THE SEVENTH SEAL

by

Ingmar Bergman

Converted to PDF and contributed by RonCecchini@comcast.net

The night had brought little relief from the heat, and atdawn a hot gust of wind blows across the colorless sea. TheKNIGHT, Antonius Block, lies prostrate on some spruce branchesspread over the fine sand. His eyes are wide-open andbloodshot from lack of sleep.

Nearby his squire JONS is snoring loudly. He has fallen asleepwhere he collapsed, at the edge of the forest among the wind-gnarled fir trees. His open mouth gapes towards the dawn,and unearthly sounds come from his throat. At the suddengust of wind, the horses stir, stretching their parchedmuzzles towards the sea. They are as thin and worn as theirmasters.

The KNIGHT has risen and waded into the shallow water, wherehe rinses his sunburned face and blistered lips. JONS rollsover to face the forest and the darkness. He moans in hissleep and vigorously scratches the stubbled hair on his head.A scar stretches diagonally across his scalp, as white aslightning against the grime.

The KNIGHT returns to the beach and falls on his knees. Withhis eyes closed and brow furrowed, he says his morningprayers. His hands are clenched together and his lips formthe words silently. His face is sad and bitter. He opens hiseyes and stares directly into the morning sun which wallowsup from the misty sea like some bloated, dying fish. The skyis gray and immobile, a dome of lead. A cloud hangs mute anddark over the western horizon. High up, barely visible, aseagull floats on motionless wings. Its cry is weird andrestless. The KNIGHT'S large gray horse lifts its head andwhinnies. Antonius Block turns around.

Behind him stands a man in black. His face is very pale andhe keeps his hands hidden in the wide folds of his cloak.

KNIGHTWho are you?

DEATHI am Death.

KNIGHTHave you come for me?

DEATHI have been walking by your side fora long time.

KNIGHTThat I know.

DEATHAre you prepared?

KNIGHTMy body is frightened, but I am not.

2.

DEATHWell, there is no shame in that.

The KNIGHT has risen to his feet. He shivers. DEATH openshis cloak to place it around the KNIGHT'S shoulders.

KNIGHTWait a moment.

DEATHThat's what they all say. I grant noreprieves.

KNIGHTYou play chess, don't you?

A gleam of interest kindles in DEATH'S eyes.

DEATHHow did you know that?

KNIGHTI have seen it in paintings and heardit sung in ballads.

DEATHYes, in fact I'm quite a good chessplayer.

KNIGHTBut you can't be better than I am.

The KNIGHT rummages in the big black bag which he keeps besidehim and takes out a small chessboard. He places it carefullyon the ground and begins setting up the pieces.

DEATHWhy do you want to play chess withme?

KNIGHTI have my reasons.

DEATHThat is your privilege.

KNIGHTThe condition is that I may live aslong as I hold out against you. If Iwin, you will release me. Is itagreed?

The KNIGHT holds out his two fists to DEATH, who smiles athim suddenly.

DEATH points to one of the KNIGHT'S hands; it contains ablack pawn.

3.

KNIGHTYou drew black!

DEATHVery appropriate. Don't you thinkso?

The KNIGHT and DEATH bend over the chessboard. After a momentof hesitation, Antonius Block opens with his king's pawn.DEATH moves, also using his king's pawn.

The morning breeze has died down. The restless movement ofthe sea has ceased, the water is silent. The sun rises fromthe haze and its glow whitens. The sea gull floats under thedark cloud, frozen in space. The day is already scorchinglyhot.

The squire JONS is awakened by a kick in the rear. Openinghis eyes, he grunts like a pig and yawns broadly. He scramblesto his feet, saddles his horse and picks up the heavy pack.

The KNIGHT slowly rides away from the sea, into the forestnear the beach and up towards the road. He pretends not tohear the morning prayers of his squire. JONS soon overtakeshim.

JONS(sings)

Between a strumpet's legs to lie Is the life for which I sigh.

He stops and looks at his master, but the KNIGHT hasn't heardJON'S song, or he pretends that he hasn't. To give furthervent to his irritation, JONS sings even louder.

JONS(sings)

Up above is God Almighty So very faraway, But your brother the Devil Youwill meet on every level.

JONS finally gets the KNIGHT'S attention. He stops singing.The KNIGHT, his horse, JONS'S own horse and JONS himselfknow all the songs by heart. The long, dusty journey fromthe Holy Land hasn't made them any cleaner. They ride acrossa mossy heath which stretches towards the horizon. Beyondit, the sea lies shimmering in the white glitter of the sun.

JONSIn Faerjestad everyone was talkingabout evil omens and other horriblethings. Two horses had eaten eachother in the night, and, in thechurchyard, graves had been openedand the remains of corpses scatteredall over the place.

(MORE)

4.

JONS (CONT'D)Yesterday afternoon there were asmany as four suns in the heavens.

The KNIGHT doesn't answer. Close by, a scrawny dog is whining,crawling towards its master, who is sleeping in a sittingposition in the blazing hot sun. A black cloud of fliesclusters around his head and shoulders. The miserable-lookingdog whines incessantly as it lies flat on its stomach, waggingits tail.

JONS dismounts and approaches the sleeping man. JONS addresseshim politely. When he doesn't receive an answer, he walksup to the man in order to shake him awake. He bends over thesleeping man's shoulder, but quickly pulls back his hand.The man falls backward on the heath, his face turned towardsJONS.

It is a corpse, staring at JONS with empty eye sockets andwhite teeth.

JONS remounts and overtakes his master. He takes a drinkfrom his waterskin and hands the bag to the knight.

KNIGHTWell, did he show you the way?

JONSNot exactly.

KNIGHTWhat did he say?

JONSNothing.

KNIGHTWas he a mute?

JONSNo, sir, I wouldn't say that. As amatter of fact, he was quite eloquent.

KNIGHTOh?

JONSHe was eloquent, all right. Thetrouble is that what he had to saywas most depressing.

(sings)One moment you're bright and lively,The next you're crawling with worms. Fate is a terrible villain. Andyou, my friend, its poor victim.

5.

KNIGHTMust you sing?

JONSNo.

The KNIGHT hands his squire a piece of bread, which keepshim quiet for a while. The sun burns down on them cruelly,and beads of perspiration trickle down their faces. There isa cloud of dust around the horses' hooves. They ride past aninlet and along verdant groves. In the shade of some largetrees stands a bulging wagon covered with a mottled canvas.A horse whinnies nearby and is answered by the KNIGHT'S horse.The two travelers do not stop to rest under the shade of thetrees but continue riding until they disappear at the bendof the road.

In his sleep, JOF the juggler hears the neighing of his horseand the answer from a distance. He tries to go on sleeping,but it is stifling inside the wagon. The rays of the sunfiltering through the canvas cast streaks of light acrossthe face of JOF'S wife, MIA, and their one-year-old son,MIKAEL, who are sleeping deeply and peacefully. Near them,JONAS SKAT, an older man, snores loudly.

JOF crawls out of the wagon. There is still a spot of shadeunder the big trees. He takes a drink of water, gargles,stretches and talks to his scrawny old horse.

JOFGood morning. Have you had breakfast?I can't eat grass, worse luck. Can'tyou teach me how? We're a littlehard up. People aren't veryinterested in juggling in this partof the country.

He has picked up the juggling balls and slowly begins totoss them. Then he stands on his head and cackles like ahen. Suddenly he stops and sits down with a look of utterastonishment on his face. The wind causes the trees to swayslightly. The leaves stir and there is a soft murmur. Theflowers and the grass bend gracefully, and somewhere a birdraises its voice in a long warble.

JOF'S face breaks into a smile and his eyes fill with tears.With a dazed expression he sits flat on his behind while thegrass rustles softly, and bees and butterflies hum aroundhis head. The unseen bird continues to sing.

Suddenly the breeze stops blowing, the bird stops singing,JOF'S smile fades, the flowers and grass wilt in the heat.The old horse is still walking around grazing and swishingits tail to ward off the flies.

JOF comes to life. He rushes into the wagon and shakes MIAawake.

6.

JOFMia, wake up. Wake up! Mia, I'vejust seen something. I've got totell you about it!

MIA(sits up, terrified)

What is it? What's happened?

JOFListen, I've had a vision. No, itwasn't a vision. It was real,absolutely real.

MIAOh, so you've had a vision again!

MIA's voice is filled with gentle irony. JOF shakes his headand grabs her by the shoulders.

JOFBut I did see her!

MIAWhom did you see?

JOFThe Virgin Mary.

MIA can't help being impressed by her husband's fervor. Shelowers her voice.

MIADid you really see her?

JOFShe was so close to me that I couldhave touched her. She had a goldencrown on her head and wore a bluegown with flowers of gold. She wasbarefoot and had small brown handswith which she was holding the Childand teaching Him to walk. And thenshe saw me watching her and she smiledat me. My eyes filled with tears andwhen I wiped them away, she haddisappeared. And everything becameso still in the sky and on the earth. Can you understand ...

MIAWhat an imagination you have.

JOFYou don't believe me!

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7.

JOF (CONT'D)But it was real, I tell you, not thekind of reality you see every day,but a different kind.

MIAPerhaps it was the kind of realityyou told us about when you saw theDevil painting our wagon wheels red,using his tail as a brush.

JOF(embarrassed)

Why must you keep bringing that up?

MIAAnd then you discovered that you hadred paint under your nails.

JOFWell, perhaps that time I made itup.

(eagerly)I did it just so that you wouldbelieve in my other visions. Thereal ones. The ones that I didn'tmake up.

MIA(severely)

You have to keep your visions undercontrol. Otherwise people will thinkthat you're a half-wit, which you'renot. At least not yet -- as far asI know. But, come to think of it,I'm not so sure about that.

JOF(angry)

I didn't ask to have visions. I can'thelp it if voices speak to me, ifthe Holy Virgin appears before meand angels and devils like my company.

SKAT(sits up)

Haven't I told you once and for allthat I need my morning's sleep! Ihave asked you politely, pleadedwith you, but nothing works. So nowI'm telling you to shut up!

His eyes are popping with rage. He turns over and continuessnoring where he left off. MIA and JOF decide that it wouldbe wisest to leave the wagon. They sit down on a crate. MIAhas MIKAEL on her knees. He is naked and squirms vigorously. JOF sits close to his wife.

8.

Slumped over, he still looks dazed and astonished. A dry,hot wind blows from the sea.

MIAIf we would only get some rain.Everything is burned to cinders. Wewon't have anything to eat thiswinter.

JOF(yawning)

We'll get by.

He says this smilingly, with a casual air. He stretches andlaughs contentedly.

MIAI want Mikael to have a better lifethan ours.

JOFMikael will grow up to be a greatacrobat -- or a juggler who can dothe one impossible trick.

MIAWhat's that?

JOFTo make one of the balls standabsolutely still in the air.

MIABut that's impossible.

JOFImpossible for us -- but not forhim.

MIAYou're dreaming again.

She yawns. The sun, has made her a bit drowsy and she liesdown on the grass. JOF does likewise and puts one arm aroundhis wife's shoulders.

JOFI've composed a song. I made it upduring the night when I couldn'tsleep. Do you want to hear it?

MIASing it. I'm very curious.

JOFI have to sit up first.

9.

He sits with his legs crossed, makes a dramatic gesture withhis arms and sings in a loud voice.

JOF(sings)

On a lily branch a dove is perchedAgainst the summer sky, She sings a wondrous song of ChristAnd there's great joy on high.

He interrupts his singing in order to be complimented by hiswife.

JOFMia! Are you asleep?

MIAIt's a lovely song.

JOFI haven't finished yet.

MIAI heard it, but I think I'll sleep alittle longer. You can sing the restto me afterwards.

JOFAll you do is sleep.

JOF is a bit offended and glances over at his son, MIKAEL,but he is also sleeping soundly in the high grass. JONASSKAT comes out from the wagon. He yawns; he is very tiredand in a bad humor. In his hands he holds a crudely madedeath mask.

SKATIs this supposed to be a mask for anactor? If the priests didn't pay usso well, I'd say no thank you.

JOFAre you going to play Death?

SKATJust think, scaring decent folk outof their wits with this kind ofnonsense.

JOFWhen are we supposed to do this play?

SKATAt the saints' feast in Elsinore.We're going to perform right on thechurch steps, believe it or not.

10.

JOFWouldn't it be better to playsomething bawdy? People like itbetter, and, besides, it's more fun.

SKATIdiot. There's a rumor going aroundthat there's a terrible pestilencein the land, and now the priests areprophesying sudden death and allsorts of spiritual agonies.

MIA is awake now and lies contentedly on her back, suckingon a blade of grass and looking smilingly at her husband.

JOFAnd what part am I to play?

SKATYou're such a damn fool, so you'regoing to be the Soul of Man.

JOFThat's a bad part, of course.

SKATWho makes the decisions around here?Who is the director of this companyanyhow?

SKAT, grinning, holds the mask in front of his face andrecites dramatically.

SKATBear this in mind, you fool. Yourlife hangs by a thread. Your time isshort.

(in his usual voice)Are the women going to like me inthis getup? Will I make a hit? No! I feel as if I were dead already.

He stumbles into the wagon muttering furiously. JOF sits,leaning forward. MIA lies beside him on the grass.

MIAJof!

JOFWhat is it?

MIASit still. Don't move.

JOFWhat do you mean?

11.

MIADon't say anything.

JOFI'm as silent as a grave.

MIAShh! I love you.

Waves of heat envelop the gray stone church in a strangewhite mist. The KNIGHT dismounts and enters. After tying upthe horses, JONS slowly follows him in. When he comes ontothe church porch he stops in surprise. To the right of theentrance there is a large fresco on the wall, not quitefinished. Perched on a crude scaffolding is a PAINTER wearinga red cap and paint-stained clothes. He has one brush in hismouth, while with another in his hand he outlines a small,terrified human face amidst a sea of other faces.

JONSWhat is this supposed to represent?

PAINTERThe Dance of Death.

JONSAnd that one is Death?

PAINTERYes, he dances off with all of them.

JONSWhy do you paint such nonsense?

PAINTERI thought it would serve to remindpeople that they must die.

JONSWell, it's not going to make themfeel any happier.

PAINTERWhy should one always make peoplehappy? It might not be a bad idea toscare them a little once in a while.

JONSThen they'll close their eyes andrefuse to look at your painting.

PAINTEROh, they'll look. A skull is almostmore interesting than a naked woman.

JONSIf you do scare them ...

12.

PAINTERThey'll think.

JONSAnd if they think ...

PAINTERThey'll become still more scared.

JONSAnd then they'll run right into thearms of the priests.

PAINTERThat's not my business.

JONSYou're only painting your Dance ofDeath.

PAINTERI'm only painting things as theyare. Everyone else can do as he likes.

JONSJust think how some people will curseyou.

PAINTERMaybe. But then I'll paint somethingamusing for them to look at. I haveto make a living -- at least untilthe plague takes me.

JONSThe plague. That sounds horrible.

PAINTERYou should see the boils on a diseasedman's throat. You should see how hisbody shrivels up so that his legslook like knotted strings -- likethe man I've painted over there.

The PAINTER points with his brush. JONS sees a small humanform writhing in the grass, its eyes turned upwards in afrenzied look of horror and pain.

JONSThat looks terrible.

PAINTERIt certainly does. He tries to ripout the boil, he bites his hands,tears his veins open with hisfingernails and his screams can be

(MORE)

13.

PAINTER (CONT'D)heard everywhere. Does that scareyou?

JONSScare? Me? You don't know me. Whatare the horrors you've painted overthere?

PAINTERThe remarkable thing is that thepoor creatures think the pestilenceis the Lord's punishment. Mobs ofpeople who call themselves Slaves ofSin are swarming over the country,flagellating themselves and others,all for the glory of God.

JONSDo they really whip themselves?

PAINTERYes, it's a terrible sight. I crawlinto a ditch and hide when they passby.

JONSDo you have any brandy? I've beendrinking water all day and it's mademe as thirsty as a camel in thedesert.

PAINTERI think I frightened you after all.

JONS sits down with the PAINTER, who produces a jug of brandy.

The KNIGHT is kneeling before a small altar. It is dark andquiet around him. The air is cool and musty. Pictures ofsaints look down on him with stony eyes. Christ's face isturned upwards, His mouth open as if in a cry of anguish. Onthe ceiling beam there is a representation of a hideous devilspying on a miserable human being. The KNIGHT hears a soundfrom the confession booth and approaches it. The face ofDEATH appears behind the grille for an instant, but the KNIGHTdoesn't see him.

KNIGHTI want to talk to you as openly as Ican, but my heart is empty.

DEATH doesn't answer.

KNIGHTThe emptiness is a mirror turnedtowards my own face.

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14.

KNIGHT (CONT'D)I see myself in it, and I am filledwith fear and disgust.

DEATH doesn't answer.

KNIGHTThrough my indifference to my fellowmen, I have isolated myself fromtheir company. Now I live in a worldof phantoms. I am imprisoned in mydreams and fantasies.

DEATHAnd yet you don't want to die.

KNIGHTYes, I do.

DEATHWhat are you waiting for?

KNIGHTI want knowledge.

DEATHYou want guarantees?

KNIGHTCall it whatever you like. Is it socruelly inconceivable to grasp Godwith the senses? Why should He hidehimself in a mist of half-spokenpromises and unseen miracles?

DEATH doesn't answer.

KNIGHTHow can we have faith in those whobelieve when we can't have faith inourselves? What is going to happento those of us who want to believebut aren't able to? And what is tobecome of those who neither want tonor are capable of believing?

The KNIGHT stops and waits for a reply, but no one speaks oranswers him.

There is complete silence.

KNIGHTWhy can't I kill God within me? Whydoes He live on in this painful andhumiliating way even though I curseHim and want to tear Him out of my

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15.

KNIGHT (CONT'D)heart? Why, in spite of everything,is He a baffling reality that I can'tshake off? Do you hear me?

DEATHYes, I hear you.

KNIGHTI want knowledge, not faith, notsuppositions, but knowledge. I wantGod to stretch out His hand towardsme, reveal Himself and speak to me.

DEATHBut He remains silent.

KNIGHTI call out to Him in the dark but noone seems to be there.

DEATHPerhaps no one is there.

KNIGHTThen life is an outrageous horror.No one can live in the face of death,knowing that all is nothingness.

DEATHMost people never reflect about eitherdeath or the futility of life.

KNIGHTBut one day they will have to standat that last moment of life and looktowards the darkness.

DEATHWhen that day comes ...

KNIGHTIn our fear, we make an image, andthat image we call God.

DEATHYou are worrying ...

KNIGHTDeath visited me this morning. Weare playing chess together. Thisreprieve gives me the chance toarrange an urgent matter.

DEATHWhat matter is that?

16.

KNIGHTMy life has been a futile pursuit, awandering, a great deal of talkwithout meaning. I feel no bitternessor self-reproach because the livesof most people are very much likethis. But I will use my reprieve forone meaningful deed.

DEATHIs that why you are playing chesswith Death?

KNIGHTHe is a clever opponent, but up tonow I haven't lost a single man.

DEATHHow will you outwit Death in yourgame?

KNIGHTI use a combination of the bishopand the knight which he hasn't yetdiscovered. In the next move I'llshatter one of his flanks.

DEATHI'll remember that.

DEATH shows his face at the grill of the confession boothfor a moment but disappears instantly.

KNIGHTYou've tricked and cheated me! Butwe'll meet again, and I'll find away.

DEATH(invisible)

We'll meet at the inn, and therewe'll continue playing.

The KNIGHT raises his hand and looks at it in the sunlightwhich comes through the tiny window.

KNIGHTThis is my hand. I can move it, feelthe blood pulsing through it. Thesun is still high in the sky and I,Antonius Block, am playing chesswith Death.

He makes a fist of his hand and lifts it to his temple.

Meanwhile, JONS and the PAINTER have got drunk and are talkinganimatedly together.

17.

JONSMe and my master have been abroadand have just come home. Do youunderstand, you little pictor?

PAINTERThe Crusade.

JONS(drunk)

Precisely. For ten years we sat inthe Holy Land and let snakes biteus, flies sting us, wild animals eatus, heathens butcher us, the winepoison us, the women give us lice,the lice devour us, the fevers rotus, all for the Glory of God. Ourcrusade was such madness that only areal idealist could have thought itup. But what you said about theplague was horrible.

PAINTERIt's worse than that.

JONSAh, me. No matter which way you turn,you have your rump behind you. That'sthe truth.

PAINTERThe rump behind you, the rump behindyou there's a profound truth.

JONS paints a small figure which is supposed to representhimself.

JONSThis is squire Jˆns. He grins atDeath, mocks the Lord, laughs athimself and leers at the girls. Hisworld is a Jˆnsworld, believableonly to himself, ridiculous to allincluding himself, meaningless toHeaven and of no interest to Hell.

The KNIGHT walks by, calls to his squire and goes out intothe bright sunshine. JONS manages to set himself down fromthe scaffolding.

Outside the church, four soldiers and a monk are in theprocess of putting a woman in the stocks. Her face is paleand child-like, her head has been shaved, and her knucklesare bloody and broken. Her eyes are wide open, yet she doesn'tappear to be fully conscious.

18.

JONS and the KNIGHT stop and watch in silence. The soldiersare working quickly and skillfully, but they seem frightenedand dejected. The monk mumbles from a small book. One of thesoldiers picks up a wooden bucket and with his hand beginsto smear a bloody paste on the wall of the church and aroundthe woman. JONS holds his nose.

JONSThat soup of yours has a hell of astink. What is it good for?

SOLDIERShe has had carnal intercourse withthe Evil One.

He whispers this with a horrified face and continues to splashthe sticky mess on the wall.

JONSAnd now she's in the stocks.

SOLDIERShe will be burned tomorrow morningat the parish boundary. But we haveto keep the Devil away from the restof us.

JONS(holding his nose)

And you do that with this stinkingmess?

SOLDIERIt's the best remedy: blood mixedwith the bile of a big black dog.The Devil can't stand the smell.

JONSNeither can I.

JONS walks over towards the horses. The KNIGHT stands for afew, moments looking at the young girl. She is almost a child.Slowly she turns her eyes towards him.

KNIGHTHave you seen the Devil?

The MONK stops reading and raises his head.

MONKYou must not talk to her.

KNIGHTCan that be so dangerous?

19.

MONKI don't know, but she is believed tohave caused the pestilence with whichwe are affected.

KNIGHTI understand.

He nods resignedly and walks away. The young woman starts tomoan as though she were having a horrible nightmare. Thesound of her cries follows the two riders for a considerabledistance down the road.

The sun stands high in the sky, like a red ball of fire. Thewaterskin is empty and JONS looks for a well where he canfill it.

They approach a group of peasant cottages at the edge of theforest. JONS ties up the horses, slings the skin over hisshoulder and walks along the path towards the nearest cottage.As always, his movements are light and almost soundless. Thedoor to the cottage is open. He stops outside, but when noone appears he enters. It is very dark inside and his foottouches a soft object. He looks down. Beside the whitewashedfireplace, a woman is lying with her face to the ground.

At the sound of approaching steps, JONS quickly hides behindthe door. A man comes down a ladder from the loft. He isbroad and thick-set. His eyes are black and his face is paleand puffy. His clothes are well cut but dirty and in rags.He carries a cloth sack. Looking around, he goes into theinner room, bends over the bed, tucks something into thebag, slinks along the walls, looking on the shelves, findssomething else which he tucks in his bag.

Slowly he re-enters the outer room, bends over the dead womanand carefully slips a ring from her finger. At that moment ayoung woman comes through the door. She stops and stares atthe stranger.

RAVELWhy do you look so surprised? I stealfrom the dead. These days it's quitea lucrative enterprise.

The GIRL makes a movement as if to run away.

RAVELYou're thinking of running to thevillage and telling. That wouldn'tserve any purpose. Each of us has tosave his own skin. It's as simple asthat.

GIRLDon't touch me.

20.

RAVALDon't try to scream. There's no onearound to hear you, neither God norman.

Slowly he closes the door behind the GIRL. The stuffy roomis now in almost total darkness. But JONS becomes clearlyvisible.

JONSI recognize you, although it's along time since we met. Your name isRaval, from the theological collegeat Roskilde. You are Dr. Mirabilis,Coelestis et Diabilis.

RAVAL smiles uneasily and looks around.

JONSAm I not right?

The GIRL stands immobile.

JONSYou were the one who, ten years ago,convinced my master of the necessityto join a better-class crusade tothe Holy Land.

RAVAL looks around.

JONSYou look uncomfortable. Do you havea stomachache?

RAVAL smiles anxiously.

JONSWhen I see you, I suddenly understandthe meaning of these ten years, whichpreviously seemed to me such a waste.Our life was too good and we weretoo satisfied with ourselves. TheLord wanted to punish us for ourcomplacency. That is why He sentyou to spew out your holy venom andpoison the knight.

RAVELI acted in good faith.

JONSBut now you know better, don't you? Because now you have turned into athief. A more fitting and rewardingoccupation for scoundrels. Isn'tthat so?

21.

With a quick movement he knocks the knife out of RAVAL'Shand, gives him a kick so that he falls on the floor and isabout to finish him off. Suddenly the GIRL screams. JONSstops and makes a gesture of generosity with his hand.

JONSBy all means. I'm not bloodthirsty.

He bends over RAVAL.

RAVELDon't beat me.

JONSI don't have the heart to touch you,Doctor. But remember this: the nexttime we meet, I'll brand your facethe way one does with thieves.

(he rises)What I really came for is to get mywaterskin filled.

GIRLWe have a deep well with cool, freshwater. Come, I'll show you.

They walk out of the house. RAVAL lies still for a fewmoments, then he rises slowly and looks around. When no oneis in sight, he takes his bag and steals away. JONS quencheshis thirst and fills his bag with water. The GIRL helps him.

JONSJons is my name. I am a pleasant andtalkative young man who has neverhad anything but kind thoughts andhas only done beautiful and nobledeeds. I'm kindest of all to youngwomen. With them, there is no limitto my kindness.

He embraces her and tries to kiss her, but she holds herselfback. Almost immediately he loses interest, hoists thewaterbag on his shoulder and pats the GIRL on the cheek.

JONSGoodbye, my girl. I could very wellhave raped you, but between you andme, I'm tired of that kind of love.It runs a little dry in the end.

He laughs kindly and walks away from her. When he has walkeda short distance he turns; the GIRL is still there.

JONSNow that I think of it, I will needa housekeeper. Can you prepare goodfood?

(MORE)

22.

JONS (CONT'D)(the GIRL nods)

As far as I know, I'm still a marriedman, but I have high hopes that mywife is dead by now. That's why Ineed a housekeeper.

(the GIRL doesn'tanswer but gets up)

The devil with it! Come along anddon't stand there staring. I'vesaved your life, so you owe me agreat deal.

She begins walking towards him, her head bent. He doesn'twait for her but walks towards the KNIGHT, who patientlyawaits his squire.

The Embarrassment Inn lies in the eastern section of theprovince. The plague has not yet reached this area on itsway along the coast.

The actors have placed their wagon under a tree in the yardof the inn. Dressed in colorful costumes, they perform afarce.

The spectators watch the performance, commenting on itnoisily. There are merchants with fat, beer-sweaty faces,apprentices and journeymen, farmhands and milkmaids. A wholeflock of children perch in the trees around the wagon.

The KNIGHT and his squire have sat down in the shadow of awall. They drink beer and doze in the midday heat. The GIRLfrom the deserted village sleeps at JONS'S side. SKAT beatsthe drums, JOF blows the flute, MIA performs a gay and livelydance. They perspire under the hot white sun. When they havefinished SKAT comes forward and bows.

SKATNoble ladies and gentlemen, I thankyou for your interest. Please remainstanding for a little longer, or siton the ground, because we are nowgoing to perform a tragedia about anunfaithful wife, her jealous husband,and the handsome lover -- that's me.

MIA and JOF have quickly changed costumes and again step outon the stage.

They bow, to the public.

SKATHere is the husband. Here is thewife. If you'll shut up over there,you'll see something splendid.

(MORE)

23.

SKAT (CONT'D)As I said, I play the lover and Ihaven't entered yet. That's why I'mgoing to hide behind the curtain forthe time being.

(he wipes the sweatfrom his forehead)

It's damned hot. I think we'll havea thunderstorm.

He places his leg in front of JOF as if to trip him, raisesMIA's skirt, makes a face as if he could see all the wondersof the world underneath it, and disappears behind the gaudilypatched curtains.

SKAT is very handsome, now that he can see himself in thereflection of a tin washbowl. His hair is tightly curled,his eyebrows are beautifully bushy, glittering earrings viefor equal attention with his teeth, and his cheeks are flushedrose red.

He sits out in back on the tailboard of the wagon, danglinghis legs and whistling to himself.

In the meantime JOF and MIA play their tragedy; it is not,however, received with great acclaim. SKAT suddenly discoversthat someone is watching him as he gazes contentedly intothe tin bowl. A woman stands there, stately in both heightand volume.

SKAT frowns, toys with his small dagger and occasionallythrows a roguish but fiery glance at the beautiful visitor.She suddenly discovers that one of her shoes doesn't quitefit. She leans down to fix it and in doing so allows hergenerous bosom to burst out of its prison -- no more thanhonor and chastity allow, but still enough so that the actorwith his experienced eye immediately sees that there areample rewards to be had here.

Now she comes a little closer, kneels down and opens a bundlecontaining several dainty morsels and a skin filled with redwine. JONAS SKAT manages not to fall off the wagon in hisexcitement. Standing on the steps of the wagon, he supportshimself against a nearby tree, crosses his legs and bows.

The woman quietly bites into a chicken leg dripping withfat. At this moment the actor is stricken by a radiant glancefull of lustful appetites.

When he sees this look, SKAT makes an instantaneous decision,jumps down from the wagon and kneels in front of the blushingdamsel.

She becomes weak and faint from his nearness, looks at himwith a glassy glance and breathes heavily. SKAT doesn'tneglect to press kisses on her small, chubby hands. The sunshines brightly and small birds make noises in the bushes.

24.

Now she is forced to sit back; her legs seem unwilling tosupport her any longer. Bewildered, she singles out anotherchicken leg from the large sack of food and holds it up infront of SKAT with an appealing and triumphant expression,as if it were her maidenhood being offered as a prize.

SKAT hesitates momentarily, but he is still the strategist.He lets the chicken leg fall to the grass, and murmurs inthe woman's rosy ear.

His words seem to please her. She puts her arms around theactor's neck and pulls him to her with such fierceness thatboth of them lose their balance and tumble down on the softgrass. The small birds take to their wings with frightenedshrieks.

JOF stands in the hot sun with a flickering lantern in hishand. MIA pretends to be asleep on a bench which has beenpulled forward on the stage.

JOFNight and moonlight now prevail Heresleeps my wife so frail ...

VOICE FROM THE PUBLICDoes she snore?

JOFMay I point out that this is atragedy, and in tragedies one doesn'tsnore.

VOICE FROM THE PUBLICI think she should snore anyhow.

This opinion causes mirth in the audience. JOF becomesslightly confused and goes out of character, but MIA keepsher head and begins snoring.

JOFNight and moonlight now prevail. There snores -- I mean sleeps -- My wife so frail. Jealous I am, as never before, I hide myself behind this door. Faithful is she To her lover -- not me. He soon comes a-stealing To awaken her lusty feeling. I shall now kill him dead For cuckolding me in my bed. There he comes in the moonlight, His white legs shining bright. Quiet as a mouse, here I'll lie, Tell him not that he's about to die.

25.

JOF hides himself. MIA immediately ends her snoring and sitsup, looking to the left.

MIALook, there he comes in the night Mylover, my heart's delight.

She becomes silent and looks wide-eyed in front of her. Themood in the yard in front of the inn has, up to now, beenrather lighthearted despite the heat.

Now a rapid change occurs. People who had been laughing andchattering fall silent. Their faces seem to pale under theirsunbrowned skins, the children stop their games and standwith gaping mouths and frightened eyes.

JOF steps out in front of the curtain. His painted face bearsan expression of horror. MIA has risen with MIKAEL in herarms. Some of the women in the yard have fallen on theirknees, others hide their faces, many begin to mutter half-forgotten prayers.

All have turned their faces towards the white road. Now ashrill song is heard. It is frenzied, almost a scream. Acrucified Christ sways above the hilltop.

The cross-bearers soon come into sight. They are Dominicanmonks, their hoods pulled down over their faces. More andmore of them follow, carrying litters with heavy coffins orclutching holy relics, their hands stretched outspasmodically. The dust wells up around their black hoods;the censers sway and emit a thick, ashen smoke which smellsof rancid herbs.

After the line of monks comes another procession. It is acolumn of men, boys, old men, women, girls, children. All ofthem have steel-edged scourges in their hands with whichthey whip themselves and each other, howling ecstatically.They twist in pain; their eyes bulge wildly; their lips aregnawed to shreds and dripping with foam. They have been seizedby madness. They bite their own hands and arms, whip eachother in violent, almost rhythmic outbursts. Throughout itall the shrill song howls from their bursting throats. Manysway and fall, lift themselves up again, support each otherand help each other to intensify the scourging.

Now the procession pauses at the crossroads in front of theinn. The monks fall on their knees, hiding their faces withclenched hands, arms pressed tightly together. Their songnever stops. The Christ figure on its timbered cross is raisedabove the heads of the crowd. It is not Christ triumphant,but the suffering Jesus with the sores, the blood, thehammered nails and the face in convulsive pain. The Son ofGod, nailed on the wood of the cross, suffering scorn andshame.

26.

The penitents have now sunk down in the dirt of the road.They collapse where they stood like slaughtered cattle. Theirscreams rise with the song of the monks, through misty cloudsof incense, towards the white fire of the sun.

A large square monk rises from his knees and reveals hisface, which is red-brown from the sun. His eyes glitter;his voice is thick with impotent scorn.

MONKGod has sentenced us to punishment.We shall all perish in the blackdeath. You, standing there like gapingcattle, you who sit there in yourglutted complacency, do you knowthat this may be your last hour?Death stands right behind you. I cansee how his crown gleams in the sun.His scythe flashes as he raises itabove your heads. Which one of youshall he strike first? You there,who stand staring like a goat, willyour mouth be twisted into the lastunfinished gasp before nightfall?And you, woman, who bloom with lifeand self-satisfaction, will you paleand become extinguished before themorning dawns? You back there, withyour swollen nose and stupid grin,do you have another year left todirty the earth with your refuse? Do you know, you insensible fools,that you shall die today or tomorrow,or the next day, because all of youhave been sentenced? Do you hearwhat I say? Do you hear the word? You have been sentenced, sentenced!

The MONK falls silent, looking around with a bitter face anda cold, scornful glance. Now, he clenches his hands, straddlesthe ground and turns his face upwards.

MONKLord have mercy on us in ourhumiliation! Don't turn your facefrom us in loathing and contempt,but be merciful to us for the sakeof your son, Jesus Christ.

He makes the sign of the cross over the crowd and then beginsa new song in a strong voice. The monks rise and join in thesong. As if driven by some superhuman force, the penitentsbegin to whip themselves again, still wailing and moaning.

The procession continues. New members have joined the rearof the column; others who were unable to go on lie weepingin the dust of the road. JONS the squire drinks his beer.

27.

JONSThis damned ranting about doom. Isthat food for the minds of modernpeople? Do they really expect us totake them seriously?

The KNIGHT grins tiredly.

JONSYes, now you grin at me, my lord.But allow me to point out that I'veeither read, heard or experiencedmost of the tales which we peopletell each other.

KNIGHT(yawns)

Yes, yes.

JONSEven the ghost stories about God theFather, the angels, Jesus Christ andthe Holy Ghost -- all these I'veaccepted without too much emotion.

He leans down over the GIRL as she crouches at his feet andpats her on the head. The KNIGHT drinks his beer silently.

JONS(contentedly)

My little stomach is my world, myhead is my eternity, and my hands,two wonderful suns. My legs are time'sdamned pendulums, and my dirty feetare two splendid starting points formy philosophy. Everything is worthprecisely as much as a belch, theonly difference being that a belchis more satisfying.

The beer mug is empty. Sighing, JONS gets to his feet. TheGIRL follows him like a shadow.

In the yard he meets a large man with a sooty face and adark expression. He stops JONS with a roar.

JONSWhat are you screaming about?

PLOGI am Plog, the smith, and you arethe squire Jons.

JONSThat's possible.

28.

PLOGHave you seen my wife?

JONSNo, I haven't. But if I had seen herand she looked like you, I'd quicklyforget that I'd seen her.

PLOGWell, in that case you haven't seenher.

JONSMaybe she's run off.

PLOGDo you know anything?

JONSI know quite a lot, but not aboutyour wife. Go to the inn. Maybe theycan help you.

The smith sighs sadly and goes inside.

The inn is very small and full of people eating and drinkingto forget their newly aroused fears of eternity. In the openfireplace a roasting pig turns on an iron spit. The sun shinesoutside the casement window, its sharp rays piercing thedarkness of the room, which is thick with fumes andperspiration.

MERCHANTYes, it's true! The plague isspreading along the west coast. Peopleare dying like flies. Usuallybusiness would be good at this timeof year, but, damn it, I've stillgot my whole stock unsold.

WOMANThey speak of the judgment day. Andall these omens are terrible. Worms,chopped-off hands and othermonstrosities began pouring out ofan old woman, and down in the villageanother woman gave birth to a calf'shead.

OLD MANThe day of judgment. Imagine.

FARMERIt hasn't rained here for a month.We'll surely lose our crops.

29.

MERCHANTAnd people are acting crazy, I'dsay. They flee the country and carrythe plague with them wherever theygo.

OLD MANThe day of judgment. Just think,just think!

FARMERIf it's as they say, I suppose aperson should look after his houseand try to enjoy life as long as hecan.

WOMANBut there have been other thingstoo, such things that can't even bespoken of.

(whispers)Things that mustn't be named -- butthe priests say that the woman carriesit between her legs and that's whyshe must cleanse herself.

OLD MANJudgment day. And the Riders of theApocalypse stand at the bend in thevillage road. I imagine they'll comeon judgment night, at sundown.

WOMANThere are many who have purgedthemselves with fire and died fromit, but the priests say that it'sbetter to die pure than to live forhell.

MERCHANTThis is the end, yes, it is. No onesays it out loud, but all of us knowthat it's the end. And people aregoing mad from fear.

FARMERSo you're afraid too.

MERCHANTOf course I'm afraid.

OLD MANThe judgment day becomes night, andthe angels descend and the gravesopen. It will be terrible to see.

They whisper in low tones and sit close to each other.

30.

PLOG, the smith, shoves his way into a place next to JOF,who is still dressed in his costume. Opposite him sits RAVAL,leaning slightly forward, his face perspiring heavily. RAVALrolls an armlet out on the table.

RAVALDo you want this armlet? You canhave it cheap.

JOFI can't afford it.

RAVALIt's real silver.

JOFIt's nice. But it's surely tooexpensive for me.

PLOGExcuse me, but has anyone here seenmy wife?

JOFHas she disappeared?

PLOGThey say she's run away.

JOFHas she deserted you?

PLOGWith an actor.

JOFAn actor! If she's got such bad taste,then I think you should let her go.

PLOGYou're right. My first thought, ofcourse, was to kill her.

JOFOh. But to murder her, that's aterrible thing to do.

PLOGI'm also going to kill the actor.

JOFThe actor?

PLOGOf course, the one she eloped with.

31.

JOFWhat has he done to deserve that?

PLOGAre you stupid?

JOFThe actor! Now I understand. Thereare too many of them, so even if hehasn't done anything in particularyou ought to kill him merely becausehe's an actor.

PLOGYou see, my wife has always beeninterested in the tricks of thetheatre.

JOFAnd that turned out to be hermisfortune.

PLOGHer misfortune, but not mine, becausea person who's born unfortunate canhardly suffer from any furthermisfortune. Isn't that true?

Now RAVAL enters the discussion. He is slightly drunk andhis voice is shrill and evil.

RAVALListen, you! You sit there and lieto the smith.

JOFI! A liar!

RAVALYou're an actor too and it's probablyyour partner who's run off with Plog'sold lady.

PLOGAre you an actor too?

JOFAn actor! Me! I wouldn't quite callmyself that!

RAVALWe ought to kill you; it's onlylogical.

JOF(laughs)

You're really funny.

32.

RAVALHow strange -- you've turned pale.Have you anything on your conscience?

JOFYou're funny. Don't you think he'sfunny?

(to Plog)Oh, you don't.

RAVALMaybe we should mark you up a littlewith a knife, like they do pettyscoundrels of your kind.

PLOG bangs his hands down on the table so that the dishesjump. He gets up.

PLOG(shouting)

What have you done with my wife?

The room becomes silent. JOF looks around, but there is noexit, no way to escape. He puts his hands on the table.Suddenly a knife flashes through the air and sinks into thetable top between his fingers.

JOF snatches away his hands and raises his head. He lookshalf surprised, as if the truth had just become apparent tohim.

JOFDo you want to hurt me? Why? Have Iprovoked someone, or got in the way?I'll leave right now and never comeback.

JOF looks from one face to another, but no one seems readyto help him or come to his defense.

RAVALGet up so everyone can hear you.Talk louder.

Trembling, JOF rises. He opens his mouth as if to saysomething, but not a word comes out.

RAVALStand on your head so that we cansee how good an actor you are.

JOF gets up on the table and stands on his head. A hand pusheshim forward so that he collapses on the floor. PLOG rises,pulls him to his feet with one hand.

33.

PLOG(shouts)

What have you done with my wife?

PLOG beats him so furiously that JOF flies across the table.RAVAL leans over him.

RAVALDon't lie there moaning. Get up anddance.

JOFI don't want to. I can't.

RAVELShow us how you imitate a bear.

JOFI can't play a bear.

RAVALLet's see if you can't after all.

RAVAL prods JOF lightly with the knife point. JOF gets upwith cold sweat on his cheeks and forehead, frightened halfto death. He begins to jump and hop on top of the tables,swinging his arms and legs and making grotesque faces. Somelaugh, but most of the people sit silently. JOF gasps as ifhis lungs were about to burst. He sinks to his knees, andsomeone pours beer over him.

RAVELUp again! Be a good bear.

JOFI haven't done any harm. I haven'tgot the strength to play a bear anymore.

At that moment the door opens and JONS enters. JOF sees hischance and steals out. RAVAL intends to follow him, butsuddenly stops. JONS and RAVAL look at each other.

JONSDo you remember what I was going todo to you if we met again?

RAVAL steps back without speaking.

JONSI'm a man who keeps his word.

JONS raises his knife and cuts RAVAL from forehead to cheek.RAVAL staggers towards the wall.

The hot day has become night. Singing and howling can beheard from the inn.

34.

In a hollow near the forest, the light still lingers. Hiddenin the grass and the shrubbery, nightingales sing and theirvoices echo through the stillness.

The players' wagon stands in a small ravine, and not faraway the horse grazes on the dry grass. MIA has sat down infront of the wagon with her son in her arms. They playtogether and laugh happily.

Now, a soft gleam of light strokes the hilltops, a lastreflection from the red clouds over the sea.

Not far from the wagon, the KNIGHT sits crouched over hischess game. He lifts his head.

The evening light moves across the heavy wagon wheels, acrossthe woman and the child. The KNIGHT gets up.

MIA sees him and smiles. She holds up her struggling son, asif to amuse the KNIGHT.

KNIGHTWhat's his name?

MIAMikael.

KNIGHTHow old is he?

MIAOh, he'll soon be two.

KNIGHTHe's big for his age.

MIADo you think so? Yes, I guess he'srather big.

She puts the child down on the ground and half rises to shakeout her red skirt. When she sits down again, the KNIGHT stepscloser.

KNIGHTYou played some kind of show thisafternoon.

MIADid you think it was bad?

KNIGHTYou are more beautiful now withoutyour face painted, and this gown ismore becoming.

35.

MIAYou see, Jonas Skat has run off andleft us, so we're in real troublenow.

KNIGHTIs that your husband?

MIA(laughs)

Jonas! The other man is my husband.His name is Jof.

KNIGHTOh, that one.

MIAAnd now there's only him and me.We'll have to start doing tricksagain and that's more trouble thanit's worth.

KNIGHTDo you do tricks also?

MIAWe certainly do. And Jof is a veryskillful juggler.

KNIGHTIs Mikael going to be an acrobat?

MIAJof wants him to be.

KNIGHTBut you don't.

MIAI don't know.

(smiling)Perhaps he'll become a knight.

KNIGHTLet me assure you, that's no pleasureeither.

MIANo, you don't look so happy.

KNIGHTNo.

MIAAre you tired?

36.

KNIGHTYes.

MIAWhy?

KNIGHTI have dull company.

MIADo you mean your squire?

KNIGHTNo, not him.

MIAWho do you mean, then?

KNIGHTMyself.

MIAI understand.

KNIGHTDo you, really?

MIAYes, I understand rather well. Ihave often wondered why people torturethemselves as often as they can.Isn't that so?

She nods energetically and the KNIGHT smiles seriously. Nowthe shrieks and the noise from the inn become louder. Blackfigures flicker across the grass mound. Someone collapses,gets up and runs. It is JOF. MIA stretches out her arms andreceives him. He holds his hands in front of his face, moaninglike a child, and his body sways. He kneels. MIA holds himclose to her and sprinkles him with small, anxious questions:What have you done? How are you? What is it? Does it hurt?What can I do? Have they been cruel to you? She runs for arag, which she dips in water, and carefully bathes herhusband's dirty, bloody face.

Eventually a rather sorrowful visage emerges. Blood runsfrom a bruise on his forehead and his nose, and a tooth hasbeen loosened, but otherwise JOF seems unhurt.

JOFOuch, it hurts.

MIAWhy did you have to go there? And ofcourse you drank.

37.

MIA's anxiety has been replaced by a mild anger. She patshim a little harder than necessary.

JOFOuch! I didn't drink anything.

MIAThen I suppose you were boastingabout the angels and devils youconsort with. People don't likesomeone who has too many ideas andfantasies.

JOFI swear to you that I didn't say aword about angels.

MIAYou were, of course, busy singingand dancing. You can never stopbeing an actor. People also becomeangry at that, and you know it.

JOF doesn't answer but searches for the armlet. He holds itup in front of MIA with an injured expression.

JOFLook what I bought for you.

MIAYou couldn't afford it.

JOF(angry)

But I got it anyhow.

The armlet glitters faintly in the twilight. MIA now pullsit across her wrist. They look at it in silence, and theirfaces soften. They look at each other, touch each other'shands. JOF puts his head against MIA'S shoulder and sighs.

JOFOh, how they beat me.

MIAWhy didn't you beat them back?

JOFI only become frightened and angry.I never get a chance to hit back. Ican get angry, you know that. I roaredlike a lion.

MIAWere they frightened?

38.

JOFNo, they just laughed.

Their son MIKAEL crawls over to them. JOF lies down on theground and pulls his son on top of him. MIA gets down on herhands and knees and playfully sniffs at MIKAEL.

MIADo you notice how good he smells?

JOFAnd he is so compact to hold. You'rea sturdy one. A real acrobat's body.

He lifts MIKAEL up and holds him by the legs. MIA looks upsuddenly, remembering the knight's presence.

MIAYes, this is my husband, Jof.

JOFGood evening.

KNIGHTGood evening.

JOF becomes a little embarrassed and rises. All three ofthem look at one another silently.

KNIGHTI have just told your wife that youhave a splendid son. He'll bringgreat joy to you.

JOFYes, he's fine.

They become silent again.

JOFHave we nothing to offer the knight,Mia?

KNIGHTThank you, I don't want anything.

MIA(housewifely)

I picked a basket of wild strawberriesthis afternoon. And we have a dropof milk fresh from a cow ...

JOF... that we were allowed to milk.So, if you would like to partake ofthis humble fare, it would be a greathonor.

39.

MIAPlease be seated and I'll bring thefood.

They sit down. MIA disappears with MIKAEL.

KNIGHTWhere are you going next?

JOFUp to the saints' feast at Elsinore.

KNIGHTI wouldn't advise you to go there.

JOFWhy not, if I may ask?

KNIGHTThe plague has spread in thatdirection, following the coast linesouth. It's said that people aredying by the tens of thousands.

JOFReally! Well, sometimes life is alittle hard.

KNIGHTMay I suggest ...

(JOF looks at him,surprised)

... that you follow me through theforest tonight and stay at my homeif you like. Or go along the eastcoast. You'll probably be safer there.

MIA has returned with a bowl of wild strawberries and themilk, places it between them and gives each of them a spoon.

JOFI wish you good appetite.

KNIGHTI humbly thank you.

MIAThese are wild strawberries from theforest. I have never seen such largeones. They grow up there on thehillside. Notice how they smell!

She points with a spoon and smiles. The KNIGHT nods, as ifhe were pondering some profound thought. JOF eats heartily.

40.

JOFYour suggestion is good, but I mustthink it over.

MIAIt might be wise to have companygoing through the forest. It's saidto be full of trolls and ghosts andbandits. That's what I've heard.

JOF(staunchly)

Yes, I'd say that it's not a badidea, but I have to think about it. Now that Skat has left, I amresponsible for the troupe. Afterall, I have become director of thewhole company.

MIA(mimics)

After all, I have become director ofthe whole company.

JONS comes walking slowly down the hill, closely followed bythe GIRL. MIA points with her spoon.

MIADo you want some strawberries?

JOFThis man saved my life. Sit down, myfriend, and let us be together.

MIA(stretches herself)

Oh, how nice this is.

KNIGHTFor a short while.

MIANearly always. One day is likeanother. There is nothing strangeabout that. The summer, of course,is better than the winter, becausein summer you don't have to be cold.But spring is best of all.

JOFI have written a poem about thespring. Perhaps you'd like to hearit. I'll run and get my lyre.

He sprints towards the wagon.

41.

MIANot now, Jof. Our guests may not beamused by your songs.

JONS(politely)

By all means. I write little songsmyself. For example, I know a veryfunny song about a wanton fish whichI doubt that you've heard yet.

The KNIGHT looks at him.

JONSYou'll not get to hear it either. There are persons here who don'tappreciate my art and I don't wantto upset anyone. I'm a sensitivesoul.

JOF has come out with his lyre, sits on a small, gaudy boxand plucks at the instrument, humming quietly, searching forhis melody. JONS yawns and lies down.

KNIGHTPeople are troubled by so much.

MIAIt's always better when one is two.Have you no one of your own?

KNIGHTYes, I think I had someone.

MIAAnd what is she doing now?

KNIGHTI don't know.

MIAYou look so solemn. Was she yourbeloved?

KNIGHTWe were newly married and we playedtogether. We laughed a great deal. I wrote songs to her eyes, to hernose, to her beautiful little ears. We went hunting together and at nightwe danced. The house was full oflife ...

MIADo you want some more strawberries?

42.

KNIGHT(shakes his head)

Faith is a torment, did you knowthat? It is like loving someone whois out there in the darkness butnever appears, no matter how loudlyyou call.

MIAI don't understand what you mean.

KNIGHTEverything I've said seems meaninglessand unreal while I sit here with youand your husband. How unimportant itall becomes suddenly.

He takes the bowl of milk in his hand and drinks deeply fromit several times. Then he carefully puts it down and looksup, smiling.

MIANow you don't look so solemn.

KNIGHTI shall remember this moment. Thesilence, the twilight, the bowls ofstrawberries and milk, your faces inthe evening light. Mikael sleeping,Jof with his lyre. I'll try toremember what we have talked about.I'll carry this memory between myhands as carefully as if it were abowl filled to the brim with freshmilk.

He turns his face away and looks out towards the sea and thecolorless gray sky.

KNIGHTAnd it will be an adequate sign --it will be enough for me.

He rises, nods to the others and walks down towards theforest. JOF continues to play on his lyre. MIA stretches outon the grass.

The KNIGHT picks up his chess game and carries it towardsthe beach. It is quiet and deserted; the sea is still.

DEATHI have been waiting for you.

KNIGHTPardon me. I was detained for a fewmoments.

(MORE)

43.

KNIGHT (CONT'D)Because I revealed my tactics toyou, I'm in retreat. It's your move.

DEATHWhy do you look so satisfied?

KNIGHTThat's my secret.

DEATHOf course. Now I take your knight.

KNIGHTYou did the right thing.

DEATHHave you tricked me?

KNIGHTOf course. You fell right in thetrap. Check!

DEATHWhat are you laughing at?

KNIGHTDon't worry about my laughter; saveyour king instead.

DEATHYou're rather arrogant.

KNIGHTOur game amuses me.

DEATHIt's your move. Hurry up. I'm a littlepressed for time.

KNIGHTI understand that you've a lot todo, but you can't get out of ourgame. It takes time.

DEATH is about to answer him but stops and leans over theboard. The KNIGHT smiles.

DEATHAre you going to escort the jugglerand his wife through the forest?Those whose names are Jof and Miaand who have a small son?

KNIGHTWhy do you ask?

44.

DEATHOh, no reason at all.

The KNIGHT suddenly stops smiling. DEATH looks at himscornfully.

Immediately after sundown, the little company gathers in theyard of the inn. There is the KNIGHT, JONS and the GIRL,JOF and MIA in their wagon. Their son, MIKAEL, is alreadyasleep. JONAS SKAT is still missing.

JONS goes into the inn to get provisions for the night journeyand to have a last mug of beer. The inn is now empty andquiet except for a few farmhands and maidens who are eatingtheir evening meal in a corner. At one of the small windowssits a lonely, hunched-over fellow, with a jug of brandy inhis hands. His expression is very sad. Once in a while he isshaken by a gigantic sob. It is PLOG, the smith, who sitsthere and whimpers.

JONSGod in heaven, isn't this Plog, thesmith?

PLOGGood evening.

JONSAre you sitting here sniveling inloneliness?

PLOGYes, yes, look at the smith. He moanslike a rabbit.

JONSIf I were in your boots, I'd be happyto get rid of a wife in such an easyway.

JONS pats the smith on the back, quenches his thirst withbeer, and sits down by his side.

PLOGAre you married?

JONSI! A hundred times and more. I can'tkeep count of all my wives any longer.But it's often that way when you'rea traveling man.

PLOGI can assure you that one wife isworse than a hundred, or else I'vehad worse luck than any poor wretch

(MORE)

45.

PLOG (CONT'D)in this miserable world, which isn'timpossible.

JONSYes, it's hell with women and hellwithout them. So, however you lookat it, it's still best to kill themoff while it's most amusing.

PLOGWomen's nagging, the shrieking ofchildren and wet diapers, sharp nailsand sharp words, blows and pokes,and the devil's aunt for a mother-in-law. And then, when one wants tosleep after a long day, there's anew song -- tears, whining and moansloud enough to wake the dead.

JONS nods delightedly. He has drunk deeply and talks with anold woman's voice.

JONSWhy don't you kiss me good night?

PLOG(in the same way)

Why don't you sing a song for me?

JONSWhy don't you love me the way youdid when we first met?

PLOGWhy don't you look at my new slip?

JONSYou only turn your back and snore.

PLOGOh hell!

JONSOh hell. And now she's gone. Rejoice!

PLOG(furious)

I'll snip their noses with pliers,I'll bash in their chests with asmall hammer, I'll tap their headsever so lightly with a sledge.

PLOG begins to cry loudly and his whole body sways in anenormous attack of sorrow. JONS looks at him with interest.

46.

JONSLook how he howls again.

PLOGMaybe I love her.

JONSSo, maybe you love her! Then, youpoor misguided ham shank, I'll tellyou that love is another word forlust, plus lust, plus lust and adamn lot of cheating, falseness,lies and all kinds of other foolingaround.

PLOGYes, but it hurts anyway.

JONSOf course. Love is the blackest ofall plagues, and if one could die ofit, there would be some pleasure inlove. But you almost always get overit.

PLOGNo, no, not me.

JONSYes, you too. There are only a coupleof poor wretches who die of loveonce in a while. Love is as contagiousas a cold in the nose. It eats awayat your strength, your independence,your morale, if you have any. Ifeverything is imperfect in thisimperfect world, love is most perfectin its perfect imperfection.

PLOGYou're happy, you with your oilywords, and, besides, you believeyour own drivel.

JONSBelieve! Who said that I believedit? But I love to give good advice.If you ask me for advice you'll gettwo pieces for the price of one,because after all I really am aneducated man.

JONS gets up from the table and strokes his face with hishands. PLOG becomes very unhappy and grabs his belt.

47.

PLOGListen, Jons. May I go with youthrough the forest? I'm so lonelyand don't want to go home becauseeveryone will laugh at me.

JONSOnly if you don't whimper all thetime, because in that case we'll allhave to avoid you.

PLOG gets up and embraces JONS. Slightly drunk, the two newfriends walk towards the door.

When they come out in the yard, JOF immediately catches sightof them, becomes angry and yells a warning to JONS.

JOFJons! Watch out. That one wants tofight all the time. He's not quitesane.

JONSYes, but now he's just sniveling.

PLOG steps up to JOF, who blanches with fear. PLOG offershis hand.

PLOGI'm really sorry if I hurt you. ButI have such a hell of a temper, youknow. Shake hands.

JOF gingerly proffers a frightened hand and gets it thoroughlyshaken and squeezed. While JOF tries to straighten out hisfingers, PLOG is seized by great good will and opens hisarms.

PLOGCome in my arms, little brother.

JOFThank you, thank you, perhaps later.But now we're really in a hurry.

JOF climbs up on the wagon seat quickly and clucks at thehorse.

The small company is on its way towards the forest and thenight.

It is dark in the forest.

First comes the KNIGHT on his large horse. Then JOF and MIAfollow, sitting close to each other in the juggler's wagon.MIA holds her son in her arms. JONS follows them with hisheavily laden horse. He has the smith in tow.

48.

The GIRL sits on top of the load on the horse's back, hunchedover as if asleep.

The footsteps, the horses' heavy tramp on the soft path, thehuman breathing -- yet it is quiet.

Then the moon sails out of the clouds. The forest suddenlybecomes alive with the night's unreality. The dazzling lightpours through the thick foliage of the beech trees, a moving,quivering world of light and shadow.

The wanderers stop. Their eyes are dark with anxiety andforeboding. Their faces are pale and unreal in the floatinglight. It is very quiet.

PLOGNow the moon has come out of theclouds.

JONSThat's good. Now we can see the roadbetter.

MIAI don't like the moon tonight.

JOFThe trees stand so still.

JONSThat's because there's no wind.

PLOGI guess he means that they standvery still.

JOFIt's completely quiet.

JONSIf one could hear a fox at least.

JOFOr an owl.

JONSOr a human voice besides one's own.

GIRLThey say it's dangerous to remainstanding in moonlight.

Suddenly, out of the silence and the dim light falling acrossthe forest road, a ghostlike cart emerges. It is the WITCHbeing taken to the place where she will be burned. Next toher eight soldiers shuffle along tiredly, carrying theirlances on their backs.

49.

The girl sits in the cart, bound with iron chains around herthroat and arms. She stares fixedly into the moonlight.

A black figure sits next to her, a monk with his hood pulleddown over his head.

JONSWhere are you going?

SOLDIERTo the place of execution.

JONSYes, now I can see. It's the girlwho has done it with the Black One.The witch?

The SOLDIER nods sourly. Hesitantly, the travelers follow.The KNIGHT guides his horse over to the side of the cart. The WITCH seems to be half-conscious, but her eyes are wideopen.

KNIGHTI see that they have hurt your hands.

The WITCH'S pale, childish face turns towards the KNIGHT andshe shakes her head.

KNIGHTI have a potion that will stop yourpain.

She shakes her head again.

JONSWhy do you burn her at this time ofnight? People have so few diversionsthese days.

SOLDIERSaints preserve us, be quiet! It'ssaid that she brings the Devil withher wherever she goes.

JONSYou are eight brave men, then.

SOLDIERWell, we've been paid. And this is avolunteer job.

The SOLDIER speaks in whispers while glancing anxiously atthe WITCH.

KNIGHT(to the WITCH)

What's your name?

50.

TYANMy name is Tyan, my lord.

KNIGHTHow old are you?

TYANFourteen, my lord.

KNIGHTAnd is it true that you have been inleague with the Devil?

TYAN nods quietly and looks away. Now they arrive at theparish border. At the foot of the nearby hills lies acrossroads. The pyre has already been stacked in the centerof the forest clearing. The travelers remain there, hesitantand curious.

The soldiers have tied up the cart horse and bring out twolong wooden beams. They nail rungs across the beams so thatit looks like a ladder. TYAN will be bound to this like aneelskin stretched out to dry.

The sound of the hammering echoes through the forest. TheKNIGHT has dismounted and walks closer to the cart. Again hetries to catch TYAN'S eyes, touches her very lightly as ifto waken her. Slowly she turns her face towards him.

KNIGHTThey say that you have been in leaguewith the Devil.

TYANWhy do you ask?

KNIGHTNot out of curiosity, but for verypersonal reasons. I too want to meethim.

TYANWhy?

KNIGHTI want to ask him about God. He, ifanyone, must know.

TYANYou can see him anytime.

KNIGHTHow?

TYANYou must do as I tell you.

51.

The KNIGHT grips the wooden rail of the cart so tightly thathis knuckles whiten. TYAN leans forward and joins her gazewith his.

TYANLook into my eyes.

The KNIGHT meets her gaze. They stare at each other for along time.

TYANWhat do you see? Do you see him?

KNIGHTI see fear in your eyes, an empty,numb fear. But nothing else.

He falls silent. The soldiers work at the stakes; theirhammering echoes in the forest.

TYANNo one, nothing, no one?

KNIGHT(shakes his head)

No.

TYANCan't you see him behind your back?

KNIGHT(looks around)

No, there is no one there.

TYANBut he is with me everywhere. I onlyhave to stretch out my hand and Ican feel his hand. He is with me nowtoo. The fire won't hurt me. He willprotect me from everything evil.

KNIGHTHas he told you this?

TYANI know it.

KNIGHTHas he said it?

TYANI know it, I know it. You must seehim somewhere, you must. The priestshad no difficulty seeing him, nordid the soldiers. They are so afraidof him that they don't even daretouch me.

52.

The sounds of the hammers stops. The soldiers stand likeblack shadows rooted in the moss. They fumble with the chainsand pull at the neck iron. TYAN moans weakly, as if she werefar away.

KNIGHTWhy have you crushed her hands?

SOLDIER(surly)

We didn't do it.

KNIGHTWho did?

SOLDIERAsk the monk.

The soldiers pull the iron and the chains. TYAN'S shavenhead sways, gleaming in the moonlight. Her blackened mouthopens as if to scream, but no sound emerges. They take herdown from the cart and lead her towards the ladder and thestake. The KNIGHT turns to the MONK, who remains seated inthe cart.

KNIGHTWhat have you done with the child?

DEATH turns around and looks at him.

DEATHDon't you ever stop asking questions?

KNIGHTNo, I'll never stop.

The soldiers chain TYAN to the rungs of the ladder. Shesubmits resignedly, moans weakly like an animal and tries toease her body into position.

When they have fastened her, they walk over to light thepyre. The KNIGHT steps up and leans over her.

JONSFor a moment I thought of killingthe soldiers, but it would do nogood. She's nearly dead already.

One of the soldiers approaches. Thick smoke wells down fromthe pyre and sweeps over the quiet shadows near the crossroadsand the hill.

SOLDIERI've told you to be careful. Don'tgo too close to her.

53.

The KNIGHT doesn't heed this warning. He cups his hand, fillsit with water from the skin and gives it to TYAN. Then hegives her a potion.

KNIGHTTake this and it will stop the pain.

Smoke billows down over them and they begin to cough. Thesoldiers step forward and raise the ladder against a nearbyfir tree. TYAN hangs there motionlessly, her eyes wide open.

The KNIGHT straightens up and stands immobile. JONS is behindhim, his voice nearly choked with rage.

JONSWhat does she see? Can you tell me?

KNIGHT(shakes his head)

She feels no more pain.

JONSYou don't answer my question. Whowatches over that child? Is it theangels, or God, or the Devil, oronly the emptiness? Emptiness, mylord!

KNIGHTThis cannot be.

JONSLook at her eyes, my lord. Her poorbrain has just made a discovery.Emptiness under the moon.

KNIGHTNo.

JONSWe stand powerless, our arms hangingat our sides, because we see whatshe sees, and our terror and hersare the same.

(an outburst)That poor little child. I can't standit, I can't stand it ...

His voice sticks in his throat and he suddenly walks away.The KNIGHT mounts his horse. The travelers depart from thecrossroads. TYAN finally closes her eyes.

The forest is now very dark. The road winds between the trees.The wagon squeaks and rattles over stones and roots. A birdsuddenly shrieks.

54.

JOF lifts his head and wakes up. He has been asleep with hisarms around MIA's shoulders. The KNIGHT is sharply silhouettedagainst the tree trunks.

His silence makes him seem almost unreal. JONS and PLOG areslightly drunk and support each other. Suddenly PLOG has tosit down. He puts his hands over his face and howls piteously.

PLOGOh, now it came over me again!

JONSDon't scream. What came over you?

PLOGMy wife, damn it. She is so beautiful.She is so beautiful that she can'tbe described without the accompanimentof a lyre.

JONSNow it starts again.

PLOGHer smile is like brandy. Her eyeslike blackberries ...

PLOG searches for beautiful words. He gestures gropinglywith his large hands.

JONS(sighs)

Get up, you tear-drenched pig. We'lllose the others.

PLOGYes, of course, of course. Her noseis like a little pink potato; herbehind is like a juicy pear -- yes,the whole woman is like a strawberrypatch. I can see her in front of me,with arms like wonderful cucumbers.

JONSSaints almighty, stop! You're a verybad poet, despite the fact that you'redrunk. And your vegetable gardenbores me.

They walk across an open meadow. Here it is a little brighterand the moon shimmers behind a thin sky. Suddenly PLOG pointsa large finger towards the edge of the forest.

PLOGLook there.

55.

JONSDo you see something?

PLOGThere, over there!

JONSI don't see anything.

PLOGHang on to something, my friends.The hour is near! Who is that at theedge of the forest if not my owndearly beloved, with actor attached?

The two lovers discover PLOG and it's too late. They cannotretreat. SKAT immediately takes to his heels. PLOG chaseshim, swinging his sledge and bellowing like a wild boar.

For a few confusing moments the two rivals stumble among thestones and bushes in the gray gloom of the forest. The duelbegins to look senseless, because both of them are equallyfrightened.

The travelers silently observe this confused performance.LISA screams once in a while, more out of duty than out ofimpulse.

SKAT(panting)

You miserable stubbleheaded bastardof seven scurvy bitches, if I werein your lousy rags I would be strickenwith such eternal shame about mybreath, my voice, my arms and legs --in short, about my whole body --thatI would immediately rid nature of myown embarrassing self.

PLOG(angry)

Watch out, you perfumed slob, that Idon't fart on you and immediatelyblow you down to the actor's own red-hot hell, where you can sit and recitemonologues to each other until thedust comes out of the Devil's ears.

Then LISA throws herself around her husband's neck.

LISAForgive me, dear little husband,I'll never do it again. I am so sorryand you can't imagine how terriblythat man over there betrayed me.

56.

PLOGI'll kill him anyway.

LISAYes, do that, just kill him. He isn'teven a human being.

JONSHell, he's an actor.

LISAHe is only a false beard, false teeth,false smiles, rehearsed lines, andhe's as empty as a jug. Just killhim.

LISA sobs with excitement and sorrow. PLOG looks around, alittle confused. SKAT uses this opportunity. He pulls out adagger and places the point against his breast.

SKATShe's right. Just kill me. If youthought that I was going to apologizefor being what I am, you are mistaken.

LISALook how sickening he is. How hemakes a fool of himself, how he putson an act. Dear Plog, kill him.

SKATMy friends, you have only to push,and my unreality will soon betransformed into a new, solid reality.An absolutely tangible corpse.

LISADo something then. Kill him.

PLOG(embarrassed)

He has to fight me, otherwise I can'tkill him.

SKATYour life's thread now hangs by avery ragged shred. Idiot, your dayis short.

PLOGYou'll have to irritate me a littlemore to get me as angry as before.

SKAT looks at the travelers with a pained expression andthen lifts his eyes towards the night sky.

57.

SKATI forgive all of you. Pray for mesometimes.

SKAT sinks the dagger into his breast and slowly falls tothe ground. The travelers stand confused. PLOG rushes forwardand begins to pull at SKAT'S hands.

PLOGOh dear, dear, I didn't mean it thatway! Look, there's no life left inhim. I was beginning to like him,and in my opinion Lisa was much toospiteful.

JOF leans over his colleague.

JOFHe's dead, totally, enormously dead.In fact, I've never seen such a deadactor.

LISACome on, let's go. This is nothingto mourn over. He has only himselfto blame.

PLOGAnd I have to be married to her.

JONSWe must go on.

SKAT lies in the grass and keeps the dagger pressed tightlyto his breast. The travelers depart and soon they havedisappeared into the dark forest on the other side of themeadow. When SKAT is sure that no one can see him, he sitsup and lifts the dagger from his breast. It is a stage daggerwith a blade that pushes into the handle. SKAT laughs tohimself.

SKATNow that was a good scene. I'm reallya good actor. After all, why shouldn'tI be a little pleased with myself?But where shall I go? I'll waituntil it becomes light and then I'llfind the easiest way out of theforest. I'll climb up a tree for thetime being so that no bears, wolvesor ghosts can get at me.

He soon finds a likely tree and climbs up into its thickfoliage. He sits down as comfortably as possible and reachesfor his food pouch.

58.

SKAT(yawns)

Tomorrow I'll find Jof and Mia andthen we'll go to the saints' feastin Elsinore. We'll make lots of moneythere.

(yawns)Now, I'll sing a little song tomyself:

(sings)I am a little bird Who sings whate'er he will, And when I am in danger I fling out a pissing trill As in the carnal thrill.

(speaks)It's boring to be alone in the foresttonight.

(sings)The terrible night doesn't frightenme ...

He interrupts himself and listens. The sound of industrioussawing is heard through the silence.

SKATWorkmen in the forest. Oh, well!

(sings)The terrible night doesn't frightenme ...

(speaks)Hey, what the devil ... it's my treethey're cutting down.

He peers through the foliage. Below him stands a dark figurediligently sawing away at the base of the tree. SKAT becomesfrightened and angry.

SKATHey, you! Do you hear me, you trickybastard? What are you doing with mytree?

The sawing continues without a pause. SKAT becomes morefrightened.

SKATCan't you at least answer me?Politeness costs so little. Who areyou?

DEATH straightens his back and squints up at him. SKAT criesout in terror.

DEATHI'm sawing down your tree becauseyour time is up.

59.

SKATIt won't do. I haven't got time.

DEATHSo you haven't got time.

SKATNo, I have my performance.

DEATHThen it's canceled because of death.

SKATMy contract.

DEATHYour contract is terminated.

SKATMy children, my family.

DEATHShame on you, Skat!

SKATYes, I'm ashamed.

DEATH begins to saw again. The tree creaks.

SKATIsn't there any way to get off? Aren'tthere any special rules for actors?

DEATHNo, not in this case.

SKATNo loopholes, no exceptions?

DEATH saws.

SKATPerhaps you'll take a bribe.

DEATH saws.

SKATHelp!

DEATH saws.

SKATHelp! Help!

The tree falls. The forest becomes silent again.

Night and then dawn.

60.

The travelers have come to a sort of clearing and havecollapsed on the moss. They lie quietly and listen to theirown breathing, their heartbeats, and the wind in the treetops. Here the forest is wild and impenetrable. Huge bouldersstick up out of the ground like the heads of black giants. Afallen tree lies like a mighty barrier between light andshadow.

MIA, JOF and their child have sat down apart from the others.They look at the light of the moon, which is no longer fulland dead but mysterious and unstable. The KNIGHT sits bentover his chess game. LISA cries quietly behind PLOG'S back.JONS lies on the ground and looks up at the heavens.

JONSSoon dawn will come, but the heatcontinues to hang over us like asmothering blanket.

LISAI'm so frightened.

PLOGWe feel that something is going tohappen to us, but we don't know what.

JONSMaybe it's the day of judgment.

PLOGThe day of judgment ...

Now, something moves behind the fallen tree. There is arustling sound and a moaning cry that seems to come from awounded animal. Everyone listens intently, all faces turnedtowards the sound. A voice comes out of the darkness.

RAVALDo you have some water?

RAVAL'S perspiring face soon becomes visible. He disappearsin the darkness, but his voice is heard again.

RAVALCan't you give me a little water?

(pause)I have the plague.

JONSDon't come here. If you do I'll slityour throat. Keep to the other sideof the tree.

RAVELI'm afraid of death.

61.

No one answers. There is complete silence. RAVAL gasps heavilyfor air. The dry leaves rustle with his movements.

RAVELI don't want to die! I don't wantto!

No one answers. RAVAL'S face appears suddenly at the base ofthe tree. His eyes bulge wildly and his mouth is ringed withfoam.

RAVALCan't you have pity on me? Help me!At least talk to me.

No one answers. The trees sigh. RAVAL begins to cry.

RAVALI am going to die. I. I. I! Whatwill happen to me! Can no one consoleme? Haven't you any compassion? Can'tyou see that I ...

His words are choked off by a gurgling sound. He disappearsin the darkness behind the fallen tree. It becomes quiet fora few moments.

RAVAL(whispers)

Can't anyone ... only a little water.

Suddenly the GIRL gets up with a quick movement, snatchesJONS'S water bag and runs a few steps. JONS grabs her andholds her fast.

JONSIt's no use. It's no use. I knowthat it's no use. It's meaningless.It's totally meaningless. I tell youthat it's meaningless. Can't youhear that I'm consoling you?

RAVELHelp me, help me!

No one answers, no one moves. RAVAL'S sobs are dry andconvulsive, like a frightened child's. His sudden scream iscut off in the middle. Then it becomes quiet.

The GIRL sinks down and hides her face in her hands. JONSplaces his hand on her shoulder.

The KNIGHT is no longer alone. DEATH has come to him and heraises his hand.

DEATHShall we play our game to the end?

62.

KNIGHTYour move!

DEATH raises his hand and strikes the KNIGHT'S queen. AntoniusBlock looks at DEATH.

DEATHNow I take your queen.

KNIGHTI didn't notice that.

The KNIGHT leans over the game. The moonlight moves over thechess pieces, which seem to have a life of their own.

JOF has dozed off for a few moments, but suddenly he wakens.Then he sees the KNIGHT and DEATH together. He becomes veryfrightened and awakens MIA.

JOFMia!

MIAYes, what is it?

JOFI see something terrible. SomethingI almost can't talk about.

MIAWhat do you see?

JOFThe knight is sitting over thereplaying chess.

MIAYes, I can see that too and I don'tthink it's so terrible.

JOFBut do you see who he's playing with?

MIAHe is alone. You mustn't frighten methis way.

JOFNo, no, he isn't alone.

MIAWho is it, then?

JOFDeath. He is sitting there playingchess with Death himself.

63.

MIAYou mustn't say that.

JOFWe must try to escape.

MIAOne can't do that.

JOFWe must try. They are so occupiedwith their game that if we move veryquietly, they won't notice us.

JOF gets up carefully and disappears into the darkness behindthe trees. MIA remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT and the chess game. Sheholds her son in her arms. Now JOF returns.

JOFI have harnessed the horse. The wagonis standing near the big tree. Yougo first and I'll follow you withthe packs. See that Mikael doesn'twake up.

MIA does what JOF has told her. At the same moment, the KNIGHTlooks up from his game.

DEATHIt is your move, Antonius Block.

The KNIGHT remains silent. He sees MIA go through themoonlight towards the wagon. JOF bends down to pick up thepack and follows at a distance.

DEATHHave you lost interest in our game?

The KNIGHT'S eyes become alarmed. DEATH looks at him intently.

KNIGHTLost interest? On the contrary.

DEATHYou seem anxious. Are you hidinganything?

KNIGHTNothing escapes you -- or does it?

DEATHNothing escapes me. No one escapesfrom me.

KNIGHTIt's true that I'm worried.

64.

He pretends to be clumsy and knocks the chess pieces overwith the hem of his coat. He looks up at DEATH.

KNIGHTI've forgotten how the pieces stood.

DEATH(laughs contentedly)

But I have not forgotten. You can'tget away that easily.

DEATH leans over the board and rearranges the pieces. TheKNIGHT looks past him towards the road. MIA has just climbedup on the wagon. JOF takes the horse by the bridle and leadsit down the road. DEATH notices nothing; he is completelyoccupied with reconstructing the game.

DEATHNow I see something interesting.

KNIGHTWhat do you see?

DEATHYou are mated on the next move,Antonius Block.

KNIGHTThat's true.

DEATHDid you enjoy your reprieve?

KNIGHTYes, I did.

DEATHI'm happy to hear that. Now I'll beleaving you. When we meet again,you and your companions' time willbe up.

KNIGHTAnd you will divulge your secrets.

DEATHI have no secrets.

KNIGHTSo you know nothing.

DEATHI have nothing to tell.

The KNIGHT wants to answer, but DEATH is already gone.

65.

A murmur is heard in the tree tops. Dawn comes, a flickeringlight without life, making the forest seem threatening andevil. JOF drives over the twisting road. MIA sits besidehim.

MIAWhat a strange light.

JOFI guess it's the thunderstorm whichcomes with dawn.

MIANo, it's something else. Somethingterrible. Do you hear the roar inthe forest?

JOFIt's probably rain.

MIANo, it isn't rain. He has seen usand he's following us. He hasovertaken us; he's coming towardsus.

JOFNot yet, Mia. In any case, not yet.

MIAI'm so afraid. I'm so afraid.

The wagon rattles over roots and stones; it sways and creaks.Now the horse stops with his ears flat against his head. Theforest sighs and stirs ponderously.

JOFGet into the wagon, Mia. Crawl inquickly. We'll lie down, Mia, withMikael between us.

They crawl into the wagon and crouch around the sleepingchild.

JOFIt is the Angel of Death that'spassing over us, Mia. It's the Angelof Death. The Angel of Death, andhe's very big.

MIADo you feel how cold it is? I'mfreezing. I'm terribly cold.

She shivers as if she had a fever. They pull the blanketsover them and lie closely together. The wagon canvas fluttersand beats in the wind.

66.

The roar outside is like a giant bellowing.

The castle is silhouetted like a black boulder against theheavy dawn. Now the storm moves there, throwing itselfpowerfully against walls and abutments. The sky darkens; itis almost like night.

Antonius Block has brought his companions with him to thecastle. But it seems deserted. They walk from room to room.There is only emptiness and quiet echoes. Outside, the rainis heard roaring noisily.

Suddenly the KNIGHT stands face to face with his wife. Theylook at each other quietly.

KARINI heard from people who came fromthe crusade that you were on yourway home. I've been waiting for youhere. All the others have fled fromthe plague.

The KNIGHT is silent. He looks at her.

KARINDon't you recognize me any more?

The KNIGHT nods, silent.

KARINYou also have changed.

She walks closer and looks searchingly into his face. Thesmile lingers in her eyes and she touches his hand lightly.

KARINNow I can see that it's you. Somewherein your eyes, somewhere in your face,but hidden and frightened, is thatboy who went away so many years ago.

KNIGHTIt's over now and I'm a little tired.

KARINI see that you're tired.

KNIGHTOver there stand my friends.

KARINAsk them in. They will break thefast with us.

They all sit down at the table in the room, which is lit bytorches on the walls. Silently they eat the hard bread andthe salt-darkened meat.

67.

KARIN sits at the head of the table and reads aloud from athick book.

KARIN"And when the Lamb broke the seventhseal, there was silence in heavenfor about the space of half an hour.And I saw the seven angels whichstood before God; and to them weregiven seven trumpets. And another..."

Three mighty knocks sound on the large portal. KARINinterrupts her reading and looks up from the book. JONS risesquickly and goes to open the door.

KARIN"The first angel sounded, and therefollowed hail and fire mingled withblood, and they were cast upon theearth; and the third part of thetrees was burnt up and all the greengrass was burnt up."

Now the rain becomes quiet. There is suddenly an immense,frightening silence in the large, murky room where the burningtorches throw uneasy shadows over the ceiling and the walls.Everyone listens tensely to the stillness.

KARIN"And the second angel sounded, andas it were a great mountain burningwith fire was cast into the sea; anda third part of the sea became blood..."

Steps are heard on the stairs. JONS returns and sits downsilently at his place but does not continue to eat.

KNIGHTWas someone there?

JONSNo, my lord. I saw no one.

KARIN lifts her head for a moment but once again leans overthe large book.

KARIN"And the third angel sounded, andthere fell a great star from heaven,burning as it were a torch, and itfell upon the third part of the riversand upon the fountains of waters;and the name of the star is calledWormwood ..."

68.

They all lift their heads, and when they see who is comingtowards them through the twilight of the large room, theyrise from the table and stand close together.

KNIGHTGood morning, noble lord.

KARINI am Karin, the knight's wife, andwelcome you courteously to my house.

PLOGI am a smith by profession and rathergood at my trade, if I say so myself. My wife Lisa -- curtsy for the greatlord, Lisa. She's a little difficultto handle once in a while and we hada little spat, so to speak, but noworse than most people.

The KNIGHT hides his face in his hands.

KNIGHTFrom our darkness, we call out toThee, Lord. Have mercy on us becausewe are small and frightened andignorant.

JONS(bitterly)

In the darkness where You are supposedto be, where all of us probablyare.... In the darkness You willfind no one to listen to Your criesor be touched by Your sufferings.Wash Your tears and mirror Yourselfin Your indifference.

KNIGHTGod, You who are somewhere, who mustbe somewhere, have mercy upon us.

JONSI could have given you an herb topurge you of your worries abouteternity. Now it seems to be toolate. But in any case, feel theimmense triumph of this last minutewhen you can still roll your eyesand move your toes.

KARINQuiet, quiet.

JONSI shall be silent, but under protest.

69.

GIRL(on her knees)

It is the end.

JOF and MIA sit close together and listen to the rain tappinglightly on the wagon canvas, a sound which diminishes untilfinally there are only single drops.

They crawl out of their hiding place. The wagon stands on aheight above a slope, protected by an enormous tree. Theylook across ridges, forests, the wide plains, and the sea,which glistens in the sunlight breaking through the clouds.

JOF stretches his arms and legs. MIA dries the wagon seatand sits down next to her husband. MIKAEL crawls betweenJOF'S knees.

A lone bird tests its voice after the storm. The trees andbushes drip. From the sea comes a strong and fragrant wind.

JOF points to the dark, retreating sky where summer lightningglitters like silver needles over the horizon.

JOFI see them, Mia! I see them! Overthere against the dark, stormy sky.They are all there. The smith andLisa and the knight and Raval andJons and Skat. And Death, the severemaster, invites them to dance. Hetells them to hold each other's handsand then they must tread the dancein a long row. And first goes themaster with his scythe and hourglass,but Skat dangles at the end with hislyre. They dance away from the dawnand it's a solemn dance towards thedark lands, while the rain washestheir faces and cleans the salt ofthe tears from their cheeks.

He is silent. He lowers his hand. His son, MIKAEL, haslistened to his words. Now, he crawls up to MIA and sitsdown in her lap.

MIA(smiling)

You with your visions and dreams.

THE END