Original subtitles

[Fast-paced '80s music]

[Fast-paced '80s music continues]

[Fast-paced '80s music continues]

[Fast-paced '80s music intensifies]

[Suspenseful instrumental music]

[Suspenseful instrumental music continues]

No ice.

[Monkey screeching]

[Screaming]

[Woman screaming]

WOMAN: Stop it!

[Slow instrumental music]

I don't know what's got into him. He's gone crazy.

Oh, my God.

[Slow instrumental music continues]

[Slow instrumental music continues]

Forever.

[Soft instrumental music]

MIRIAM: What?

Forever and ever.

[Soft instrumental music continues]

[Monkey screeching]

TOM: Big Macs.

TOM: Hello.

He's manic. That's what's so strange.

After all these hours...

there's no falloff in activity, no drop in his blood pressure.

TOM: Okay, so what went wrong? SARAH: His temperature's still way up.

- Phyl? - Night before last, he didn't sleep a wink.

He hasn't slept now for 50-some hours.

Fifty-six.

PHYLLIS: All day yesterday, he got uglier and uglier.

Last night, he turned on Betty.

PHYLLIS: He loved Betty. TOM: You thought he loved Betty.

He tore her apart and then he ate her.

Okay, let's get the old video equipment in here.

SARAH: I want to record every move he makes.

I could kill him. I could, really.

TOM: Careful, Phyl. That's a $2,000 monkey you're talking about.

Don't you snarl at me, you evil son of a bitch.

[Soft instrumental music]

[Soft instrumental music continues]

Forever and ever.

[Soft instrumental music continues]

[Projector running]

SARAH: These children are all 8, 9, and 10 years old...

though they have the physical characteristics...

of someone in their 70s or even older.

They all suffer from a disease called progeria.

We don't know exactly what itis, but what it amounts to...

is a premature degeneration comparable to that of aging.

What we call the internal clock...

begins to speed up at about the age of five.

It's a terminal disease. The average life expectancy is about 16.

INTERVIEWER: Tragic. SARAH: Yes...

and the main focus of our work at Park West...

is to try to reverse this process and actually slow down this internal clock.

INTERVIEWER: I won't use that magic word "immortality"...

but longevity is something that's got to be....

Sleep well?

INTERVIEWER: Today with all our fantastic technology....

Come here. Sit here.

INTERVIEWER: ...if only I'd been born 50 years later....

[Doorbell ringing]

[Buzzer]

Gotcha. You look awful.

- What have you been doing? - None of your business.

SARAH: We have a woman who's into her 90s...

she only sleeps about two or three hours a night...

and believe me, she has far more energy and enthusiasm than any of us.

That's fantastic. What's her secret?

When I find out the answer to that...

I certainly hope you'll invite me back.

INTERVIEWER: My guest is Dr. Sarah Roberts.

And the book is called Sleep and Longevity.

It's about mankind's flirtation with immortality.

ALICE: Say salami.

MIRIAM: What? ALICE: Say it.

Salami.

That's what all big-time photographers say.

Beats "cheese."

My dad got it for me in Hong Kong. Neat, huh?

[Classical music playing]

Forgive me.

- Poor darling. - What's wrong with him?

He'll be all right. He's having trouble sleeping.

You want some ludes? I've got some in my case.

What? - Quaaludes.

- Alice. - l stole them from my stepmother.

Alice!

She doesn't care. She gets them by the gross.

She's got every pill ever invented. She collects them.

MIRIAM: Poor woman.

ALICE: That's what my dad says. He says she's scared of getting old.

[Eerie instrumental music]

CLERK: Thank you.

[Eerie instrumental music]

I'm sorry, what did you say?

Nothing, but I would like to talk to you.

All right. Yes, I'd like that.

Excuse me. Make it to Lillybelle.

[Machine guns firing on TV]

MIRIAM: The research center, please. CLERK: Dr. Humphries, 11th floor.

[Eerie instrumental music]

MIRIAM: What exactly is your position here?

CHARLIE: I'm a blood analyst.

MIRIAM: Have you found there's a relation between blood type and aging?

CHARLIE: We're looking at it. We're looking at everything.

That's why we're here.

But my suspicion would be what kind of blood you have...

affects how much you sleep, how deeply...

and how you sleep affects how you age.

Excuse me.

- Excuse me. Dr. Humphries. - Straight ahead.

CHARLIE: We can guess... MIRIAM: No, thank you.

...hypothesize that...

certain blood disorders and tissue deficiencies...

result in a rapid degeneration...

similar to the symptoms of accelerated aging.

CHARLIE: We've even had results here with monkeys in speeding up the clock...

but we are a long way from turning it back.

We can't quite promise you everlasting life.

[Slow instrumental music]

MIRIAM: You all right? JOHN: My hair comes out in my hand.

JOHN: I've been reading this book.

Why are these books always so badly written, I wonder?

I've been there.

They know nothing. They're guessing.

How long is it going to take?

How long did the others take?

MIRIAM: I don't know. JOHN: You must remember, Miriam.

I know it's a long time...

but it's not the kind of thing that you forget.

- Lollia, how long did she take? - A week.

A few days. I don't remember.

- She couldn't sleep? - No. She fed, but she couldn't sleep.

JOHN: And the one before that?

The same. Always the same.

I prayed I'd never lose you. I know what's happening to you.

I live with your suffering again and again.

I had hoped that this time was just, somehow, some miracle.

I've never stopped hoping that.

Come here.

And who's next? Have you thought about that?

Who's to keep you company when I'm gone?

I'm sure you have thought about that.

Who's it to be? Alice?

- Stop it. - Look at me.

JOHN: Look at me!

Miriam!

[Echoing] What am I going to do?

[Eerie instrumental music]

[Announcement on PA system]

[Monkey chattering]

[Telephone ringing]

SARAH: Barbara. BARBARA: Yes?

Listen, I'm going to the boardroom to see the finance committee.

If anyone calls, don't put them through...

SARAH: unless it's an emergency. BARBARA: Okay.

JOHN: Don't be alarmed. SARAH: How did you get in?

It's John Blaylock.

SARAH: This is a restricted area. You're not allowed in.

I've been reading your book. I won't lie, I've not read it all.

I'm just on my way out.

It says somewhere that age is a disease, a disease that can be cured.

SARAH: Yes. JOHN: Do you seriously believe that?

SARAH: It's possible but, Mr.... JOHN: Blaylock.

Yes. I'm very late right now for a meeting on another floor.

Look at me. Look at my hands. How old am I?

- They're waiting. - How old?

- l don't know. - These are liver spots, aren't they?

SARAH: They look like it, yes. JOHN: I didn't have them yesterday.

Yesterday, I was 30 years old.

- That's remarkable. - I'm a young man.

Do you understand? I'm a young man.

Yes. All right. I want you to wait for me...

and I'll be back in 15 minutes, and then we'll do some tests, okay?

[Announcement on PA system]

Why don't you have a seat, Mr. Blaylock, and I'll be with you as soon as I can.

Fifteen minutes.

I'll try.

You must think that I'm quite crazy.

- I really.... I have to go. - Of course.

[Tense instrumental music]

SARAH: Hi, Fred. This is Dr. Roberts.

SARAH: Hi. Listen, I just had another nut wander into my office.

Yeah, I'm fine. I left him in the patients' lounge on 8.

Great, thank you. Fred?

Look, don't break his legs or anything, okay? He's quite harmless.

Just let him sit there for a while, and he'll probably get tired and leave.

Thanks.

Mr. Rosenfeld? Hi, how are you?

NURSE: You're looking fine.

[Tense instrumental music continues]

RECEPTIONIST: Excuse me. Sir?

Excuse me, sir.

Sir, smoking is not permitted.

PHYLLIS: The effective age at this point: 55.

TOM: And what's that in human terms? PHYLLIS: Equivalent to around 92.

[Tense instrumental music continues]

SARAH: Right here, he's in his 70th hour.

That's where the first degenerative changes were visible.

CHARLIE: Decay starts accelerating here.

PHYLLIS: He's aging at a rate of approximately five years per minute.

TOM: Jesus Christ.

[Tense instrumental music continues]

What was the result of that test then, Charlie?

His blood cells gradually lost their ability to obtain oxygen.

PHYLLIS: The effective age now: 85.

Human equivalent: 129.

And life signs terminate right...

here.

CHARLIE: Now watch this.

[Eerie instrumental music]

RECEPTIONIST: Sir? Excuse me, sir.

Would you like a cup of coffee?

[Telephone ringing]

SARAH: It is your job. Just show them the tapes.

TOM: You think so?

TOM: I think Mandelstam will have a heart attack.

Tom, these tapes are worth a fortune. I mean, we have made history here.

We have actually shown that there is a clock.

We have actually shown that it can be tampered with.

Okay, so I don't understand exactly how it works...

but I'm going to find out, if it kills me.

We're talking about the secret of life and death here.

That's good. They'll like that. Mandelstam will like that.

- He's an idiot. - No. You're wrong, darling.

Nobody with $500,000 to give away is an idiot.

We have got to get our funding. We're so close.

- I'll show him the tapes. - Thanks.

[Eerie instrumental music]

[Heart beating]

[Heartbeat continues]

[Women chattering]

[Eerie instrumental music]

[Heart beating quickly]

SARAH: It wasn't as much as we hoped...

SARAH: but we'll get through next year. PHYLLIS: Good old Tom.

SARAH: He was great-- JOHN: Dr. Roberts.

Yeah.

- You let me down. - Beg your pardon?

You didn't believe me. You made me sit here for over two hours.

SARAH: Mr. Blaylock? JOHN: You had your meeting.

Fifteen minutes, you said. You lied.

JOHN: Just thought I was some ridiculous old crank.

SARAH: Mr. Blaylock, wait, please. JOHN: Wait? I can't wait.

I'm urgently required elsewhere.

Mr. Blaylock, please come into my office--

Why don't you take a seat in the patients' lounge?

SARAH: Mr. Blaylock, please wait.

You can't leave.

[Car horn honking]

You stupid old fuck!

[Rock music playing]

[Man screaming]

Fuck! You fucking cut me!

You cut me!

[Doorbell ringing]

JOHN: Yes? ALICE: Hi.

JOHN: What do you want? ALICE: Is Miriam here? Mrs. Blaylock.

JOHN: There's nobody here.

My name is Alice Cavender. I live across the street.

I do music with the Blaylocks every Monday, Wednesday, and Friday.

JOHN: It's Tuesday. ALICE: I know.

Il just wanted to tell Miriam I can't come tomorrow. Mrs. Blaylock.

On account of some dumb lecture I got suckered into at school.

JOHN: She's not here. I told you, there's nobody here.

Maybe I could leave a note.

[Intercom disconnecting]

[Buzzer]

[Eerie instrumental music]

I'll leave it on the piano, okay? I've got some music she wants back.

Are you a friend of theirs?

ALICE: You're the first friend of theirs I ever met.

JOHN: They don't entertain a great deal.

Wait a minute. You're not John's father, are you?

What?

ALICE: Mr. Blaylock, John's father. JOHN: No.

No, I'm just a friend. Why?

You've got the same eyes.

Strange. I've never noticed. I've known him all these years.

ALICE: Really?

Really.

[Eerie instrumental music]

JOHN: Play something. ALICE: Now?

JOHN: Yes. Miriam tells me you have great promise.

ALICE: Miriam said that?

JOHN: I used to play a little myself when I was a young man.

ALICE: Well, if you really want me to. JOHN: Please.

I've got this Lalo trio I've been working on.

Probably going to make a fool of myself, but you asked for it.

JOHN: C minor. ALICE: That's right.

JOHN: A little saccharine. ALICE: That's what John says.

You know, John speaks before he thinks.

Is that what he does? I can't figure him out.

I've been coming here for a year practically.

Miriam's fantastic. She's my best friend, but John--

JOHN: You don't like John?

I didn't say that. I love him. I love them both.

He's just hard to figure out, that's all.

Please play the Lalo for me...

even if it is a little saccharine.

- Are you sure you're not John's father? - Quite sure.

[Sentimental music playing]

[Ominous instrumental music]

Forgive me.

[Alice screaming]

[Eerie instrumental music]

[Rain pattering]

MIRIAM: John.

John.

[Slow instrumental music]

MIRIAM: I got caught in the rain.

JOHN: You said forever.

JOHN: Never-ending. Do you remember?

MIRIAM: Every day.

JOHN: Forever, you said.

Forever and ever.

JOHN: Never growing old.

JOHN: Do you remember?

Stop it.

JOHN: Forever young.

MIRIAM: Stop it.

A kiss.

Kiss me.

Think of me as I was.

Kiss me like that.

[Slow instrumental music continues]

JOHN: Miriam.

I can't.

I can't.

JOHN: Give me a little longer.

[Crying] I can't.

[Miriam sobbing]

Then kill me.

Release me.

MIRIAM: I can't.

[Eerie instrumental music]

What have you done?

Kill me.

I can't.

Kill me, Miriam.

Release me.

You don't understand.

[Eerie instrumental music]

Please, Miriam.

John?

There is no release, my darling.

No rest.

No letting go.

[Miriam sobbing]

Humankind die one way, we another.

Their end is final. Ours is not.

In the earth, in the rotting wood...

in the eternal darkness...

we will see...

and hear and feel.

[Elevator clanks]

[Eerie instrumental music continues]

[Somber instrumental music]

[Somber instrumental music continues]

MIRIAM: Lollia...

this is John.

Comfort him.

All of you, all my loves...

be kind to him tonight.

[Doorbell ringing]

MIRIAM: Who is it?

- Mrs. Blaylock? - Yes?

I had to go to great lengths to get your number.

SARAH: I've been trying you all day. MIRIAM: Yes?

My name is Roberts. I'm a doctor. I'm from the Park West Medical Center.

I know.

Oh.

Hello.

[Eerie instrumental music]

Mr. Blaylock came to see me at the hospital yesterday...

and I'm afraid we had a terrible misunderstanding.

My husband is not here.

When will he be back?

MIRIAM: He's gone to Switzerland. SARAH: Switzerland?

Look, Mrs. Blaylock...

I'm sure your husband's furious with me and I don't blame him, really.

To be honest with you, I didn't believe him yesterday.

I mean, we get so many cranks at the hospital, you know.

Anyway, I feel terrible about it.

I'm very sorry, and I'd like the chance to talk to him...

and see if there's something that I couldn't do.

Maybe in a day or two when I know a little more...

when we know each other better.

Sure. I guess this probably isn't a very good time for you, either.

I'm going to give you my home phone and my office number.

MIRIAM: Very well.

If you need anything, please call me. And I'd appreciate it...

if you could keep me posted on what's going on.

Thank you.

ALLEGREZZA: Good morning. MIRIAM: Good morning.

ALLEGREZZA: I'm inquiring about Alice Cavender.

Yes?

ALLEGREZZA: Lt. Allegrezza.

I don't usually get a smile on that.

MIRIAM: It means "good cheer." ALLEGREZZA: That's right.

ALLEGREZZA: Alice Cavender didn't come home last night...

and she didn't show up at school today.

You don't have any idea where she might be, do you, Mrs. Blaylock?

MIRIAM: No, I'm afraid not.

She didn't say anything about any problems at home...

or with any boyfriends or anything like that, did she?

No.

Like I say, nine times out of ten...

there's nothing to worry about with things like this.

But if you or Mr. Blaylock should think of anything...

you might give me a call.

Of course.

[Suspenseful instrumental music]

ALLEGREZZA: New York isn't heaven, is it? MIRIAM: No.

Not exactly.

ALLEGREZZA: Except on a day like today, in a spot like this.

Beautiful.

[Suspenseful instrumental music continues]

[Truck horn honking]

[Telephone ringing]

Are you getting the phone?

SARAH: Was that the phone? TOM: Nope.

[Telephone ringing]

[Ominous instrumental music]

[Soft classical music playing]

[Soft classical music continues]

SARAH: Yeah? Hello?

[Suspenseful instrumental music]

It didn't ring.

SARAH: Are you sure? PHYLLIS: Yeah, I'm sure.

Barbara, did you just buzz me?

Okay. No, everything's all right.

PHYLLIS: No, really. It didn't ring. SARAH: I could have sworn I heard it.

I don't mean to intrude but I didn't hear from you...

I was wondering if you'd heard from your husband...

and how he was doing.

I don't know why I'm here.

Come in.

I don't know how much he told you about himself, about us.

SARAH: Very little.

That is perhaps for the best.

MIRIAM: Sherry? SARAH: No, thank you. I don't like sherry.

MIRIAM: I think you'll like this one.

[Eerie instrumental music]

SARAH: This is real, isn't it?

MIRIAM: Yes. It's 2,000 years old.

SARAH: You've got so many beautiful things.

MIRIAM: Most of it comes from my family.

I love this piece.

It's one of my favorites, too.

She looks like you.

Really?

I mean, you know...

kind of like you.

Hair's the same.

It's Florentine, 500 years old.

[Miriam playing piano]

MIRIAM: I'm sure we could talk for hours, you and I, but I suppose you're very busy.

SARAH: No, not too busy. What about you?

Me? You would think me mostly idle, I'm afraid.

My time is my own.

SARAH: That's great.

SARAH: Plenty of time for your friends...

and lots of lunches and dinners...

and cocktail parties at the Museum of Modern Art?

How do you spend your time?

Are you lonely?

I mean, especially now that your husband's away?

No.

I like your pendant.

It's Egyptian.

You know it was the symbol of everlasting life?

What's that piece you're playing?

It's Lakmé by Delibes.

Lakmé is a Brahmin princess in India.

MIRIAM: She has a slave named Mallika. SARAH: Mallika.

In a magical garden, they sing how they follow the stream to its source...

gliding over the water.

Is it a love song?

I told you, it was sung by two women.

- Sounds like a love song. - Then I suppose that's what it is.

Are you making a pass at me, Mrs. Blaylock?

Miriam.

Miriam.

Not that I'm aware of, Sarah.

[Lofty operatic music]

SARAH: Oh, no.

[Lofty operatic music continues]

[Eerie instrumental music]

[Eerie instrumental music continues]

[Slow operatic music]

[Soft instrumental music]

Here.

You ordered it rare.

- l know. - So what's the problem?

Nothing.

And you sent back the clams.

I'm just not very hungry.

Then why order it if you're not hungry? Why order the steak at all?

I thought I wanted it.

- What's that? - What?

The chain around your neck.

It's an ankh. It's Egyptian. Miriam gave it to me.

Mrs. Blaylock.

The woman that I went to see this afternoon.

You just met her and she gives you a present?

She's that kind of a woman.

She's European.

Did you have something you wanted to tell me?

No. About what?

About what the hell is wrong with you.

I mean, what happened today?

- Nothing happened today. We just talked. - For three-and-a-half hours, you talked?

You know how people are. They like to talk to doctors.

We had some sherry in these fancy little glasses...

and we talked.

- You hate sherry. - l know.

TOM: It gives you a headache. SARAH: I know.

So what did you talk about? I mean, the weather, the fashions?

Seems like three-and-a-half hours is a hell of a long time...

to have a conversation with a stranger.

Now you're telling me how long my conversations are supposed to be?

TOM: I'm asking a question. SARAH: Would you lower your voice?

- What's wrong with you? - What the hell is wrong with you?

I told you, this woman's husband is rotting away...

in some Swiss clinic somewhere.

She's lonely and she doesn't have a friend in the world.

You know what I think?

I mean, do you want to know what I think?

SARAH: I'm sure you're going to tell me anyway.

I think you should see a doctor.

I am a doctor.

And so am I.

[Sarah retching]

[Eerie instrumental music]

TOM: All right. You got to take it easy.

TOM: She's ravenous and she can't eat.

So, Charlie, what is it?

It's as if two entirely different strains of blood were not only present...

but fighting it out for dominance.

I need a cigarette.

TOM: The foreign strain, were you able to isolate it?

- It's on another slide. - And?

The spooky part is...

it isn't human blood.

It's not human.

It's stronger blood than ours.

Very similar but more disease-resistant.

PHYLLIS: What species? CHARLIE: I have no idea.

How the hell did it get in Sarah's veins?

CHARLIE: Beats me. TOM: Wait a minute!

SARAH: Tom, calm down. TOM: Calm down. Just let me....

TOM: Explain this to me.

TOM: You're telling us that Sarah has some weird blood fouling up her veins?

TOM: Some inhuman blood? CHARLIE: Roll up your sleeve.

What? - Roll up your sleeve.

- What's that? - l don't know.

TOM: How long have you had that?

I don't know.

CHARLIE: You don't know where you got it? SARAH: None. Look...

Charlie, you said that...

there's a fight between the two strains for dominance.

CHARLIE: Right.

Who's winning, Charlie?

SARAH: At this moment, my colleagues think I'm in the office...

of a leading blood specialist, but I decided instead to come here.

MIRIAM: Yes. SARAH: Don't you touch me.

MIRIAM: Sarah? SARAH: What have you done to me?

SARAH: There's some alien strain consuming my blood.

MIRIAM: That's right. SARAH: I know it.

SARAH: What I want to know is, what is it? Why have you done it?

You're frightened.

You're damn right I'm frightened.

It's natural. You don't know what's happening to you.

But there's nothing to be frightened of as long as you put your faith in me...

give me time, trust me.

Trust you?

I did trust you, and look what happened.

It's a bruise. It will fade.

SARAH: I know it's a bruise. Look, I'm gonna ask you one more time.

What have you done to me?

I've given you something you never dared dream of.

SARAH: What? MIRIAM: Everlasting life.

SARAH: If I'd known it, I wouldn't-- MIRIAM: The blood in your veins is mine.

SARAH: Yours? MIRIAM: Yes.

Look, I am tired of all your bullshit!

I want a straight answer from you. Do you hear me?

Enough!

[Eerie instrumental music]

MIRIAM: I made a simple incision.

I drew your blood, and then you took mine.

You're crazy.

You belong to me. We belong to each other.

I'm getting out of here.

You'll be back.

MIRIAM: When the hunger hurts so much you've lost reason...

then you'll have to feed, and then you'll need me to show you how.

SARAH: You're crazy.

[Eerie instrumental music]

[Suspenseful instrumental music]

Yes. May I speak to Dr. Tom Haver, please?

What do you mean he's gone home?

No, but he's not there. I already called the apartment.

SARAH: No, he can't call me. I'm in a booth.

Yeah, well....

I'll try him later or.... Never mind.

[Phone rings]

[Eerie instrumental music]

Lady, how about it?

Come on, lady. How about it?

Crazy fucking junkie.

[Suspenseful instrumental music]

[Eerie instrumental music]

MIRIAM: I'm going to bring someone to you.

MIRIAM: Someone who can feed your hunger.

SCHRADER: This is Dr. Schrader. I'm unable to take your call just now.

If you care to leave a message, kindly wait for the tone.

Dr. Schrader, hello.

It's Tom Haver calling again about Sarah Roberts.

I still haven't heard from her.

If you could give me a call when you get in, I'd appreciate it.

I left the number before.

Thank you very much. Goodbye.

MIRIAM: Help yourself to a drink.

[Suspenseful instrumental music]

[Eerie instrumental music]

[Heart beating]

[Eerie instrumental music continues]

MAN: Hello?

[Suspenseful instrumental music]

[Ominous instrumental music]

[Eerie instrumental music]

[Eerie instrumental music continues]

[Echoing] Sarah!

Mrs. Blaylock?

MIRIAM: Who is it? TOM: It's Tom Haver.

MIRIAM: Tom? TOM: Haver. I'm a friend of Sarah Roberts'.

I'm sorry to disturb you so late...

but she didn't come home tonight, and I'm worried.

I just spoke to a doctor that she had an appointment with this afternoon...

and she never showed.

I know that she was here yesterday, and I just thought maybe--

MIRIAM: Yes, come in.

[Buzzer]

- Hello. - Hello.

So, I know she was here yesterday...

and I just wondered if you'd heard from her.

MIRIAM: Yes. She's upstairs.

[Eerie instrumental music]

She's upstairs?

Dr. Haver, she's not well.

TOM: Where upstairs?

MIRIAM: On the second floor, in the bedroom.

[Sarah panting]

TOM: What is this?

TOM: Come on. Look, Sarah.

TOM: Calm down, it's Tom.

TOM: You're going to be all right now. Come on up on the bed.

TOM: That's a girl. Jesus, you're burning up.

TOM: You're cold? I'll get you a robe.

TOM: Put this around you. Come here.

It's all right, baby. I'm here. No, hang on. No.

Wait a minute.

[Eerie instrumental music]

SARAH: Go!

TOM: What are you talking about? SARAH: Get out! Go!

TOM: What the fucking hell? Come here!

SARAH: Out!

TOM: I've got you now. Where are you going? I got you.

TOM: Come on. It's Tom. You're all right.

TOM: I got you. You're all right now.

TOM: You're okay. I got you.

TOM: All right?

TOM: I got you. I love you.

TOM: I love you.

TOM: You're all right, baby.

[Wind howling]

[Thumping]

[Screaming]

[Eerie instrumental music]

[Soft music playing]

It's not nearly as difficult as you imagined, is it?

[Eerie instrumental music]

MIRIAM: You will sleep six hours in every 24...

you will feed one day in seven...

and from this moment, you will never grow old.

Not a minute.

You'll be young forever.

You're part of me now, and I cannot let you go.

We're damned to live forever...

with no release, no end.

And I need you to share it with me.

After a little while, you will forget what you were...

and you will begin to love me as I love you.

[Soft instrumental music]

Forever.

Forever and ever.

[Ominous instrumental music]

[Miriam gasping]

Sarah.

Stay with me.

I can't.

[Eerie instrumental music]

[Miriam's sobs echo]

[Eerie instrumental music]

[Eerie instrumental music continues]

John?

John.

[Eerie instrumental music continues]

I love you! I love you all!

LOLLIA: Miriam? MIRIAM: No!

VICTIM: Miriam? MIRIAM: No, no, no!

[Screaming]

[Miriam screaming]

[Eerie instrumental music continues]

[Thunder rumbling]

ALLEGREZZA: Hello?

Hello? - Yes?

Lt. Allegrezza to see Mrs. Blaylock, please.

Mrs. Blaylock?

Yeah, she'll remember.

Tell her the gentleman about the missing person.

I really don't know what to tell you. I'm just the agent.

- The agent? Arthur Jelinek.

Jelinek Realty. We are handling the sale of this house.

ALLEGREZZA: The sale? ARTHUR: Yes.

I have some clients upstairs looking the place over...

and it all happened very suddenly.

It's an estate case.

The whole thing was handled by a law firm.

My understanding is that the owners are deceased...

and whatever profits are left over...

are going to some kind of research center or clinic in town.

Would you mind very much?

I don't want my clients to think I've deserted them.

Would you excuse me?

Take your time.

Thank you.

[Soft instrumental music]

[Soft instrumental music continues]

MIRIAM [Echoing]: Sarah!

[Soft instrumental music continues]