Original subtitles

(eerie music)

(eerie music continues)

(woman cackling)

(eerie music)

(woman cackling)

(dramatic music)

(engine rumbles)

(tires squealing)

(engine rumbles)

(engine rumbling)

(horn bleating)

(engine rumbles)

(suspenseful jazzy music)

(tires squealing)

(suspenseful jazzy music)

(tires squealing)

(suspenseful jazzy music)

(tires squealing)

(engine rumbling)

(suspenseful jazzy music)

(horn bleating)

(tires squealing)

(door bangs) (engine rumbles)

(engine rumbles)

(horn bleating)

(engine rumbles)

- [Announcer] Authorizing the release of 73 men

detained under the emergency. (TV announcer trails off)

- [Fred] Give me a beer, will you?

- All right.

- [Fred] Thanks.

Hello.

-Ah, you again.

- That's right, your mysterious pursuer.

(woman laughs)

How'd you make out?

- Badly, he's one of those rotten people

who thinks he owns you just 'cause he gives you a ride.

- But I'm sure you were able to handle it.

- Temporarily.

It's bound to get harder if we go any further with him.

He's waiting for me outside.

- Well, we'll keep him waiting then.

As long as you don't mind riding in the open?

(woman chuckles)

(wind whistling)

Okay you feel up to it?

- Sure, I trust you.

- Just a minute. This young lady is riding with me.

- [Fred] Not now.

- You're wrong, she's getting in my car.

- That's what you think.

What do you say?

- I'm coming with you.

- I'm telling you for you own good, something will happen.

- [Fred] Go to hell. (engine rumbles)

- Look, they've got guests.

- The usual nobodies who think they're somebody.

- Who are those two? - Need a card?

- She's the widow of Elsa's lawyer.

- Hush up. - It's true.

- Parasites.

All they do is live off others

and never say anything pleasant.

- I don't think you're being fair.

- Who's he?

- He's the lawyer's partner who married his widow.

- It's true.

Some men'll do anything in order to further their careers.

Give me a card will you, Megan?

- There's no doubt they're enhancing our reputations.

- In any case, he's looking after Elsa's affairs now.

Go on.

- I want to know why Elsa's husband isn't here.

- He's away on a business trip in Soren.

- Poor old Ernest, how he must hate

being a run around for a business woman.

I know I'd loathe it. (phone ringing)

- Yes?

- Elsa?

Ernest.

- What's happening?

I'm expecting you, my lawyer's here already.

You're still up in Soren?

Ernest, but that's absurd.

- There's nothing I can do, Elsa.

The lawyer's away apparently on some very personal matter.

And he won't be back until late tonight.

- Then I suppose you'd better wait.

It's important to authenticate that signature.

If we don't present the document tomorrow,

we lose the auction.

- [Ernest] All right, see you later.

(phone clatters)

(romantic instrumental music)

- We're here in Soren.

It's about 60 kilometers from Milan.

- You'll do that in an hour, easy.

- What should we do, stop here for the night

or keep right on going?

- I'd prefer to go on to Milan.

- I would too.

It's getting rather late. Go on, you decide.

- I don't mind traveling at night in the least.

- Come here.

I wanna call Milan.

Keep the change. - [Bartender] Thank you, sir.

(birds chirping)

(door bangs)

(engine rumbles)

(horn blaring)

- [Fred] I see from the map there are two roads to Milan.

- Well yes, the new highway and the old road.

- [Fred] Which is the better?

- The old one's much shorter but...

- But What?

- It's just that it means going through the valley

and at this time of year, after sundown,

there's often quite a bit of fog.

- Thanks. What do I owe you?

- 4.50, sir.

- [Ellen] It's your life, so I guess you can do

What you like with it.

- [Ernest] I guess so.

- [Ellen] But if you had any dignity,

you'd leave your wife.

- You know damned well I've always loved Elsa.

- Yes, I know all right.

- Right up until last year, Elsa loved me too.

We were happy together.

I hope that one day we will be again.

- It's not that easy.

Time you faced up to it.

- Up to what?

- It's Elsa's money you love,

that's why you won't leave her.

- You're wrong, Ellen.

I have a fortune of my own.

- Yes, you did 10 years ago

but you threw it all away on drink and women.

Ernest, I'm sorry, don't get mad at me.

I don't mean it, I'm just made like that.

I must be a silly idiot.

'Cause I love you.

- Yes, I know.

- But why doesn't she treat you the way I do?

You've become a household pet. All she has to do is whistle.

- She changed completely when her father died.

She was suddenly responsible for the enormous fortune

he had left her in his will.

I don't know how it happened, but within a few days,

she was transformed into a hard-headed

businesswoman obsessed with deals.

- And she denies you your conjugal rights.

She hasn't let you near her bed in months.

Forgive me, Ernest, forgive me.

No need to be angry.

Where do you think you're going?

You mustn't hate me, I'm a fool for you.

Hold me.

I adore you and I can't help it that I know it bores you.

What's money anyway?

- Try paying the bills, then you'd know.

(both moaning)

(engine rumbles)

- Those damn guests seem to be going at last.

- You better watch your tongue,

I know you when you drink.

(engine rumbles)

Somebody's coming.

(door clicks)

- I've spoken to my husband on the phone.

- [Lawyer] Has he had the signature authenticated?

- Yes, but his car's broken down,

and I must go and pick him up.

- Would you like us to go with you?

- No, no there's no need.

It'll take me no more than an hour.

- We'll follow you in my car,

that way you can hand over the document

and we can go on.

-All right, if you're in a hurry to get back home.

- Not really, but I'd prefer to get back tonight

so I can present the document tomorrow morning.

Better to be early.

(engine rumbles)

(tires squealing)

- [Fred] I can't really see this map in the dark.

It's impossible to judge the distance.

- Do you think we may have missed the turn?

- [Fred] It's quite possible.

- Listen.

Isn't it the sound of a car coming this way?

- Yes. Here it comes now.

(engine rumbles)

- Stop them and ask the way.

- Well, we can try.

(engine rumbles)

- Fred, look out! (tires squealing)

(dramatic music)

(wipers clicking)

- [Lawyer] Can't see a thing.

I can't imagine why you insisted on going home tonight.

- How was I supposed to know this fog would come down?

- It's the same every single year.

How can you forget?

- I'm blind, can you see the lights of Elsa's car?

- No.

- [Lawyer] She knows I don't know the road,

it's damned inconsiderate.

- Oh, don't worry.

She'll stop and wait as soon as she realizes we've lost her.

- I wish to God I was for sure.

(engine rumbles)

I'll have to drive faster.

- Take care, I beg you.

- I don't wanna get lost out here in the fog.

- We should never have come.

You're going much too fast.

- Cut it out, woman.

I'm quite nervous enough without your nagging.

- Look out, there's a bend in the road.

- Don't shout in my ear.

You're giving me a headache.

- Stay on the right, look out, there's a car!

(tires squealing)

(crashing) (woman screaming)

(wipers clicking)

(engine rumbling)

(Elsa gasping)

(tires squealing)

(engine rumbles)

(tires squealing)

- Hello there, can I help you?

Take care when you get up to the cross roads.

The turning to Milan is ahead on the left.

- [Fred] I hope it's a decent road.

This fog's getting pretty thick.

- It's narrow but not too windy.

Until you get to a bend over the hill.

- Thank you.

- Wait a minute.

Have you by any chance seen a big old car?

- I can't recall seeing any cars.

(owl hooting)

(birds cawing)

(branch breaking)

(woman crying out)

(branches breaking)

- (whimpering) Who's there?

Who are you?

Who are you?

Stay away from me, for God's sake!

(dramatic music)

Oh God, not you!

Stay where you are, leave me alone!

(eerie music)

No, ah!

(eerie music)

(woman cackling)

(eerie music)

- [Laura] It can't be the right road.

- [Fred] It must be! We turned left.

That's what he said.

- [Laura] He said it wasn't windy

until we got over the hill.

- [Fred] I don't see any hill.

Do you?

- [Laura] I can't see anything rightly

but I'm sure-

(tires squealing) (woman crying out)

- [Fred] Are you all right?

- [Laura] I think so.

What happened?

- [Fred] No more road, that's what happened.

God knows where we are.

Here give me a hand.

(both groaning)

(Elsa crying out)

- Help me! Help me! (crying out)

(engine clicking)

- I keep getting the feeling that we're on another planet.

Roads that disappear and then reappear again,

others that are suddenly interrupted and...

- [Elsa] Help me somebody, help!

- [Laura] Oh God, what's that?

(Elsa panting)

What's the matter?

- [Fred] What happened?

- I'm being pursued.

- There's no one pursuing you.

- Don't you hear it? - What?

I can't hear anything.

- A sort of deep sighing.

- What happened to you?

- I don't really know.

I was driving my car in the direction of Soren.

- And lost your way in the fog.

- Exactly.

- Same thing happened to us, only we were heading for Milan.

- Evidently you took a wrong turn in,

just as we did when we left the main road.

- No, no you're wrong, I'm sure it was the right one.

Then suddenly I found myself in the cemetery.

(owl hooting) (bird cawing)

- I couldn't see anyone or hear anything

out of the ordinary.

Are you sure that...

- Yes, quite sure.

First of all, there was this horrible sound

like someone breathing harsh and loud.

Then, all at once, a man appeared.

His face was hidden, but he was wearing

the uniform of a chauffer.

He was enormously tall,

and in the middle of his chest he had, well,

well, you'll think it's my imagination.

And maybe it is.

- Tell me, was the man in uniform alone?

- No, there was an old woman in black with him.

You don't believe it.

You must think I'm crazy.

- [Laura] No!

- Oh, I wouldn't blame you,

but I'm not subject to hallucinations.

- No, no, of course not.

(Elsa weeping)

We don't think you're crazy.

It's all right now. I promise.

You've obviously had a nasty shock.

The only thing that really makes any sense

is that your car has broken down

and here we are all three lost in a fog.

What we're going to do about it, I don't quite know.

- The map's not very encouraging.

We don't seem to be on it.

- Well, I wouldn't let that worry you,

but there's one good thing.

We're near a cemetery.

The dead are buried by the living,

so there's got to be a village

somewhere in the neighborhood.

- You weren't thinking of going through it?

- No, we'll walk around the wall until we come to the gate.

The village must be on that side.

(owl hooting) (birds cawing)

(dramatic music)

Look what we have here, a Rolls-Royce.

- [Laura] How strange.

- [Elsa] What's it doing here?

- [Fred] Don't you realize this is just the sort of car

to be driven by a chauffer in uniform?

Look.

- [Laura] That's the same number of plate

of the car that-

- That's really incredible.

- What is it? What's incredible?

- [Fred] That this is the car that tried to run me down

less than an hour ago.

(dramatic music)

- [Laura] This cemetery has been abandoned.

-And I'm afraid the village will be as dead

and dark as those unattended graves.

- What is this awful place?

I've never heard of it. I'm sure it doesn't exist.

- Of course it exists! We're in it.

(eerie music)

This path must lead somewhere.

- Look over there.

- What? - A light.

- [Fred] Let's go and see who's there.

(suspenseful music)

(knocker banging)

- You're blinding me with that flashlight.

Didn't you hear it?

- Amazing, we run into you everywhere.

- [Sports Car] I could say the same thing.

- It is strange.

-All right, come in.

- [Widow] Elsa!

- So you got fog-bound too.

What a surprise.

(eerie music)

(dramatic music)

- Why did you greet us at the door with a gun?

- When we arrived here, someone was trying to break in.

- And as soon as he saw us, he made off

and disappeared into the fog.

- He seemed to be wearing a uniform.

Yes, the sort of uniform a chauffer might wear.

Yes, boots to the knees.

- Boots, you said?

(dramatic music)

- Certainly I must admit I too was lost, temporarily,

but I know I would soon have found the road to Milan

if these two hadn't crashed into me.

- [Lawyer] It wasn't my fault the fog-

- I'm sure it wasn't but the fact remains,

we're stuck here now.

- Quite true.

The fog isn't usually this enveloping.

It'll be gone by morning, I'm sure.

If you'd care to remain here tonight, you are most welcome.

There are only three bedrooms available, however,

and I'm afraid they haven't been aired for sometime.

(dramatic music)

- Miss Clinton very kindly helped us after the accident.

I blew the horn of my car.

-And I heard it, so I went to see what was going on.

- Where are we?

- In an abandoned village, about 15 kilometers from Milan.

- Any chance we could get there tonight?

- The visibility's nil.

I personally wouldn't attempt it.

- Won't you sit down, Miss Clinton?

Tell me how did you get out here?

- On a bicycle, by a path

that goes straight through the woods.

But I'm sure I'd never find it again

now that the fog's so thick.

- I might find it on my motorbike.

- That's idiotic.

-Aren't you coming?

- [Martha] How did you find yourself here?

- I must've taken a wrong turn.

I obviously turned to the right by mistake.

- No, you turned left, all right.

But instead of carrying straight on,

you took another turn that brought you here.

- But we suddenly found ourselves in a cemetery.

- There's a network of small roads leading to the valley.

You took the one that comes to the cemetery,

but luckily you found your way here.

And now you know how easy it is to get lost.

- Why didn't you turn back to Milan

when you saw the fog beginning to come down?

- It seemed more sensible to spend the night down here.

You see, this is my house, and I often come here,

though I live in Milan.

What does surprise me is that someone like you

should lose your way when you know the area so well.

- But I-

- I'm a good physionomist, generally.

- And what does that mean?

- I've seen you many times.

- I don't remember ever having seen you.

- We belong to two different worlds.

- I'm not surprised to hear you say that.

I keep having the sensation that we've crossed

the frontier between the real and the unreal.

- Oh, I've never heard anybody mention this place before.

- That's not surprising.

The inhabitants abandoned it years ago.

- I imagine they had a very good reason for doing so,

don't you think?

- Of course, there're a lot of stories.

The country folk around here are superstitious.

A mysterious epidemic occurred.

They say the victims died by being bitten in the throats

by a vampire who drained their blood.

In any case, everyone left the village.

I heard that 12 people died in one night,

and when their bodies were found the following morning,

their relatives buried them here in the cemetery.

(floor creaking)

And that everyone left this place forever

abandoning their houses, their land,

everything they owned in-

- Oh God, do you hear that?

(floor creaking) (low growling)

- It's coming from in here.

- Please don't open it.

It's years since I went down to the cellar.

The last time, I saw a rat.

I'm terrified of rats so I keep that door bolted

and the electricity's been cut off tonight.

It makes me a little nervous.

- Well if that's a rat, it's a damned big one.

- I'll try to kill it with my gun.

Open the door and I'll-

- Please, no!

My nerves won't stand it.

I beg you not to open that door.

-All right, as you wish.

- Well, whatever it was, it's gone away.

- I've noticed that you have an interest

in that family portrait.

It's Julia Clinton.

- Yeah, she resembles you a lot.

- Oh, my aunt was a very eccentric woman.

She was a witch, so they say.

Maybe that's why she made a collection

of all those weird pictures.

It might explain it.

In actual fact, I don't know anything for certain.

I owned this house long after everyone else

deserted the place, and there were only those graves

out there in the cemetery to show

that people had once been here,

and had the life drained out of them by a vampire.

- Did she inhabit the place alone?

- No she found she had to employ a man

to act as valet, gardener, chauffer.

He was really extremely tall and ugly but she trusted him

and evidently he drove her Rolls-Royce very well,

until one day he got drunk and crashed it

into the cemetery wall just outside the house.

They were both killed immediately.

- [Laura] Both killed?

- Yes, in 1942.

She had her head crushed.

The steering wheel punctured the chest of the chauffer.

(Elsa gasps) (dramatic music)

- My dear, what's the matter?

- I'm a nurse, she seems to be in a state of shock.

- [Laura] Do something, can't you see?

She can't get her breath.

- Help me get her to the window.

- [Fred] Yes, I'll open it.

(dramatic music)

(Elsa gasping)

- Has she had an attack like this before?

- [Widow] Take deep breaths, dear, it'll pass.

- [Sports Car] Is that any better?

Is the air helping?

- Perhaps she should

lie down. - Are you all right?

- No, thank you, I'm better now.

- You gave us quite a scare.

I didn't realize you were in such a nervous state.

- I'm sorry but I-

- Come and sit down quietly.

- Yes, let's.

- Does she usually suffer from nerves?

- Yes, since the death of her father.

- Was he killed in an accident?

- No, it was a heart attack.

He was in his daughter's bed with a young girlfriend

of hers from college when he died.

It was a scandal for months.

- But why?

- Nowadays I suppose it seems like nothing to the young

but 30 years ago, it was a really shocking thing.

Attitudes have changed quite a lot.

Anyway, Elsa lost her mother when she was still a child

and she was very attached to her father.

It wasn't really surprising she took it hard.

She had a nervous breakdown over it.

(eerie music)

- Feeling better now?

- I'm all right.

I must have collapsed.

- Yes.

- I'm so sorry.

- Better take one of these, it'll help you relax.

They're tranquilizers.

(door clicking)

- Can I be of any help to you?

- No, thank you.

I hope you made yourself comfortable.

- Yes, I'm much obliged.

- If there's anything you need just-

- No thanks, I'll be all right.

- Goodnight then, Mr. Porter.

(door clicks)

(door clicking)

(dramatic music)

(Mr. Porter grunting)

(eerie music)

(bed squeaks)

This'll keep you warm now.

Sleep well.

(door clicks)

- Give me a hand, will you?

- All right.

- This is all I have to offer you. I'm terribly sorry.

- Don't worry, that'll be fine.

- I hope you won't be too uncomfortable.

- I'm grateful for your hospitality.

- How is that woman feeling now?

- I gave her a sedative and she went to sleep at once.

- I got the impression she wouldn't be able

to get to sleep too easily-

- If you want anything else in the night,

don't hesitate to call me.

The others have already settled in.

- Goodnight.

- Sleep well.

- Goodnight, and thank you.

(ominous music)

- [Lawyer] Where're you going?

- I want to see how Elsa is.

- She's asleep by now, no need to go waking her.

- Well, how do you know?

- Let that Clinton woman see to her.

I'm extremely tired, let's get a little rest.

Tomorrow's a very important day for us.

(door clatters)

(ominous music)

(liquid splashing)

(eerie music)

(suspenseful music)

(whimsical orchestral music)

(eerie music)

(closet door banging) (glass shattering)

(door banging)

- [Porter Voiceover] Get a grip on yourself, man.

Get a grip on yourself.

- Wait, you don't mean to go in there?

- I must.

- Whatever for?

- I want to find out what's going on here.

- And you think the answer's in there?

- Well, it's possible.

- Go on, then.

- Do you see?

It slides quite smoothly.

(clicking)

No sign of rust.

- What are you getting at?

- But don't you recall she told us that this door

hadn't been opened for a good many years?

- Yes that's true.

- No, I'm going in.

I just want a quick look.

(door creaks)

- It's so dark.

What do you hope to see?

- I didn't believe the story about that rat.

- Why not?

What are you looking for?

- That scratching sound we heard couldn't have been a rat.

Do you see?

There are no scratches on the lower part of the door.

- If it wasn't a rat, what was it?

- I have no idea, but I intend to find out.

Look, what do you think did that?

- Certainly not a rat.

Let's get out of here. It gives me the creeps.

(door creaks) (door thuds)

I'm scared, Fred.

(ominous music)

(fire crackling)

(light romantic orchestral music)

(ominous music)

(gasping)

(door creaks)

(heartbeat pounding)

(door banging)

(heartbeat pounding)

(gentle music)

(gentle dance music)

(group chattering)

- Shall we dance?

(bright dance music)

(Porter knocking)

- [Porter] Are you asleep?

- [Elsa] No, what do you want?

- I wondered if you'd like a little company.

- I'm perfectly all right on my own.

Please go away.

- Wouldn't you like a little drop of whiskey?

- No.

- You must be lonely.

It's horribly sinister in here.

- I wish you'd leave me alone.

- I'd be terrified.

Not only your bedroom,

all the rooms are alike, including mine.

In fact, I feel very uneasy.

Really, I do, and I thought perhaps,

a little whiskey would do us a world of good.

- I don't want your whiskey or your company. Go away!

- [Porter] But I-

- Get out of here.

- You mean you really want me to go?

- [Elsa] Yes.

- I always thought there was something odd about you.

Now I know what.

- Get out.

- I never bother with women who despise men.

(door thuds)

(Elsa sighs)

(bright dance music)

- I'm thirsty.

Everything all right, Dad?

- Pretty good. I feel more like your brother.

You're looking cute tonight.

- You wouldn't think so if you were sober.

I'm only your daughter.

May I have a glass of orange?

- Ah, you may look good but you're in a foul mood.

- I think you're a handsome man, Dad.

- Oh, thanks.

- But one thing gives away your age.

- That's interesting, do tell.

- Your preoccupation with little girls.

- [Dad] Oh, that. (chuckles)

- Your behavior's disgusting.

You were propositioning that child.

- Adeline is no child, she's your age.

- I know that.

Today it's Adeline, it'll be her little sister next.

Like me to find out if she likes old men too?

- No thanks, Elsa, I manage alone.

I don't usually sleep with my daughter's college friends,

at least not many.

I take it you had a row with Ernest again.

- Yes, I did.

- I'm happy to hear it.

Let me warn you, he's a scoundrel, a good for nothing.

- And he's extremely rich.

- That's what he likes you to think.

He'll get through his inheritance in a week.

- Sorry, I beg to differ.

- Have it your own way, I warned you.

Now if you'll excuse me, I have someone waiting.

(bright dance music)

- [Ernest] A martini, very dry.

- Ernest, I didn't expect you.

I'm glad you could make it.

- Really?

Do you want to start again?

- I don't see why not.

- Be reasonable, Elsa, I'm no longer at that age

when love can blind one and I see you as you are,

capricious, dominating, a spoiled child.

- You mean you don't want me?

- Yes, yes I do, I'm crazy about you and you know it.

But your behavior is unbearable, Elsa.

- Oh, I'm not so awful.

-All right then, let's try again.

- Come on, let's go.

(crickets chirping)

(doors banging)

I'm sorry about yesterday.

I promise never to make a fuss about anything again.

- Let's hope not.

Where shall we go?

- Wherever you like.

(engine rumbles)

- Let's go to my place.

- Are you quite sure?

- Yes, I am.

The two of us alone.

(engine rumbles)

(gentle music)

(match striking)

(romantic instrumental music)

(romantic instrumental music continues)

- [Elsa Voiceover] In your house, Daddy.

In your bedroom, in your own bed.

(gentle music)

(Porter knocking)

- [Martha] Who is it?

- It's me, Porter.

Miss Clinton, can I come in?

You there?

(match flicks)

- Was there anything you wanted?

- No not really, I'm just a bit lonely.

And I thought...

- [Martha] Come in, Mr. Porter, and close the door.

- I thought perhaps you'd like a drop of whiskey.

(ominous music)

(ominous music)

- I don't enjoy drinking alone,

and I wondered if you would like to keep me company.

- Wait just a minute.

- [Porter] Why?

- Would you mind doing me a favor, Mr. Porter?

- [Porter] No, anything.

- Turn around.

- [Porter] What do you mean?

- You don't mind do you, for a second?

- Oh, I understand now.

You're modest.

I will, I like modest girls.

(Porter cries out)

(ominous music) (heart pounding)

(Porter cries out)

(heart pounding)

(Porter gasping)

(eerie music)

(woman cackling)

(jacket zipping)

(match flicks)

(door creaks)

- Fred.

Fred!

(ominous music)

(water dripping) (ominous music continues)

(loud banging)

Fred, are you there?

Oh, please answer.

(mice squeaking)

(Laura crying out)

(ominous music)

(door creaking)

(Laura crying out)

- [Fred] Don't scream it's me, Fred.

(Laura whacks) (Fred cries out)

- I almost died of fright.

- I'm sorry, but how the hell was I to know that it was you?

That's why I put the torch out.

- What were you doing in there?

- Looking around and you'll never guess what I found.

- If it's something awful, I don't wanna know.

- Don't be silly, come look.

- [Laura] Fred, let's get out of here.

I don't like it.

- [Fred] This tunnel leads to a crypt.

- Honestly?

- Don't be afraid, come on.

It's just a chapel I found attached to the family vault.

(door creaks)

(gentle music)

(door clicks)

- Elsa.

Elsa.

Goodnight.

(gentle music)

- I'm only your father, you know, not God.

Just a man like any other with defects as well as virtues.

I'm anything but perfect, I'm only a man.

- You can't expect a husband to be perfect either.

But he has a right to be a husband,

you can't deny me that.

What have I done to deserve this?

It's you, you, you who's destroying our marriage.

It's your fault, Elsa.

(door clicking)

(Elsa gasps)

- I heard a cry so I thought I'd see if you were all right,

but it must have been a nightmare.

- Yes, it was a nightmare, that's all.

- You seem very upset.

If you'd like me to, I could lie here with you

until you feel better.

Tell me about the dream you had, was it a bad one?

- No, it was something very personal.

I'd prefer not to talk about it.

- Don't talk about it, then.

- I'm terribly tired.

I think I'll try to sleep.

- This passage under the garden must've been built

to reach the crypt of Martha Clinton's family.

- [Laura] Whatever it is, it's a spooky place.

- That's very strange.

- What?

I don't see anything strange about it.

- Someone's removed the cover of this coffin.

Look.

Julie Clinton, 1864 to 1942.

When she died, she was nearly 80 years old.

- Julie Clinton?

- It means that Miss Clinton's story was true.

- But if she and her chauffer were killed,

how did we see that man on the way here?

- That's what I wanna find out.

- [Laura] Can you see anything?

- There's nothing inside. - Well?

- I don't understand it.

She's either making fools of both of us

with her fables about vampires

or there's something most peculiar

going on around here.

- Do you think the vampire was her aunt?

- [Fred] I'm not sure but there's a lot of evidence

to make me- - Make you think so?

- [Fred] Well, yes.

- If you're trying to scare me any more than I am already,

you're wasting your time.

- I'm not trying to scare you.

It's just that I'm trying to...

Get to the bottom of this God damn mystery.

(Elsa gasps)

(Elsa screaming) (Julia laughing)

(Elsa screaming) (ominous music)

(door bangs)

(bells ringing) (Elsa gasping)

(ominous music)

(Elsa gasping)

(door bangs) (Elsa whimpering)

(eerie music) (man knocking)

(ominous music)

(woman cackling)

(man banging on door)

(Elsa panting)

(door creaking)

(Elsa screaming)

(body thuds)

(fire crackling)

(dramatic music)

(bell ringing)

- Clinton family, now do you understand?

- The only thing I understand, it's better out here

in the fog than in that awful house.

- Hey, who is it?

- It's Mr. Porter.

- Porter, what are you doing there?

(gun firing)

Stop shooting, stop!

- He must've gone raving mad.

- Stay here and try not to move. (crying out)

Laura, come here quick.

- What's the matter with him?

- The man's dead.

- Are you sure?

- Yes, I think he had a heart attack.

- Perhaps it was the shock of seeing us

coming out of that tomb?

- No, he's quite cold.

- You mean...

- That's rigor mortis.

He's been dead quite a while.

See that? He was murdered.

- But then, how did he shoot at us?

- I don't know but the barrel of his gun's still warm.

(bells ringing) - Hear that?

- Yes, I did.

- What is it?

- God knows.

(eerie music)

Stay there!

Who are you?

Stay where you are or I'll shoot you!

(eerie music) (woman cackling)

- What are you waiting for? Fire!

- [Fred] Stop, I'm warning you!

(Porter's body thuds)

(ominous music)

- Fred, let's go, please.

- You're right, it's dangerous to stay here.

We'll take him back to the house.

Here, help me.

(owl hooting) (birds cawing)

(knocker bangs)

- [Martha] What happened?

- Hurry please, shut the door.

- Now please tell me what you were doing out there?

- Porter's dead. - Dead?

But how?

- Have you seen my wife?

- No, why?

- Well she just disappeared.

- [Martha] Disappeared?

- Yes, we went to sleep last night

and when I woke up, there was nobody beside me.

I took the liberty of knocking on Elsa's door,

but there was nobody there either.

- You're saying that both Elsa

and your wife have disappeared?

- Yes, I've searched everywhere and found no trace.

Oh my heavens.

What's the matter with Mr. Porter?

- He's dead, I'm afraid.

- I don't believe it.

How'd it happen?

- He had a heart attack.

Probably brought on by a great shock.

But we can't know for sure until there's an autopsy.

- I hate to change the subject, but I smell burning.

-So do I.

- [Laura] Look, it's coming from there.

- [Fred] You're right!

(door creaks)

(ominous music)

(fire crackling) (ominous music)

(body thuds)

(ominous music)

- Laura, do your best to put this fire out.

- [Laura] All right, but hurry back and help me.

(fire crackling) (ominous music)

(footsteps shuffling)

(owl hooting) (bird cawing)

(stone sliding) (object clangs)

(Elsa whimpering)

- She's coming to.

You keep an eye on her.

- Oh please, don't leave us alone.

- [Fred] I have to.

- But why?

- Because there's something I have to do.

- What's so important?

- To uncover the truth.

Here, take this.

You know how it works, don't you?

- Yes, I take off the safety cap.

- Yes, that's it.

Then all you do is pull the trigger.

Be back soon.

(door bangs)

(metallic clattering) (fire crackling)

- [Martha] How is she?

- [Fred] I'm afraid she's still suffering from shock

and a certain amount of asphyxiation.

What she really needs is medical help.

- I don't know where you're going,

but I don't advise trying to get

to Milan if that's your idea.

- It is, that's just what I'm gonna do.

- Don't, you'll never make it.

- You know what this fog's like.

- I'm sure you're right, but I'm gonna do my best.

Goodbye.

(door clicking)

(ominous music)

(dramatic music)

(door creaking)

- Listen if you get to Milan, go straight to the police.

- Don't worry, I will.

(door creaks)

(Fred thudding against door)

(door clicks)

(door creaking)

(footsteps stomping)

(body creaking)

(tense adventurous music)

(door banging)

- How could you leave me alone like that?

- But I thought you were sleeping.

- Yes, of course I was, but I was woken up by a sound

and I didn't have any idea where you were.

- Well, there's no need to worry now that I'm here.

- Where have you been?

- I went to see if I could find a blanket somewhere.

You don't want to get cold.

- No, I want to get dressed immediately.

- It's better for you to stay there.

- No, I want to get dressed!

-All right, all right,

if that's what you want, I'll help you.

Where did you put your clothes?

- In that cupboard.

(door clatters)

(screams) (dramatic music)

- The gun, give me the gun.

I put it on the bed.

(gun firing)

Come on!

Come on!

Oh my God, think.

Let's get out of here.

(eerie music)

(gun firing)

(Laura gasping)

(eerie music)

Don't move!

If you come any nearer, I'll shoot!

(Julia laughing)

(gun firing)

(eerie music)

Get in here!

(door bangs)

(desk scraping)

Don't just stand there, help me!

(desk scraping)

(groaning)

(Laura screams)

- What is it?

Elsa?

What are you doing here?

- [Elsa] I don't...

- My husband, where is he?

- What's wrong Mrs. Tremor“?

Tell me what it is.

- The pills I took.

- [Laura] What pills?

- The pills that my husband gave me.

Pills to...

Pills for my insomnia.

I couldn't go to...

(eerie music)

(paper rustling)

(low growling)

(clicks button)

(footsteps echoing)

(clicking) (electric whirring)

(clicking) (electric whirring)

(owl hooting)

(man whacking) (Fred crying out)

(body thuds)

(dramatic music)

(Fred grunting)

(Fred grunting)

(both grunting)

(dramatic music intensifies)

(Fred groaning)

(recorder banging)

(door banging)

(ominous music)

(fire crackling)

(dramatic music)

- My congratulations, it worked perfectly.

Easily the best performance of your illustrious career.

It's too bad it wasn't the theater.

It's curious to what point a human being can be terrorized.

Porter's heart literally stopped beating,

Elsa's been driven insane,

and those two kids are convinced

that Porter's body shot at them.

Without realizing that the only live bullet

was the one left deliberately in the gun

and that all the others... were blanks.

(dramatic music)

- We must destroy the loudspeakers

and tape recordings as soon as possible.

- Igor will take care of that, don't worry about it.

- It'll be dawn soon. We must hurry.

I can just imagine the faces of the policemen

when those two start talking

about walking corpses and vampires.

- And when we tell them that nothing happened here at all.

- They'll probably end up in an asylum along with Elsa.

- Certainly.

(floor creaking)

- It's you.

- Everything went very smoothly,

in fact, exactly as planned it.

There's a minor detail that should be cleared up.

The cost of the operation, we would like double.

- What are you doing?

Have you gone mad?

- What do you want me to-

(gun firing) (Igor cries out)

(body thuds)

- That sounded like a shot.

- Someone fired a shot. - What was it?

- Oh wake up, Mrs. Tremont!

Please don't go to sleep again.

Not now, you mustn't now.

- What did you have to do that for?

We've done everything you wanted us to do.

What do you want from us now?

Don't point that.

Don't point it, just give us the amount

we agreed to do it for or whatever you like.

No! (gun firing)

(body thuds)

- No, no don't shoot me, too!

I'll never tell anybody about it!

You've nothing to fear from me!

(gun firing)

(Martha's body thuds)

(dramatic music)

(dramatic music)

(Fred groaning)

(owl hooting)

(Fred groaning)

(loud squeaking)

(dramatic music)

(body thuds)

(dramatic music)

(object banging)

(Fred gasps) (fire crackling)

(Fred gasps) (fire crackling)

(dramatic music)

- Laura!

(dramatic music)

Laura!

(dramatic music)

Laura!

(dramatic music)

Laura!

Laura.

- [Laura] In here Fred, here!

— [Fred] Open the door!

- [Laura] I have to move this desk. (grunting)

- [Fred] Are you all right?

- [Laura] Fred, oh Fred!

- I thought I'd never find you.

We've no time to lose, we'd better get out of here.

- We can't possibly leave these two here alone.

- There's no choice, we must get to the police

and send an ambulance, it's almost dawn,

and we only have the motorcycle.

(dramatic music)

(objects rustling)

(footsteps shuffling)

(door clicks)

(dramatic music)

(dramatic music continues)

(Elsa cries out)

(footsteps shuffling)

(door creaks)

- Elsa.

Elsa...

(gun firing) (crying out)

(gun clicking)

(Elsa whimpering)

(Elsa sobbing)

(dramatic music)

(Elsa continues sobbing)

(engine rumbles)

(birds chirping)

(engine rumbling)

(bright music)

(bright jazzy music)