All language subtitles for The.Murder.Mansion.1972.SPANISH.1080p.BluRay.H264.AAC-VXT

(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)