from looking into the sky. Disoriented, she stumbles around in order to find Marc. Marc and Kia quickly become attracted to each other. Marc will not have closer relations with Kia except if they are married. As Kia sleeps, Marc takes her to the village cathedral. Kia flees from the cathedral, bewildered by the sight of Christ and the saints. She is repulsed by both the Godly images and Marc's pure love. His purity makes her ill. Amael and Kia meditate revenge on Marc for "defiling her" with an "act of love". Amael summons an incubus (Milos Milos) that attempts to kill Marc and rapes and murders Arndis. As Marc prays for his sister he makes the sign of the cross and the lurking demons cringe in horror. Defending himself from the incubus' attack, he appears to have killed him and Amael tells him he has the sin of murder on his hands. Kia follows Marc, who is dying, to the cathedral where she professes her love for him. The resurrected incubus intervenes and claims she belongs to the God of Darkness. Kia defies him and makes the sign of the cross, surprising even herself. The incubus transforms into a goat and wrestles her to the ground. After the struggle she claims, "I belong to the God of Light," and crawls toward Marc, who immediately embraces her. The final scene shows the couple staring in disbelief at the boundary of the cathedral, with the goat gazing back at them. Cast William Shatner as Marc Allyson Ames as Kia Eloise Hardt as Amael Robert Fortier as Olin Ann Atmar as Arndis Milos Milos as Incubus Jay Ashworth as Monk† Forrest T. Butler as Monk† Paolo Cossa as narrator (voice)† Ted Mossman as Monk† † Uncredited Production Pre-production After the ABC Television Network cancelled producer Leslie Stevens' science fiction series The Outer Limits in 1965, Stevens wrote a horror script to make use of the talents of the Outer Limits team he had brought together – including cinematographer Conrad L. Hall and composer Dominic Frontiere – with an eye to marketing it to art houses. Stevens and producer Anthony M. Taylor wanted a device to make the film unique, and, to this end, chose Esperanto as the film's language. The script was translated into Esperanto, and the actors rehearsed for 10 days to learn their lines phonetically, but no one was present