Opening scene


KNIGHT : Who are you?

DEATH : I am Death.
KNIGHT:  Have you come for me?
DEATH: I have been walking by your side for a long time.
KNIGHT: That I know.
DEATH:  Are you prepared?
KNIGHT: My body is frightened, but I am not.
DEATH: Well, there is no shame in that.

Jof's vision


Antonious at the church


The Deserted Village



Download Day #2 handout

Procession of the flagellants

The procession of the flagellants

Torture at the tavern

Torture at the tavern

Strawberries and milk


Strawberries and Milk

JOF has come out with his lyre, sits on a small, gaudy box and plucks at the instrument, humming quietly, searching for his melody. JONS yawns and lies down.
KNIGHT: People are troubled by so much.
MIA: It's always better when one is two. Have you no one of your own?
KNIGHT: Yes, I think I had someone.
MIA: And what is she doing now?
KNIGHT: I don't know.
MIA: You look so solemn. Was she your beloved?
KNIGHT: We were newly married and we played together. We laughed a great deal. I wrote songs to her eyes, to her nose, to her beautiful little ears. We went hunting together and at night we danced. The house was full of life ...
MIA: Do you want some more strawberries?
KNIGHT (shakes his head) :Faith is a torment, did you know that? It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call.
MIA: I don't understand what you mean.
KNIGHT: Everything I've said seems meaningless and unreal while I sit here with you and your husband. How unimportant it all becomes suddenly.
He takes the bowl of milk in his hand and drinks deeply from it several times. Then he carefully puts it down and looks up, smiling.
MIA: Now you don't look so solemn.
I shall remember this moment. The silence, the twilight, the bowls of strawberries and milk, your faces in the evening light. Mikael sleeping, Jof with his lyre. I'll try to remember what we have talked about. I'll carry this memory between my hands as carefully as if it were a bowl filled to the brim with fresh milk.
He turns his face away and looks out towards the sea and the colorless gray sky.
KNIGHT: And it will be an adequate sign -- it will be enough for me.
He rises, nods to the others and walks down towards the forest. JOF continues to play on his lyre. MIA stretches out on the grass.
The KNIGHT picks up his chess game and carries it towards the beach. It is quiet and deserted; the sea is still.
DEATH: I have been waiting for you.

Love is the blackest of all plagues

 Love is the blackest of all plagues





DAY THREE burning of the witch

The soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming in the moonlight. Her blackened mouth opens as if to scream, but no sound emerges. They take her down from the cart and lead her towards the ladder and the stake. The KNIGHT turns to the MONK, who remains seated in the cart.

KNIGHT: What have you done with the child?

DEATH turns around and looks at him.

DEATH:  Don't you ever stop asking questions?

KNIGHT:  No, I'll never stop.

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

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

JONS: For a moment I thought of killing the soldiers, but it would do no good. She's nearly dead already.

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

SOLDIER: I've told you to be careful. Don't go too close to her.

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

KNIGHT:  Take this and it will stop the pain.

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

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

JONS:     What does she see? Can you tell me?

KNIGHT: (shakes his head)  She feels no more pain.

JONS: You don't answer my question. Who watches over
that child? Is it the angels, or God, or the
Devil, or only the emptiness? Emptiness, my

KNIGHT:  This cannot be.

JONS:Look at her eyes, my lord. Her poor brain has
just made a discovery. Emptiness under the


JONS:  We stand powerless, our arms hanging at our
sides, because we see what she sees, and our
terror and hers are the same.
(an outburst)
That poor little child. I can't stand it, I can't stand it ...

DAYTHREE mate at next move


DAY 3 Last Supper

The Last Supper

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

Good morning, noble lord.

I am Karin, the knight's wife, and welcome you
courteously to my house.

I am a smith by profession and rather good at
my trade, if I say so myself. My wife Lisa --
curtsy for the great lord, Lisa. She's a little
difficult to handle once in a while and we had
a little spat, so to speak, but no worse than
most people.

The KNIGHT hides his face in his hands.

From our darkness, we call out to Thee, Lord.
Have mercy on us because we are small and
frightened and ignorant.

JONS (bitterly)
In the darkness where You are supposed to be,
where all of us probably are.... In the
darkness You will find no one to listen to Your
cries or be touched by Your sufferings. Wash
Your tears and mirror Yourself in Your

God, You who are somewhere, who must be
somewhere, have mercy upon us.

I could have given you an herb to purge you of
your worries about eternity. Now it seems to be
too late. But in any case, feel the immense
triumph of this last minute when you can still
roll your eyes and move your toes.

Quiet, quiet.

I shall be silent, but under protest.

(on her knees)
It is finished.

The Dance of Death
Why are Karin and silent girl not included in the dance of death? 

A Knight Playing Chess With Death: The Painting

Albertus Pictor (English, "Albert the Painter"; Immenhusen, c. 1440 – c. 1507), also called 
Albert Pictor, Albert Målare and Albrekt Pärlstickare (Swedish), is the most famous late medieval Swedish painter, known for his wallpaintings surviving in numerous churches in southern and central Sweden. 

In the filming notes for The Seventh Seal, Bergman explained the influence of Pictor's frescoes:

"As a child I was sometimes allowed to accompany my father when he traveled about to preach in the small country churches. As a child I as sometimes allowed to accompany my father when he traveled about to preach in the small country churches . . . . While Father preached away . . . . I devoted my interest to the church's mysterious world of low arches, thick walls, the smell of eternity, . . . the strangest vegetation of medieval paintings and carved figures on ceiling and walls. There was everything that one's imagination could desire: angels, saints . . .  frightening animals . . .  All this was surrounded by a heavenly, earthly, and subterranean landscape of a strange yet familiar beauty. In a wood sat Death, playing chess with the Crusader. Clutching the branch of a tree was a naked man with staring eyes, while down below stood Death, sawing away to his heart's content. Across gentle hills Death led the final dance toward the dark lands.

But in the other arch the Holy Virgin was walking in a rosegarden, supporting the Child's 
faltering steps, and her hands were those of a peasant woman . . . . I defended myself against the dimly sensed drama that was enacted in the crucifixion picture in the chancel. My mind was stunned by the extreme cruelty and the extreme suffering."



En passant

From Wikipedia, the free encyclopedia
This article is about the chess move 'en passant'. For other uses, see En passant (disambiguation).
en passant

En passant (from Frenchin passing) is a move in chess.[1] It is a special pawn capture, that can only occur immediately after a pawn moves two ranks forward from its starting position, and an enemy pawn could have captured it had the pawn moved only one square forward. The opponent captures the just-moved pawn "as it passes" through the first square. The resulting position is the same as if the pawn had moved only one square forward and the enemy pawn had captured it normally.

The en passant capture must be made at the very next turn, or the right to do so is lost.[2] It is the only occasion in chess in which a piece is captured but is not replaced on its square by the capturing piece. Like any other move, if an en passant capture is the only legal move available, it must be made. En passant capture is a common theme inchess compositions.

The en passant capture rule was added in the 15th century when the rule that gave pawns an initial double-step move was introduced. It prevents a pawn from using the two-square advance to pass an adjacent enemy pawn without the risk of being captured.