This experimental essay reminds us that all copies of the vampire classic Nosferatu (1922) should have been destroyed because of a legal difference of opinion about copyright. Even more suggestive than the literary and film-historic anecdotes are the broader associations that emerge. Almandoz takes us on a journey through time with shipping as recurrent motif. From fashionable cruise tourism back to the underworld and its mythological rivers, documentary observations are juxtaposed with naive figure theatre or abstract digital animations. The end of the film is situated around and in the tomb of F.W. Murnau, which was desecrated in July 2015. Since then, all traces of Murnau’s skull have disappeared.