it is unclear whether he is sobbing or laughing with
relief.
WILLIAM (Cont.)
I will uphold my oath!
William tends to Ruthven's body, cleaning the blood in futile
respect for his friend.
WILLIAM V.O.
"I can say with certainty, Mary,
that he will not be accompanying me
upon my return. But I can say no
more. And though I understand you
always abhorred the man in life, I
ask that if you speak of him, you
do so respectfully ... for he was
my friend."
FADE TO:
INT. AUBREY HOME (FOYER) - DAY
TITLE CARD: "London, July 1819"
Mary sits on a bench, idly holding a letter from William in
her lap. She is not reading the letter, but simply stares at
the front door in expectation.
WILLIAM V.O.
"The last few months of my life
have been almost impossible,
Dearheart. I long for the return to
my native England far more than you
can possibly imagine. I shall come
home as soon as affairs are
settled, with any luck perhaps even
arriving before this letter. As
always, William."
Using some sort of sixth sense, Mary rises and walks to the
door a moment before a KNOCK is heard from the other side.
After a considerable pause, as Mary continues to stare at the
door, she opens it to Christian, who waits patiently on the
other side.
CHRISTIAN
I came as soon as I received your
request, Mary. From your message, I
gathered his ... well, he's fine,
right?
MARY
Not here, Christian. Outside. In
the garden.
EXT. GARDEN - DAY
Christian and Mary stand by the fountain, talking in hushed
tones.
CHRISTIAN
So William is unscathed, and
Ruthven will not be returning? Then
all is as you've hoped.
MARY
Well, apparently, though I must
wonder what exactly happened out
there. I know my brother always
seemed fond of your Lord Ruthven
... I mean, he still does. Supports
the man even now. It just seems
peculiar.
CHRISTIAN
Oh? How so?
MARY
Made an entreaty in his last
letter. Asked me to "speak of him
respectfully," or something to that
effect. I tell you, Christian,
something happened out there -
something William is choosing not
to share. But I know not what, and
that concerns me.
Christian shakes his head and walks to one of the stone
benches.
CHRISTIAN
Of course. I should have known.
Obviously upset, Mary walks over and stands in front of
Christian, who has now sat down on one of the benches. He
looks up at her.
CHRISTIAN
What?
MARY
I might ask the same question of
you. You should have known what,
exactly, Christian? That your plans
would not be successful?
CHRISTIAN
I thought I explained that I had no
plans.
MARY
Well, what then?
CHRISTIAN
You can't exactly deny the feelings
you have for Lord Ruthven, Mary.
MARY
Feelings? Why, I feel nothing but
utter hatred for that monster! How
could I have made that any more
clear? He is a contemptible,
contemptible man. I could not be
more pleased that he won't be
returning. The fact that you could
even imply -
CHRISTIAN
Methinks the lady doth protest too
much.
Mary gears up as if to launch a retort - or a fist - in
Christian's direction, but thinks better of it. She releases a
HMPH sound, then turns her back and walks to the fountain.
Christian shakes his head, then reluctantly gets up and
follows Mary to the fountain. He stands beside her as they
both gaze into the fountain's flowing waters.
CHRISTIAN
I'm sorry.
(pause)
You still must admit, hate is
hardly the antithesis of love. I'm
certain there have been times that
you've hated me. I don't doubt that
for a moment.
He puts his arm around Mary's shoulder, but she THROWS it off
and spins to face him.
MARY
I think this is one of those times.
She walks back toward the house, o.s., leaving Christian
alone, staring after her.
INT. COACH (MOVING) - AFTERNOON
William sits alone, bound for home. He stares out the window
as the coach cuts through the countryside. His thoughts are
obviously elsewhere....
RUTHVEN V.O.
I fear I cannot explain the whole
situation, for I have such little
time left. But ... if you could
conceal all you know of me - all
you have learned, all you have
discovered, all you have presumed.
WILLIAM V.O.
It shall not be known.
RUTHVEN V.O.
Swear! Swear to it, William. Swear
by all your soul reveres, by all
your heart desires, and by all your
nature fears! Swear that for a year
and a day you shall not impart any
knowledge of me that you have
obtained upon any living being in
any way. Whatever you may see,
whatever may happen, swear,
William, that you will not reveal
any of this to anyone!
WILLIAM V.O.
Yes! Yes, Ruthven! You have my
word! Upon my very soul, I do
swear!
EXT. AUBREY HOME - AFTERNOON
William's coach pulls up to his home and stops behind another
coach. As William opens the door to his coach, the driver of
the other coach CLICKS his tongue and flicks the reins,
spurring his horse into motion.
William exits his coach as Mary emerges from the front door of
the house.
MARY
William!
She runs up to the coach, a smile beaming on her face. William
merely stands there and waits as she practically KNOCKS him
over, running into him, and pulling him into an embrace.
MARY (Cont.)
Oh, William, how I've missed you!
I've just felt so alone the entire
time you've been on this dreadful
trip of yours.
No reaction from William. He simply stands there, staring
dully back at his sister.
MARY (Cont.)
What is it? What's wrong?
Finally, a little animation flickers behind his eyes.
WILLIAM
Have you? Have you missed me, Mary?
Have you felt so alone? Or has my
"friend" Christian seen to it that
such problems did not befall you in
my absence?
MARY
Why...? William, six months I have
not seen you and this is how you
greet me?
WILLIAM
Oh, stop this charade, Mary. Do you
take your brother for a fool? Did
you think for but a moment that
this was not how I would
greet you? Can you honestly expect
me to believe, with what you were
writing me, with your plans with
Christian!
Mary is too shocked and upset to defend herself. She begins to
SOB quietly, but tries her best to hide it from William.
WILLIAM (Cont.)
Tell me one thing, Mary. Was any of
it true? Have you and Christian
already planned to wed, or was this
all merely a fiction designed to
get me to cut my trip short?
Mary can no longer hold back her emotions, and she begins to
SOB openly. William realizes almost immediately what he has
done. He reaches out to comfort her, but she PUSHES him away
roughly.
MARY
No! None of it is true ... not now,
not anymore.
(pause)
And how crude, how inconsiderate of
you, William! How could you ...
greet me with this?
William once again reaches out to comfort his sister; this
time, she does not resist. A SERVANT begins removing William's
trunks from the coach.
WILLIAM
Please, forgive me, Dearheart. If
you could only know what I have
been through.
(pause)
But no, what I have been through is
no excuse. Even if it were, I shall
make no excuses for my actions any
longer. Mary, you're all I have
left.
Mary remains in his arms until her SOBBING eventually begins
to subside. William holds her at arm's length and looks into
her eyes.
MARY
Oh, William....
WILLIAM
Yes?
MARY
William, it's simply not entirely
your fault. It's Christian. Ever
since you've gone away, he's
become, well ... increasingly
infuriating.
WILLIAM
How so?
MARY
I can't say exactly.
William reads his sister's face.
WILLIAM
The letter was his idea, was it
not? I know my friend well enough
to recognize his hand when I see
it. I tell you, Mary, if he has
forced himself upon you in even the
slightest way, I'll see to it that
he doesn't -
MARY
No, no ... it's not that at all. I
mean yes, the letter was his idea.
But at the time, I was as
enthusiastic about the notion of
engagement as he was. I just don't
know.
(pause)
William?
WILLIAM
Yes, Dearheart?
MARY
Is it possible to fall out
of love?
WILLIAM
I can only hope.
The servant, having finished removing the three trunks from
the coach, approaches.
SERVANT
Sir? Shall I bring these inside?
WILLIAM
Oh, yes, certainly. To my room.
I'll be right in.
MARY
Three trunks? I thought you only
brought two of them with you. Oh,
now you certainly can't be bringing
back such an inordinate amount of
memorabilia!
William walks toward the house.
WILLIAM
The third is ... nothing, not my
own. I mean, nothing to be
concerned with.
William enters the house. Mary just stands there, slightly
dazed.
INT. AUBREY HOME (WILLIAM'S ROOM) - EVENING
The servant, aided by a young HELPER, places the third trunk
in a corner of a room, directed by William. Mary watches from
the doorway.
MARY
Where exactly do you plan to put
all these things, anyway?
WILLIAM
I told you, it's nothing to be
concerned with.
MARY
Oh, I can't help but be curious.
You leave with one man's
possessions, and you return with
enough for two!
WILLIAM
Don't be absurd. It's only one more
trunk.
MARY
Certainly, but this trunk is big
enough to hold a dead body!
WILLIAM
Mary!
Mary suddenly realizes she may have let a major faux pas slip.
MARY
Oh, William ... Ianthe! Oh, I
certainly didn't mean ... I'm so
sorry!
WILLIAM
No, no.
(pause)
I'm the one who should apologize.
I'm still tired from my trip. And
besides, I'm sure you have a lot on
your mind, with your first drawing
room as a member of society
tomorrow night. That is tomorrow
night, is it not? I wanted to be
sure I returned in time.
MARY
Yes, William. Tomorrow. And I can
only hope Christian is not the only
man there vying for my hand.
WILLIAM
I'm certain he won't be the only
choice. As certain as I am that
he'll be the best choice all the
same.
MARY
I wouldn't be so certain of
anything.
WILLIAM
Well, regardless ... I think I
should just get to sleep now - I
won't be of any use to anyone
tomorrow if I'm still in this
condition.
MARY
Oh, very well. I think I'll go take
a walk in the garden before
retiring. The summer night air has
always helped clear my head.
Goodnight, William.
WILLIAM
Goodnight, Dearheart.
She exits. William just stares after her, the concerned older
brother.
EXT. AUBREY HOME (GARDEN) - DUSK
The night carries few noises other than those of the fountain
GURGLING its waters into the air. The sun has just set. Only
an occasional passing cloud blocks a brilliant crescent moon.
Mary walks into this scene, further enhancing its beauty. She
circles the fountain, staring into its center, then eventually
sits on one of the benches.
MARY
Ah, Christian. Tomorrow you must
attempt to earn back what was once
yours for the taking.
Mary takes a DEEP BREATH, enjoying the night air. After
staring at the fountain a few moments, she hears a RUSTLING
off in the garden.
She turns her head about, trying to find the source of the
noise. Just as she's nearly satisfied that it was merely her
imagination playing tricks on her, the RUSTLING repeats. Now
certain of the direction, she jerks her head to her left.
P.O.V. MARY:
A pair of glowing eyes flashes for a moment in the darkness of
the garden. As if sensing they were seen, they disappear in an
instant.
MARY (O.S.)
Who is it? Who's there?
END P.O.V.
Mary stands.
MARY (Cont.)
Christian?
FADE TO:
INT. AUBREY HOME (WILLIAM'S ROOM) - MORNING
Brilliant sunshine floods the room from an open window. A
gentle breeze ruffles the canopy about William's bed.
William has set himself about the task of unpacking the
trunks. One empty trunk stands in a corner of the room, and
another nearly empty one sits open on a low table. The third
trunk - the largest -sits on the floor by the table, closed.
William removes some clothing from the open trunk and carries
it to a bureau.
A mournful look comes across William's face as he returns to
look in the trunk. He stands and stares into it for a moment,
as if he cannot bear to remove the next item. A tear forms in
his eye and rolls down his cheek.
WILLIAM
Ianthe....
Finally, he reaches in and pulls out the offending item: the
oddly-shaped dagger with which Ianthe was killed. Her blood
still stains the blade. William drops to his knees and hugs
the dagger to his body - the last reminder he has of the woman
he loved.
As William continues to mourn his lost love, Mary suddenly
strides into his room. William's back is turned to her.
MARY
William, I was wondering what you
thought might be most appropriate
for me to wear to the drawing-room
this evening. I was thinking of the
red gown our guardians got for me
summer last, but I'm just not sure
if that would be fitting. What do
you think?
No response.
MARY
William?
With a look of combined anger and despair, William stands and
turns to face his sister. Tears cover his face. He slams the
lid of his trunk closed.
WILLIAM
Not now, Mary!
Shocked and dismayed, Mary slowly backs out of the room and
shuts the door.
William kneels again and turns back to contemplating the
dagger. He runs his finger slowly across its blade, tracing
the odd shape. He grips its handle, tests its weight....
WILLIAM
Had I only been able to get there
sooner, Ianthe ... Had I only been
able to help you.
He places the dagger down on the table and turns his head to
the large trunk.
WILLIAM (Cont.)
Or you, Ruthven.
William stands, wipes the tears from his face with the back of
his hand, then places his hands atop the trunk. With a DEEP
BREATH, he undoes the trunk's latch and lifts its lid.
Carefully, he begins lifting items out and placing them neatly
on the closed lid of his own. Gradually, neat stacks of
clothes, papers, and books form. Eventually, William stops and
gapes into the trunk with a dumbfounded look.
WILLIAM
What's this...?
Reaching his hands back into the trunk, William pulls out
several daggers and other blades. He turns each one over in
his hands as he takes them out, examining their form. They are
all meticulously clean; the sunlight glints off each one as it
turns in William's hands.
Finally, he stops again, and just stares into the trunk. Tears
again start to form. He turns back to the oddly-shaped dagger
on the table and picks it up. Reaching into the large trunk,
he pulls out a small, ornate, leather sheath.
WILLIAM
It can't be....
But it is. Placing the oddly-shaped dagger into the sheath,
William discovers they are a perfect fit. A SHUDDER runs
through his body and another tear rolls down his cheek. He
restores everything to the third trunk and slowly closes the
lid.
INT. AUBREY HOME (MARY'S ROOM) - LATER THAT MORNING
Mary is busying herself with preparations for the evening's
drawing-room. A young lady servant, CARMILLA, walks into the
room.
CARMILLA
Begging your pardon Miss Aubrey,
but, well....
MARY
Yes, Carmilla. What is it?
CARMILLA
It's Christian. Here to see you.
MARY
Christian? What the devil does he
want at this time of morning?
CARMILLA
I'm certain I don't know, Miss. But
he was rather insistent that he see
you.
William appears in the doorway. He looks haggard and pale.
MARY
Well, just tell him he'll have to
wait for tonight like any other
gentleman. I don't see any reason I
should be giving him special
treatment at this point.
CARMILLA
You're sure, Miss?
MARY
Quite sure. Only ... do make it
clear I'll see him tonight.
CARMILLA
Yes, Miss.
Carmilla exits. William just stands in the doorway until Mary
eventually notices him.
MARY
William? Is there something you
wanted?
(pause)
My god, you look as if you've just
seen a ghost.
WILLIAM
Maybe I have.
Mary guides William into her room and sits him in a large,
padded chair. He just stares into the distance.
MARY
What is it, William? What's
happened?
Another moment of staring, then William comes to suddenly, as
if being brought out of a trance.
WILLIAM
It's ... nothing, Mary. At least
nothing I have the liberty to
discuss at this time.
MARY
Then when?
WILLIAM
Later.
MARY
Tonight then? At the drawing-room?
William LAUGHS softly.
WILLIAM
Oh, later than that, I fear. I'm
quite sure it's nothing, anyway.
Probably just my mind playing
tricks on me. Yes, that's it. Just
haven't recovered from my trip yet.
MARY
If you're sure you don't wish to
discuss it, then.
WILLIAM
Did I hear correctly? Is Christian
come to call this morning?
MARY
I'm afraid so.
WILLIAM
I've half a mind to speak with him
myself. See if he'll be willing to
tell me exactly what's going on
between the two of you. I'm
certainly not getting answers from
you.
MARY
Oh, I really wish you wouldn't do
that, brother. This is between
myself and Christian.
William SMILES.
WILLIAM
Well, I certainly wouldn't want to
incur your wrath, my dear. I
suppose I can wait until this
evening.
MARY
I can say this much: He hasn't
fallen out of my favor entirely.
He's just going to have to approach
me as any other suitor might.
William stands and walks to the window.
INSERT (EXT. AUBREY HOME - MORNING): Christian mounts a horse,
and with a flick of the reins, he hastens away.
WILLIAM
I'm sure he's up to the challenge.
MARY
We'll see.
FADE TO:
INT. COACH (MOVING) - EVENING
Mary sits across from William in a small coach led by a single
horse. She is dressed in the red gown that she alluded to
earlier. William is dressed in black.
WILLIAM
Where is this again?
MARY
How many times must I tell you,
William? It's at Lord Jonas's
estate. Out in the country? You
said yourself it would be the
perfect place for my "official"
entry into the scene.
WILLIAM
Yes, of course. My apologies,
Dearheart ... my mind is elsewhere.
MARY
Still abroad, no doubt.
WILLIAM
Oh, maybe, I suppose. I still think
I might've been better off back
home, rather than hinder you with
my thoughtlessness.
MARY
Nonsense. I need you here. Besides,
I wouldn't think to leave you alone
to swim in your melancholy. You
haven't been stable of mind since
you returned from your trip. Being
out among people will do you good.
William forces a SMILE.
WILLIAM
How like you, to be concerned about
your pitiful brother when this day
should be special for only you.
MARY
Don't bother yourself about that.
EXT. JONAS ESTATE - EVENING
The Jonas Estate is nestled among rolling hills in the English
countryside. It is another crisp, clear evening as Mary and
William's coach pulls up to the back of a short line of
coaches. The line winds along a rocky path that leads up to
the main building on the estate - a huge, white, pillared
mansion.
As the coach reaches the front of the line, Christian can be
seen waiting by the front door. Beside Christian stands the
EARL OF MARSDEN. Marsden is a young man with short brown hair,
who bears a resemblance to Lord Ruthven. As William opens the
door to his coach, Marsden enters the mansion.
CHRISTIAN
William! How wonderful to see you
again, my friend. I trust this
evening finds you in good health?
WILLIAM
Good enough, I suppose.
William exits the coach and helps his sister out behind him.
Christian and Mary gaze at each other, but neither can seem to
find the words to speak. William attempts to break the
tension.
WILLIAM
Um ... quite the crowd here
tonight. I suppose we should head
inside, Mary? People are probably
expecting to see you.
MARY
Yes ... certainly.
William takes Mary's arm and leads her inside, with an
apologetic glance at Christian. Christian follows a few steps
behind.
INT. JONAS DRAWING ROOM - EVENING
The huge room is packed nearly shoulder-to-shoulder with
GUESTS. A small but LOUD orchestra is situated under a large
window to one side of the room. A section of floor in front of
the orchestra has been set aside for dancing; several COUPLES
twirl to the music.
SERVANTS weave through the crowd, offering platters of food
and drink to the guests. The large, boisterous crowd seems to
be thoroughly enjoying itself.
William walks Mary into the middle of this scene and lets her
go. Mary mouths a few words of protest, but we cannot hear for
the NOISE of the crowd and the orchestra. Eventually, Mary
goes off on her own, and William retreats to a corner of the
room.
INT. JONAS DRAWING ROOM (WILLIAM'S CORNER) - EVENING
William grabs a glass of wine off a tray as a servant zips by.
He attempts in vain to find a spot to stand that has a bit of
elbow room - the crowd is simply too big. He goes to take a
sip of wine, but someone jostles him. He jerks his head to the
right.
RUTHVEN'S VOICE
William ... remember your oath.
No one is there.
William stands, fixed in his position. He moves nothing but
his eyes, which sweep the room in search of the source of the
voice he has just heard. Finally, he spots a figure across the
room. His eyes lock, and all the color drains from his face.
P.O.V. WILLIAM:
The Earl of Marsden stands in a small group, drinking and
laughing heartily.
END P.O.V.
WILLIAM
It can't be!
A small group of FRIENDS near William turn to him at this
outburst. One starts to CHUCKLE, but a second motions for him
to stop.
SECOND FRIEND
Sir? I say, sir? Is everything
alright?
William responds by dropping his glass of wine to the floor
with a CRASH. His legs give out, and he nearly drops to the
floor himself before the second friend grabs him. The first
friend begins to CHUCKLE again.
FIRST FRIEND
Well, this one seems to have been
into the drink a bit early,
wouldn't you say?
SECOND FRIEND
I would guess he has.
Having spotted William from across the room, Christian makes
his way over.
SECOND FRIEND (Cont.)
You don't suppose he came in with
anyone, do you?
CHRISTIAN
William ... what is it? What's
happened?
FIRST FRIEND
There's your answer.
SECOND FRIEND
Seems your friend's had a bit much
to drink already, sir. I'd be happy
to help you out with him.
(pause)
If that's what you'll want to be
doing, of course.
Christian turns his head, looking about the room to see if he
can spot Mary.
CHRISTIAN
Ah ... yes, I suppose that's for
the best. Just bring him out front;
I'll find his coach driver and meet
you there. And thank you for your
kindness.
SECOND FRIEND
My pleasure.
The second friend leads William gingerly toward the exit.
Christian starts weaving his way into the crowd, getting
pushed this way and that as he walks.
CHRISTIAN
Damn ... where have you gotten to,
Mary?
Christian eventually gives up his attempts to work through the
crowd. He stops, takes one final look around, and SIGHS. With
a new determination in his step, he heads for the door.
INT. JONAS DRAWING ROOM (DANCING FLOOR) - EVENING
Mary, with a beaming smile on her face, waltzes with a young
BLOND MAN. She seems to be enjoying herself immensely, until
she spies Christian scurrying out of the drawing room. Her
smile subsides.
INT. AUBREY HOME (LIBRARY) - DAY
Mary sits in one of the leather-backed library chairs, sipping
from a cup of tea. She stares at the stacks of books and waits
patiently. Eventually, Christian steps out with a thick book
open in his hands.
CHRISTIAN
Here we are. I'm sure this volume
can offer some answers to William's
dementia. How long has he been like
this now?
MARY
Christian, I really don't wish for
you to attempt to solve my
brother's health problems. It's not
your place to do anything of the
kind. In fact, I'm not entirely
sure what your place is in my home
at all.
CHRISTIAN
Humor me, Mary ... will you,
please? On just this one topic, try
to at least work with me instead of
against me? Is this so much to ask?
No answer.
CHRISTIAN (Cont.)
I've accepted the fact that if you
ever did love me, you no longer do.
I can accept that much. I cannot be
pleased with it, but I can accept
it. What I cannot accept is that
you no longer love your brother. If
there were ever two people more
clearly meant to be related
than you and William, I have surely
not encountered them. Nor do I ever
expect to encounter such a pair.
You love your brother, Mary. And he
loves you, perhaps even more. For
him Mary, not for me, can we just
cooperate on this matter? I do what
I do to help him. I have no
selfish motives.
Mary finishes her tea and places the cup and saucer on a table
beside the chair.
MARY
Three weeks. He's hardly left his
room in the past three weeks.
CHRISTIAN
Good heavens! It's been that long?
MARY
You're the one who extracted him
from that drawing-room.
Christian begins thumbing through the book.
MARY (Cont.)
Really, Christian ... you can't
expect to find any answer in there.
I think it's past time to call in
the doctor, see if he can't help my
brother.
Christian SIGHS and shuts the book.
CHRISTIAN
I suppose you may be right. I
simply don't like feeling like I
can't be of any help when it comes
to a friend such as William. I must
do all I can to speed his recovery.
(pause)
And if that means medical help,
then so be it. Who knows, perhaps
he might even be well enough by
tomorrow night to accompany you to
your aunt's.
INT. AUBREY HOME (WILLIAM'S ROOM) - DAY
William quickly paces back and forth across the length of the
room. His clothes are unwashed, and his face has a scraggly
mess of a beard. The bags under his eyes make it look as if he
hasn't slept in weeks. The distant voices of Christian and
Mary waft into the room:
MARY (O.S.)
I'm surprised you'd even mention
such an event. Strictly arranged to
marry me off, I've no doubt.
CHRISTIAN (O.S.)
Why be surprised then? Just because
I'm convinced you no longer love me
doesn't mean I'm convinced I can
never win you back.
MARY (O.S.)
Judging by the drawing-room the
other week, you'll certainly have
your competition.
William ceases his pacing at this last statement. He swings
his head toward his door and stares at it in disbelief for a
moment.
WILLIAM
Mary, married! I-I had never even
considered it up to now, but ...
alas, what an addle-minded fool am
I. Of course, marriage!
He begins pacing again, now with his hands gripping the sides
of his head tightly.
WILLIAM
But what of ... the fiend! Should
she, or should Christian ... should
Mary encounter him, should either,
they'll know not what to expect!
No, still ... it's still simply not
possible what I saw. What I saw, I
could not have seen! Or perhaps I
have indeed gone mad.
The pacing again stops, and William turns back to the door.
WILLIAM
Proof, is what I need. If I only
could see the man again, could
prove that what I saw was indeed
what I saw, then....
(pause)
But the oath. Oh, oath be damned if
what I saw was what I saw! How
could I allow such a man to move
among society freely, as freely as
might I.
William's eyes light up, as if he's suddenly found the answer
to an ancient riddle. He begins pacing again, slower, with his
hand pointing at the air as it outlines a plan.
WILLIAM
Of course! I must myself enter
society again, for to catch a
glimpse of the man, I must move in
the same circles as he might. I
must myself accompany Mary to our
aunt's, for to enter society, I
must once again prove myself fit.
I'm sure ... I know I can do this.
For mine own sanity, I can do this.
His pacing carries him out of the room.
INT. AUBREY AUNT'S FLAT - NIGHT
A moderately large flat in London. A soft rain falls outside,
the wind occasionally blowing it against the window with a
PATTERING sound. The scene is much more sedate than a drawing
-room. Musicians are nowhere to be found; only the CHATTER of
guests is heard.
William sits by himself, in a chair with its back to the wall.
He has kept the beard, but it is neatly trimmed. His clothes
are impeccable, but the bags under his eyes remain. He drinks
from a glass of red wine. His eyes are fixed on Mary, who
stands in another section of the room (separated by an
archway), surrounded by a semicircle of SUITORS.
MARY
No, I'm trying to tell you, the man
swore it had been a Chianti!
SUItoR 1
But it wasn't?
MARY
Oh, that's really not important.
The point is, he actually tried to
convince me that he could
drink the red out of a wine!
SUItoR 2
And you believed him?
MARY
He's my older brother, how could I
not? So ... I went through almost
ten years believing my brother had
the ability to turn a wine from red
to white.
They all LAUGH - some more patronizingly than others.
SUItoR 2
I know of only one thing that could
have the chance to change a red
wine to white.
MARY
Oh? And just what might hold that
magic?
SUItoR 2
Your beauty.
Suitor 2 tilts his glass to Mary, then drinks. Mary merely
BLUSHES demurely. More TALKING and LAUGHTER ensues.
Most of the guests who have not circled around Mary have begun
to leave; William observes their departure intently. As the
last few guests make their way out the door, William makes a
decision:
WILLIAM
Time to leave.
He stands and begins to walk to the archway and into the other
room to fetch Mary. He finds her quite unreachable due to the
six or so suitors who have formed a neat little cocoon around
her.
WILLIAM
Excuse me.
He puts his hand on Suitor 2's shoulder, and proceeds to turn
the man around and out of his way.
WILLIAM
Sir, if you'd kindly pardon me so
that I might get to -
William cuts himself off as he looks into Suitor 2's eyes and
finds he is the same Earl of Marsden that he saw across the
room a month earlier. He stares for a moment into the Earl's
eyes - those eyes in turn GLOW for but a moment.
Mary spots William staring at Marsden.
MARY
Oh, William! I don't believe you've
had the pleasure of meeting
Charles, the Earl of Marsden.
Charles, my brother, William.
William steps into the semicircle of suitors, GRABS his
sister's arm, and drags her away.
MARY
William! William, what are
you doing? I was talking to those
gentlemen. William, you're being
very rude.
He doesn't answer, but continues to force her out of the
apartment. As he descends a final flight of stairs before the
door to the street, a whisper reaches his ear:
RUTHVEN'S VOICE
Remember your oath!
Reaching the night air, William PUSHES his way through the few
servants who remain waiting for their lords and ladies. He
finds his own coach, SHOVES Mary inside, and SLAMS the door
after her.
INT. COACH - DAY
William enters the coach and sits opposite Mary; the coach
begins moving almost immediately. A wild look is in William's
eyes. He gazes out the window as if to check for someone
following them.
MARY
William.
He continues checking out the window.
MARY
William!
WILLIAM
What?
MARY
William, what in the name of the
Lord has gotten into you? Are you
still my brother? Do you still care
about my life, my happiness?
WILLIAM
Yes.
MARY
Do you!?
William finally pulls his head away from the window.
WILLIAM
Yes! Mary, I care for you more
than, more than ... than you or I
can possibly imagine! But if ... I
can't have seen what I have seen.
Ah, but if you could only know how
I care, if I could only tell
you....
MARY
Then tell me, William. Tell me how
you can ruin my life if you still
care.
Mary begins to CRY.
WILLIAM
But I do! I do!
Mary's CRYING continues. She is too distraught to continue
questioning her brother. He returns to checking out the
window, still seeming concerned as if something or someone
might be following them close behind.
WILLIAM
I do ... I do....
INT. AUBREY HOME (GARDEN) - EVENING
Mary and the Earl of Marsden sit by the fountain.
MARY
I'm just concerned for his health
and safety, Charles.
MARSDEN
It's not as if I'm not concerned as
well, Mary. I mean, I've not had
the pleasure of meeting your
brother under brighter
circumstances, but that doesn't
mean I don't care for him. Your
love for him is reason enough for
me to be concerned, for you do not
give your love lightly. I only hope
that one day, I might earn such
affection from one so fair as you.
Mary SMILES.
MARY
This constant flattery may soon get
you what you wish.
MARSDEN
Dare I dream?
EXT. LONDON - EVENING
William walks through the filthier streets of the city. A
strong breeze blows his greasy hair in and out of his face at
intervals. He never bothers to brush it away. His clothes have
become ragged and torn, but he doesn't seem to mind. He just
continues to walk at a steady place toward no particular
destination.
MARY V.O.
Dreams were made to come true, in
my opinion.
MARSDEN V.O.
Well then, I suppose I shall
continue to dream the very best of
dreams.
William turns a corner. Two DRUNKARDS stop a CONVERSATION to
stare at him, but he pays them no heed. A few paces past the
drunkards, he MUMBLES something incoherently.
MARY V.O.
I think he's out walking again.
(pause)
Charles, there are often days at a
time that I don't see him. I have
no idea where he goes, and he
refuses to talk to me about it -
any of it. I've tried to have
people follow him, but they always
claim he just disappears from their
view. I simply can't find any clues
as to what could possibly be
troubling him so.
MARSDEN V.O.
Don't you think it's time to get
him some more reputable help? The
doctors who have been seeing him
are not exactly the best available.
EXT. AUBREY HOME (GARDEN) - EVENING
The Earl of Marsden has moved closer to Mary on the bench as
they continue their conversation.
MARY
I think it's more a cost issue than
anything else. Our guardians have
never exactly been generous with
our parents' fortune.
(pause)
I often think they'd rather William
lose his faculties completely.
MARSDEN
Oh, Mary ... if it's a money issue,
then it's a non-issue. I'm more
than happy to assist.
MARY
Charles, I often wonder why you're
so generous to me.
MARSDEN
You mean it isn't that obvious? I
always hoped I was subtle, but
never thought I actually was.
Mary SMILES at the comment. Marsden slowly leans in and KISSES
her softly on the cheek. Mary, however, turns his face, and
the KISS soon turns passionate.
EXT. LONDON - EVENING.
William stops walking. He turns around and begins walking in
the other direction.
INT. AUBREY HOME (WILLIAM'S ROOM) - AFTERNOON
William lies in his bed, looking simply awful. A well-dressed
DOCTOR stands over him, lifting his closed eyelids one by one,
as Mary looks on. William is unresponsive.
DOCTOR
How long did you say he's been back
from his trip?
MARY
Oh, let's see.... I think it's been
nearly ten months now.
DOCTOR
And how long has he been in this
condition?
MARY
I'm not entirely certain, doctor.
That is, he's slipped in and out of
this melancholia for the past six
months. Sometimes he seems
perfectly normal, coherent, other
times....
Mary trails off and rubs her eyes wearily.
DOCTOR
I see. I'm sorry, Miss Aubrey ... I
just have a few more questions.
MARY
I understand.
DOCTOR
When he's been more ... coherent,
did he try to interact with you,
with his friends?
MARY
That's really when it got most
frightening. He would seem fine at
first. Except for his looks. His
eyes haven't seemed quite right
since before he ever left on that
trip. So I guess everyone was sort
of suspicious of him when he
entered a room.
INT. DRAWING ROOM - NIGHT
Flashback. A moderately crowded drawing-room, with the
standard string ensemble and guests. William walks in from a
side room, looking less than his best. His dress is formal,
but it looks as if it was hung on him. The large bags droop
below his bloodshot eyes and his hair - rather long now -
hangs loosely about his face. The only sound we hear is the
continuance of Mary's conversation with the doctor.
MARY V.O.
Not that he didn't give a need for
that suspicion. It's no doubt that
his actions have been peculiar for
months. He would wander around all
day ... usually return at night to
sleep in his own bed. Sometimes,
though, he'd disappear for days ...
never giving any indication as to
where he'd been once he returned.
It got to be so we were forced to
keep him here, in his room, under
lock and key. But then, like I
said, he'd show signs of coherence,
so we'd do our best to let him go
as he pleased. Anyway, when he'd
accompany me to drawing-rooms and
the like, he'd usually act normally
for a while, though he'd keep
somewhat to himself.
William begins to wander about the room. He just observes at
first, but eventually he starts approaching individual guests,
animatedly speaking to them, and gesturing wildly.
MARY V.O. (Cont.)
Eventually, as the night
progressed, he would start going
around to the guests and
warning them of their
impending doom. He never got
specific about anything, what form
the doom was going to take, when
exactly it was impending, and so
forth. If anyone was actually brave
enough to engage William, ask him
what danger exactly was in their
midst, his only response would be -
WILLIAM
True! True!
MARY V.O. (Cont.)
Which was the same answer he'd give
me whenever I questioned him about
anything.
(pause)
Um, meaning, of course, he's given
me the same warnings of my doom.
Keeps warning me "not to go near
him," "if you have any love for me
left in you, do not touch him,"
things like that.
INT. AUBREY HOME (WILLIAM'S ROOM) - AFTERNOON
The doctor looks up from William and turns to Mary.
MARY
Lately, he's taken to counting when
I come in.
DOCTOR
Counting?
MARY
Yes. Like he'll mark off a number,
count it out on his fingers. Seems
like he's trying to calculate
something, I don't know. So he'll
count out some number and then just
smile. I mean, it's not much, but
at least I still get to see him
smile.
DOCTOR
When's the wedding, Mary?
Mary SMILES gleefully.
MARY
This time tomorrow, doctor.
DOCtoR
You do understand that William will
simply not be in any condition to
attend?
The smile quickly fades from Mary's face.
MARY
I can always dream. If there is
anything my future husband has
taught me, it's that there is never
harm in dreaming.
The doctor walks to Mary and leads her out of the room with a
hand on her shoulder. William lies alone in bed.
DOCTOR (O.S.)
In this case, I fear there is. I'd
recommend keeping this room well
guarded tomorrow. If you wish your
wedding to occur without incident,
your brother is not to
attend under any circumstance, no
matter how much you may desire it.
William's eyes pop open.
MARY (O.S.)
I suppose you're right.
WILLIAM
Wedding?
EXT. AUBREY HOME (GARDEN) - MORNING
The garden is made up in spectacular fashion for Mary's
wedding. Rows of chairs are set out in an open area. It seems
as if the entire garden is in bloom on this one day. SERVANTS
still set up a few last minute items: food on tables that line
the exterior of the garden, a few flowers along the sides of
the path that lead through the rows of chairs, a wooden plank
that serves as a stage in front of a row of flowering bushes.
INT. AUBREY HOME (WILLIAM'S ROOM) - MORNING
William sits on his bed. He is clean-shaven and well-dressed,
but still has a wild look in his eyes. A LARGE SERVANT stands
in his room, in front of a closed door.
WILLIAM
Don't be absurd! This is my own
sister's wedding for God's sake!
LARGE SERVANT
I'm sorry, Master Aubrey. I have
strict orders from your guardians,
Miss Aubrey, and the Earl of
Marsden, that you are not to -
WILLIAM
Do not say that name! I never want
to hear that name uttered from your
or anyone else's mouth when in my
presence! Should I hear you speak
that vile name again, I'll be
certain to wring your neck!
LARGE SERVANT
As you wish.
The servant knocks three times on the door behind him, and it
opens a crack to allow him egress. William SNEERS after the
servant.
WILLIAM
Addle-minded fool.
William walks over to his window, which overlooks the garden.
He watches the preparations proceed for his sister's wedding
and frowns.
INT. AUBREY HOME (OUTSIDE WILLIAM'S ROOM) - MORNING
The large servant and another GUARD stand outside the door,
talking.
LARGE SERVANT
I tell you, the man has simply lost
his mind. He just threatened to
kill me.
GUARD
Oh, he did not!
LARGE SERVANT
Sure as I'm standing on this spot
here and now he did. Threatened to
throttle me if I mentioned the
Earl's name to him.
(pause)
I feel sorry for the lad, not being
able to attend his sister's wedding
and all, but there's got to be
better ways of going about this.
Three KNOCKS sound on the door to William's room.
GUARD
Now what's this?
LARGE SERVANT
(to door)
What is it this time, Master
Aubrey? You know I can't let you
out of there, sorry though I may be
on it.
WILLIAM (O.S.)
No, no ... I understand. It's not
that. Under the door.
The guard looks down to the floor under the door as a neatly
folded sheet of paper is slipped out beneath it.
WILLIAM (O.S.)
You'll be sure my sister gets that,
won't you? I mean, it's the least I
can be allowed, right? My only
sister's wedding ... I can accept
being stuck in this room, but can
you at least deliver this to her?
The guard kneels down picks up the paper just as the doctor
approaches.
GUARD
I'll see that it's done, sir.
WILLIAM (O.S.)
Thank you, oh thank you kindly. You
have my word, then, I won't be any
more trouble. I won't need to be.
GUARD
Um, certainly, sir.
The doctor grabs the paper out of the guard's hands.
DOCTOR
What's this?
LARGE SERVANT
Letter, I guess. Master Aubrey
wants it delivered to his sister.
We were just about to go and give
it to her.
DOCTOR
I'll be the judge of that.
He scans the letter.
DOCTOR (Cont.)
Best not to give this to her. I
don't think on the day of her
wedding that Miss Aubrey ought to
be any further harassed by the
ravings of a madman such as her
brother.
The doctor walks away. The guard shrugs.
INT. AUBREY HOME (WILLIAM'S ROOM) - AFTERNOON
William reclines on his bed, looking a bit better than he did
earlier. He seems almost relaxed. Eventually, the sound of
approaching HORSES can be heard out his window. He lifts his
head with a questioning look on his face.
Slowly, he rises from the bed and makes his way to the window.
He cranes his neck to see outside.
WILLIAM
It can't be!
INSERT (EXT. AUBREY HOME - AFTERNOON): Several carriages
arrive at the front of the house. Well-dressed lords and
ladies exit and make their way back to the garden.
WILLIAM
Damn!
He begins PACING about the room, hands grasping his head.
INT. AUBREY HOME (OUTSIDE WILLIAM'S ROOM) - AFTERNOON
Only the one guard remains outside the door. Sound of BUSY
PREPARATION waft up from other areas of the house. The guard
keeps walking down the hall, attempting to hear the various
bits of conversation. He has obviously grown bored with his
task.
Eventually, an older WOMAN SERVANT happens by. The guard stops
her in her path.
GUARD
Excuse me ... it's Genevieve,
right?
GENEVIEVE
That's right.
GUARD
Genevieve, I'm wondering if you
might be willing to do me a little
favor for a few minutes?
GENEVIEVE
What's that?
GUARD
Could you just watch this door
while I take a peek out at the
garden? I've just got to know what
the crowd out there looks like - I
keep hearing from the others
walking by here, but I'm supposed
to watch the door, keep Master
Aubrey from coming out and spoiling
his sister's affair. You know how
he's been.
Genevieve SMILES.
GENEVIEVE
Oh, I don't think he'll be any
trouble. You go ahead, watch the
ceremony if you like. I've seen
plenty of weddings for a while
anyway.
GUARD
Much obliged ... I'll do my best
not to be long.
The guard turns to walk away.
INT. AUBREY HOME (WILLIAM'S ROOM) - AFTERNOON
William stands with his ear to the door, listening to the
conversation on the other side.
GENEVIEVE (O.S.)
You take your time.
William runs over to his window and looks out at the garden
below. Through his window, we can see that the various guests
have all assembled; the wedding is set to begin shortly.
William paces away from the window, returns to take a second
glance, then makes up his mind.
With a few steps to get up some speed, he RUNS full force and
THROWS his body against the door. The door flies open almost
as if it were never locked. On the other side, Genevieve is
KNOCKED into the wall, and drops to the ground, out cold.
William walks briskly out of his room and pays her no heed.
INT. AUBREY HOME (STAIRWAY) - AFTERNOON
At the bottom of the stairway, a few servants make some last
-minute preparations. The Earl of Marsden stands obscured by a
door that opens onto the garden.
At the top of the stairway, William rounds a corner, slips,
and runs into a wall with a SMASH. The servants and the Earl
all turn their heads to the sound. William regains his balance
and begins to make his way NOISILY down the stairs.
The Earl notices his descent, and quickly walks to the
stairwell. GRABBING William forcefully by the arm, he hurries
him back up to the top of the stairs. The servants return to
their duties as if nothing has happened.
MARSDEN
Remember your oath, William ... and
know, if not my bride today, you
sister is dishonored. Women are
frail!
William is speechless. His entire body begins to QUIVER; he
would collapse if Marsden did not retain his tight grip on his
arm.
The large servant and guard come running down the hallway.
Marsden looks up at them, then tosses William to them as if he
were nothing more than a rag doll.
MARSDEN
See that he doesn't get out again.
I don't want my bride to see him in
this condition.
GUARD
Yes, sir.
They carry him away. A servant calls from the bottom of the
stairwell.
SERVANT
Master Charles; they're ready for
you now.
Marsden proceeds slowly down the stairs.
INT. AUBREY HOME (WILLIAM'S ROOM) - MORNING
William lies in bed, a blanket pulled up to his chin. His face
is quite red, bloodshot eyes are open, staring straight ahead.
He seems to be struggling merely to breathe.
After a moment, the doctor enters. He leads Christian into the
room.
DOCTOR
I'm afraid I doubt he has much left
in him. He asked to see you.
CHRISTIAN
Thank you, doctor.
The doctor exits. Christian slowly approaches William's
bedside.
CHRISTIAN
William?
William is slow to respond. Sweat streams down his face. He
finally struggles to speak.
WILLIAM
Mary's wedding. Went forward, I
assume?
CHRISTIAN
Certainly. A beautiful ceremony.
From what I was told.
WILLIAM
The bride and bridegroom?
CHRISTIAN
In Paris. To return in about a
month, I believe.
William CHOKES for an instant, and the redness in his face
increases to unbelievable levels.
WILLIAM
They will not return.
CHRISTIAN
William, please ... for once,
explain yourself, I implore you.
William CHOKES again. This time, a trickle of blood spills out
his nose. A moment later, he attempts to speak again, but it
only comes out as another CHOKE. A red-stained tear spills out
of his eye. He struggles to get out his last words:
WILLIAM
The vampyre!
EXT. PARIS - NIGHT
A FULL MOON shines brilliantly.
INT. PARIS INN - NIGHT
A set of glowing eyes flash bright red. In the dim light, a
man's figure swoops down, attacking a woman lying on a bed. A
SCREAM pierces the silence.
FADE OUT.
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