"When We Dead Awaken" is a complex narrative that explores themes of artistic ambition, lost love, and existential longing. The story unfolds in Norway and follows protagonist Professor Arnold Rubek, a sculptor, and his young wife Maia. Their journey intertwines with the lives of enigmatic characters they meet along the way, leading to a dramatic and introspective conclusion.

Return to Norway

After spending four years abroad, Professor Arnold Rubek and his youthful wife Maia return to their coastal home in Norway. Finding themselves listless at the baths and hotel, they decide to break the monotony of summer by planning a northern coastal voyage. Rubek, once celebrated worldwide for his masterpiece "The Resurrection Day," has achieved significant success and wealth. Among the notable guests at the baths are Ulfheim, known as the bear-killer, and Madame von Satow, a mysterious, pale woman with a companion dressed in black, who takes residence in a nearby pavilion for the summer. As Rubek and Ulfheim engage in conversation, the companion—a nun-like figure—moves between the pavilion and the hotel. Ulfheim ominously remarks that her presence signifies death. Despite the sense of foreboding, Maia accepts Ulfheim's invitation to witness his sledge dogs being fed, while Rubek remains on the lawn, absorbed in his thoughts. Soon, the enigmatic woman in white makes her appearance from the pavilion, stirring something deep within Rubek. Long ago, he envisioned a sculpture representing Woman awakening on Resurrection Day, and Irene, now before him, had been the perfect muse for this creation. Although Irene sought his affections, Rubek feared that loving her would sully his soul.

A Fateful Recognition

Rubek now realizes the woman in white is indeed Irene. He questions her about life since their parting, and she reveals that she has considered herself dead ever since. Despite marrying a South American diplomat who later took his own life and a Russian tycoon in the Urals, her sense of vitality remains absent. Rubek confesses that after Irene's departure, his sculptural work lost its profound beauty. Instead, he resorted to creating double-faced portrait busts, hiding animalistic visages behind human facades. He shares his planned departure with Maia on a sea voyage, but Irene suggests he might find the mountains more appealing. Unexpectedly, Maia decides to join Ulfheim in the mountains, leaving Rubek surprisingly unperturbed. She rushes to share the news with Ulfheim, while the vigilant Sister of Mercy keeps a silent watch near the pavilion's entrance.

Paths Diverge

The following day, Ulfheim departs with his dog trainer Lars and the dogs for a hunt, with Maia in tow. Before leaving, Rubek confesses to Maia that he can no longer indulge in a life of carefree luxury with her. He soon encounters Irene near a brook, and she admits that she has returned from the dead, driven by a desire to see the statue she considers their shared creation, like their child. Despite his reluctance, Rubek explains the alterations he made to the sculpture and how it now reflects his own tormented soul, trapped by remorse. Satisfied that he, too, suffers, Irene sheathes her knife and reminds Rubek of how he disregarded their shared history once the statue was complete.

A Reckoning at Dusk

As the sun sets, Rubek asks Irene to join him at his villa, hoping she can help him rediscover his true self. Irene, however, insists that their past life offers no resurrection. Provocatively, she challenges him to brave the mountain's heights and spend a summer night with her. In a moment of joy and defiance, Rubek accepts. As they ascend, they notice the haunting gaze of the Sister of Mercy...