All language subtitles for The Haunting 1999_track3_[eng]

♪ Ring-around-the-rosy

Now, I'm trying to tell you

that we can't afford
to keep you here anymore.

You already owe two months
worth of back rent.

It's mine,
and you're not taking it away.

Read the will, Nell.
It states, in plain language:

"The executor shall have
the right to dispose of

any and all personal property
as he shall see fit."

- He's not even real family.
- Yeah, well, maybe not.

But clearly, Mother thought

Lou would be much better
equipped

to deal with these
unpleasant details than you.

"Unpleasant details"?

What have I been dealing with
for the past 11 years?

I've cooked, cleaned,
mopped up her urine!

You call that
an "unpleasant detail"?

Hey, your sister
didn't write the will.

We all know
what you've done.

- We're trying to help.
- Do not help me!

-
-

Oh, Ritchie. Just go sit on
the couch, okay?

- Oh.
-

Anyway, once probate closes,

we can put this apartment
on the market,

and we all might be able
to make a few bucks.

Also, we know how much
you love Mom's car,

so we're giving it to you.

You're taking away my home and
giving me a 20-year-old car?

Absolutely.
We'll deduct the value

from the proceeds
of the apartment.

Who are you?

Do you understand
that I have nowhere to go?

We've been talking.

And Lou and I are very busy.

We could
use someone to help us

with the cleaning
and the cooking,

looking after Ritchie.

Eleanor, help me. I gotta pee.

Ritchie, not now!

Get out of my home.

Well, suit yourself. We'll let
the courts handle it.

Get out of my home.

Honey, let go. That's right.
Oops. Sorry. Okay.

Honey, follow Daddy.

Come live with us now.

You have no idea
how hard it is out there.

No, Jane. You have no idea
how hard it was in here.

Hello.

Yes, this is Eleanor.

- Where?
-

I see it.

"Research subjects.
Nine hundred a week."

Here's how they're
organized.

The groups have very
different personalities.

Scored all over the Kiersey
Temperament Sorter,

just like you asked for,

and they all score very high
on the insomnia charts.

Oh, what a beautiful profile.

A classic dependent
personality disorder.

However, we were looking
for "suggestible."

Her mother died
two months ago.

She really wants to do this.

And what are your feelings,
Mary?

Tell me what
your intuitions say.

I put my favorites
on top.

Mm-hmm.
What else have we got here?

"Low self-esteem,
high narcissism,

"chronic feeling
of emptiness,

identity disturbance."

Good, good. Very good.

Is this where we're going?

That's Hill House.
That's perfect, isn't it?

- The Hill House Project--
- Is absolutely essential
to my research, Malcolm.

No, just listen.
I grant you,

fear and performance
is a big, sexy idea.

But as chairman
of this department, I cannot--

I know you clinical guys don't
like to ask these questions,

but think about it.
What is fear, anyway?

It's a series of automatic
responses to a given stimulus,

characterized by
increased heart rate,

respiratory activity
and adrenaline function.

The only problem
with fear is that

it has largely become
inappropriate and nonadaptive.

Do sweaty palms
help to talk to your boss?

Does a racing pulse help
some kid's score on an SAT?

And yet we carry with us these
primordial fear responses

that do the opposite of what
they were intended to do.

- So why is that?
- David, David,
no one is saying

that these aren't
provocative questions.

But you can't conduct
this research

ethically or responsibly.

And on top of that,
you're bringing your
insomniacs

to this house
under false pretenses.

Because the experiment needs
a credible cover story.

Calling it an insomnia study

allows me to create a highly
suggestive environment

to investigate
the dynamics of fear.

You don't tell the rats

they're actually in a maze,
Malcolm. Come on.

What do you want?

Are-- Are you Mr. Dudley,
the caretaker?

Yeah. I'm Mr. Dudley,
the caretaker.

What are you doing here?

I'm with Dr. Marrow's group.

I'm supposed to see
Mrs. Dudley.
Is she here?

-
- What do you think?

Why do you need
so many chains?

That's a good question.

What is it about fences?

Sometimes the people
on either side of the fence

see a locked chain,

they feel
a little more comfortable.

Why do you suppose that is?

-
-

Mrs. Dudley?

Hello?

Mrs. Dudley?

Hello?

Hello? Mrs. Dudley?

-
- Oh, my--

I'm-- I'm, uh--
I'm Eleanor Vance.

- I'm here with the--
- Dr. Marrow's group.

You're the first.

Yeah, I'd-- I'd heard a sound,
and that's--

It's make the dinner or answer
the door. Can't do both.

Are you Mrs. Dudley?

So far.

I'll show you your room.

This way.

The Red Room.

You're going to be the first
visitors Hill House has had

since Mr. Crain died.

Really?

These are beautiful.

I know. I've seen 'em.
It's a lot to dust.

I've never seen
this kind of beauty.

You must love working here.

I set dinner on the dining
room sideboard at six.

You can serve yourselves.
Breakfast is ready at nine.

I don't wait on people.

I don't stay after dinner,

not after it begins
to get dark.

I leave
before dark comes.

We live in town--
nine miles--

so there won't be anyone
around if you need help.

We couldn't even hear you
in the night.

Why would we?

No one could.

No one lives
any nearer than town.

No one will come
any nearer than that

in the night,
in the dark.

You'll be staying
in the north wing.

Hi. Don't worry.
I'm not an obsessive packer.

It's just asking people

to help me schlepp
this stuff is a cheap

and exploitative way
of making new friends.

- Here. I'm Theo.
- Hi.

Eleanor,
but everyone calls me Nell.

Well, Everyone Calls Me Nell,
don't you love it here?

I love it. Sort of
Charles Foster Kane

meets the Munsters
or something.

I like your boots.

You do? Aren't they great?

Prada. Milan, not New York.
But they're killing me.

Hey, small price to pay
for such savage kicks.

Wow. Oh, my God.

Oh, this is so twisted.

Seriously twisted.

I set dinner on the dining
room sideboard at six.

Breakfast is at nine.

I don't stay after dinner,
not after it begins
to get dark.

I leave before dark comes,

so there won't be anyone here
if you need help.

We couldn't even hear you.

No one could.

No one lives
any nearer than town.

No one will come
any nearer than that.

In the night.

In the dark.

In the dark.

My bedroom's
right next door to yours.

I think we share
the same bathroom.

Oh, don't worry. I probably
won't be in here much.

Light sleeper.

That's why we're here.

What do you do, Eleanor?

I'm between jobs right now.
The last person

I was workin' for, it ended.
Over, so-- And you?

Well, that depends.

I'm supposed
to be an artist,

but I've been distracted
from work by love.

You know what I mean?

Mmm, not really.

Hey, don't tell me Boston's
different from New York.

Oh, you mean you have trouble
with commitment.

Well, my boyfriend thinks so,
my girlfriend doesn't.

If we could all live
together...

But they hate each other.

Hello. The bag.

You know, it's hard when
you're the only one
at the party.

You know what I mean?

No.

A blank canvas.

I could paint your portrait
directly on you.

Or maybe not.

So, what about you?

Husbands? Boyfriends?

Girlfriends, Eleanor?

Where do you live?

Mmm. I don't have anyone.

But I do have
a little apartment of my own.

It has a little flower garden.

You can just see the ocean.
And when the wind

comes in just right,

you can hear the buoys
in the harbor.

Wow.
That sounds really nice.

You're lucky.
But you know that, right?

Oh, sorry.

Just a little hair.

So, show me the bathroom!

Oh, it's really beautiful.

It is huge.

Oh, my God!

This is the bathroom.

Look at this bathtub.
Can you believe it?

Look at that. Wow!

Look at my bedroom, though.

- Isn't it beautiful?
- Yes.

- You've got to see
the Great Hall.
- Uh-huh.

I mean,
there's so much carving.
It's everywhere.

- I know.
- Oh, look at this one.

- Isn't this one great?
- No, that's creepy.

Oh, and this one.
This one's weird.

Well, you don't get this from
the Martha Stewart catalog.

I don't like it.

Isn't it based on
The Gates of Hell by Rodin?

Well, it's not just hell.

See, the children,
they're reaching for heaven,

but their souls
are trapped in purgatory.

And these are the demons

who can hold on to your soul
for as long as they want.

Did you study art?

No, I studied purgatory.
I was there once for 11 years.

It's when your soul is caught
between the living
and the dead.

Oh, yeah, I've been there.

It's an 18-hour flight
from L.A. to Paris,

and you're stuck in coach.

Do you see?

"All ye who stand before these
doors shall be judged."

Well, let's not stand here.
Come on.

Okay.

Whoa.

- Is it real?
- No.

Shall we go in?

Yeah.

Wow!

- Wow!
- Wow!

It's beautiful! Oh!

- Would you care to dance?
- Yes.

I'm starting
to like this house!

This is great!

Let's get outta here.

God! We're like rats--
rats in a maze.

Oh, God!
If I ruin these boots--

Jesus, they cost me
a fortune.

Let's go back.

It's gotta be
through here. Aah!

- I'm sorry. I'm sorry.
- That's all right.

Oh. Hey, I'm sorry.
I didn't mean to scare you.

I'm Luke Sanderson,
just a bad sleeper.

Basic tosser-turner.
And you are?

Nell Vance.

What kind of sleeper?
Nightmares?

Not really.

Anxiety attacks?

No. Uh-uh.

Okay.
Obsessive indecision.

Wow. And you?
Let me think.

You, I'm gonna guess,
are a--

Don't even start.

Wow, you're so dominant.

Thanks. Theo.

Hey, Theo.

Jesus.

Here we are.

- Hey.
- You're Luke.

- Yup.
- You're Theo. You're Eleanor.

- Hi, I'm Dr. Marrow.
- Hi.

- Welcome. Hi.
- Hello, Dr. Marrow.

- Hi. This is Todd.
He's just come up.
- Greetings, fellow insomniac.

Mary Lambetta, my assistant.
So how was your drive,
Eleanor?

- It was fine. Yeah.
- Good. Good.

Welcome to Hill House,
everyone. Come on.

All right.
Let the good times roll.

Do you know what? The rest of
you may hate your insomnia,

but I'm not sure
I want a cure for mine.

That's when I get all
my best ideas,

when I'm waiting
to fall asleep.

I'm alone, occasionally,
with no distractions,

my mind's racing
with creative ideas,

and come 3:00 a.m.,
I feel like a genius.

Are you kidding me?
3:00 a.m. I start to feel

like I'm losing my mind,

watching those infomercials
on psychics

or listening to Tony Robbins
and the psychic hot lines.

Have you ever seen
that late-night TV?

Oh, yeah. Thank you.

I swear to God. You get
a steady diet of that crap,

and pretty soon you start
thinking about movin'
to Montana

- and becomin' a survivalist.
-

That's why God
created barbiturates, honey.

- Nembutal?
- Mm-mm.

No, Todd, I think we have

a classic Seconal woman
on our hands.

In fact, I think I see a
little Jackie Susann in Theo.

- Ow.
-
All right, you two.

Enough about pharmaceuticals.

So, look,
what do we all need in life?

What are the basics?
Food, water, shelter.

Sex.

And sleep. Sleep.

I'm working on a five-year
study,

with the help of Mary here,

making profiles
of bad sleepers.

I'm looking for
a common psychological link.

I hope that the
work we do here

will someday be able to help
other people like yourselves.

God knows I'm all for helping
people, saving the world,

but doesn't everybody have
a problem sleeping these days?

Life's too frantic.

What about you, Nell?

Um, well,

it seems that
you all have trouble sleeping,

because your lives
are exciting,
and it's complicated,

and you think about it
when you go to sleep.

But, um, I don't know.

Nothing's ever really
happened to me,

so I don't have a reason
to sleep badly.

But in your application you
said you had trouble sleeping.

Mm-hmm, yes,
but it's not like them.

It's because, uh, there was
always somebody calling me,

there was always
somebody banging.

Ever since I was little,
I took care of my mother.

And-- And she would wake up
in the middle of the night.

She would bang with her cane
on the wall.

And it was just
this relentless--

It was a relentless banging
all through the night.

That's weird, because even
though, uh, she's dead,

I still hear it
and I wake up.

Well, that's why we're here,
Eleanor-- to try and help you.

Yeah, Nell. I think what
Dr. Marrow's trying to say is

that you're a basket case,
just like the rest of us.

Thank you, Mary.

Okay. Okay.
Why are we here?

Really, to answer
the most basic question:

What is wrong
with you people?

These are standard cognitive
and perception tests.

I'll be giving you
a variety of these

during the course
of the week.

You are not in competition,

so do not worry about being
the head of the class, okay?

Between all these tests,
you'll have each other--

Todd-- and the house
to keep you company.

Luke. Eleanor.

But we can't go to town.

No. And as you were told,

there's no telephone
service, there's no TV.

And the caretakers tend to
lock the gate when they leave.

However,

I do have my trusty
cell telephone,

in case of emergencies, okay?

And, um, what's the deal

with the Addams Family
mansion? I gotta be honest,

I don't get a real strong
sleep vibe from this place.

No. Me too.

I wanted to make sure
you didn't sleep too easily.

Congratulations.

Seriously,
isolation is essential

in the creation
of an experimental model.

This house, who built it?
Who lived here?

Well, actually, that makes
for a very good bedtime story.

Once upon a time, there was
a king who built a castle.

His name was Hugh Crain.

A hundred and
thirty years ago,

towns like Concord
and Manchester

were the center
of American industry.

That's where Crain
made a fortune--

on the backs of workers
in his textile mills.

Now, this man could have
anything he wanted,

but what he wanted
more than anything

was a house filled
with the laughter of children.

That's why there are
all the carvings.

He married the most beautiful
woman in town, called Rene,

and he built her this house,
or at least some of it.

God, it sounds like
a fairy tale or something.

But that's where
the fairy tale ends.

Hugh and Rene
would have no children.

They all died at birth.

Then, a few years later,
Rene, she passed away,

and Crain became
a total recluse.

But he kept on building,
adding room upon room.

It's as if he was--

He was building a home for the
family he would never have.

No one had seen
Crain for years.

But the townspeople said
that sometimes at night

they could hear sounds
coming from the old house.

Sounds of children.

So sad.

-
- Ooh!
- Jesus Christ!

Christ, I need a drink.

I think there's
more to that story.

I can feel it.
I-It's all around us.

It's in the ceiling.

It's in the walls.

It's in the furniture.

It's in this.

- Mary!
- Oh, Jesus. Oh, no.

- Oh, Jesus Christ.
- All right.

What happened?
Let me see. Oh, my God!

- Keep your hand away from it.
- Don't touch it.

What were you doing?

This'll stop the blood
from getting into her eye.

Mary, we're going to get you
to the hospital straightaway.

It's gonna be all right.
It's gonna be okay.

- Come on.
-

Three steps.

Please!

It's all right.
It's all right.

Careful. Be careful.

Here's the gate key
to get back in.

You have my cell number.

Call me the second
you've spoken to a doctor.

All right, Dr. Marrow.

Hey, I want you guys
back as soon as possible.

- Okay, Mary?
- Okay.

You'll be all right.

She almost lost her eye.

Almost.

Luke, there's something
about the house,

about Hugh Crain
that I didn't say.

- May I ask you not
to tell the women?
- Yeah, yeah.

- It's just I didn't want
the tests disturbed.
- Okay, sure.

Hey, you guys, wait up.

Okay. You guys wanna hear
something really scary?

I just found this out.

Turns out there's
a darker chapter

to the Hugh Crain
fairy tale.

Remember his lovely wife,
Rene?

Well, Rene, the town beauty,

she didn't just die.
She killed herself.

Really?
He just told you that?

Yes. And you
can't say anything,

'cause he actually
swore me to secrecy.

Why did she kill herself?

Well, there are
the stillborn children,

although I like to think
it was more sinister,

like maybe Hugh Crain
was a horrible monster

and drove her to it.

Monster?
But he built this house for
the woman that he loved,

like the Taj Mahal.

The Taj Mahal wasn't a palace.
It was a tomb.

And equally overdone.

Why didn't he tell us?

Maybe he doesn't trust women.

Yeah.
I think that's probably it.

I think he knew that

your fragile, delicate
sensibilities--

After all, you know,
I'm a man.
I can handle this kind of--

How'd she kill herself?

He didn't say.

Oh, and ladies,
sleep tight.

Jesus.

After dinner and the first
bland history

of Hill House successfully
relayed, Miss Vance appears

most susceptible
to suggestive history,

evincing a strongly
sentimental reaction

to the love-story component.

Mr. Sanderson,
who tested at the bottom

of the Mogel
Reliability Scale,

was given the second part
of the story.

When he passes the story on,

the experimental haunting
fiction

should manifest itself
within the group.

And dear Mary
almost lost an eye.

I like the way
you comb your hair like that.

Here. This is for you.

- For me?
- Yeah.

It's beautiful.

- No, I'll-- I'll do it.
- It's okay.

It's okay.

Mm-hmm.

- Looks good on you.
- Mm-hmm.

You've been out of the world
a long time, haven't you?

Yeah.

Well,
the world's missed you.

Happy tossing and turning.

Eleanor.

Now I lay me down to sleep.

I pray the Lord
my soul to keep.

If I should die
before I wake,

I pray the Lord
my soul to take.

-
-

- God! You scared the f--
- I'm sorry.

- Oh, you gotta be careful.
- Are you all right?

- I'm sorry.
- Oh, no, no, no.
You just don't jump out--

- Are you all right?
- Uh, yeah. N-N-No. Oh!

- What's with the, uh, glove?
- What?

- What's with the glove?
- No, I couldn't sleep.
I was just-- Insomnia.

- What's with--
- Ah, well--

- Yeah, you gotta be
careful, 'cause I--
- I wasn't. I was just--

No, I know.
I'm sorry. I just--

- Oh!
- Um, interesting group, huh?

Yeah, yeah, yeah. It was good.
Kind of-- I like Theo.

She's quite an insomniac.

Well, uh, listen, you should
try and get some sleep, huh?

- Yeah, that's
a good idea. All right.
- Okay. See you tomorrow.

- All right. There's some
good hallways that way.
- Uh-huh.

- How's this one?
- Not bad.

- Good. Good.
- See you tomorrow.

Okay.

Coming, Mother.

-
- I'm coming.

-
-

Nell! Nell!

Nell! Nell!

- What is it?
- I don't know.

- Where's it coming from?
- It's everywhere.

-
-

-
-

Oh, my God.
What's happening?

Can you feel it, Nell?

Mm-hmm.

The cold, can you feel it?
Nell, can you feel it?

Oh.

-
- Nell?

It's moving.

It's over.

It's over, right?

Nell, come back here.

- Come back here!
- No, it's in my room.

It's in my room.

-
-

You guys all right?

- Hey, is everything okay?
- Oh, God.

It's Luke.

- Hey,
is everything okay?
-

- You guys all right?
- Luke! Oh, God.

- What's going on?
- Did you hear it?

- Yeah, I just heard it.
- W-W-Was it part
of the experiment?

- Was what part
of the experiment?
- The noise!

- What did you hear?
- Theo, all I heard
was you screaming,

"Luke, help me, please."

I wasn't screaming for you.

It was in my room, and then
it went into Nell's room.

Here, let me look.

- Are there any lights?
- Yes.

I don't--
I don't see anything.
I don't hear anything.

Wow, I sort of got screwed
on the old bedroom selection.

Every room's, like,
four times as big as mine.

-
- Is that it? Is that
what you heard?

Well, I did just take a bath.
I mean, could've been.

Yeah, but then how do you
explain the breath
and the cold?

I don't know. A draft.

Maybe someone left
a window open somewhere.

The cold,
who felt it first?

- Oh, I think it was me.
- What difference
does it make?

Well, Eleanor, if it was you,
did you say Theo?

Theo, if it was you, did you--
Look, I don't need anyone

Look, I don't need anyone
to tell me I'm cold.

Let's blame it on the
old plumbing then, huh?

What else could it be?

Well, if you don't need me
anymore, I guess that's it.

- My job is done. Good night.
- Good night, Luke.

- Yeah, me too.
- Yeah.

- Will you two be all right?
- Yeah.

You really
didn't hear anything?

No.

-
-

Eleanor.

Eleanor.

Find us, Eleanor.

Oh, Eleanor.

Find us.

Okay.

These carvings
are really creepy.

All these fat little cherubs
and angels with furry animals.

It's really bizarre,
I think.

I think they're the children
Hugh Crain built
the house for.

I don't
buy that for a second--

That Hugh Crain
was this lovable old tycoon

with a soft spot
for kids.

The guy was obviously
running a sweatshop.

Had children working
16 hours a day,

and then he builds
all this crap as propaganda.

It's like those Teletubbies.
Those things freak me
out also.

And they sing, so they're
actually even kind of scarier,

if you think about it.

Yeah.

- How are you
comin' along?
- I can't get this one.

- What about you?
- I did all right.
But that's another thing.

These tests. It's like,
why do we have to be here?

Why do we have to be
in this weird old house?

I like this house.
I think it's a
beautiful house.

Yeah, I guess.

I don't know. I just think
Dr. Marrow's up to something.

I'll tell you
another thing.

I'm gonna get
to the bottom of it,

right after I check on Theo,
that is.

See how
my old pal Theo's doing.

- Doing or wearing?
- Yeah, no kidding.

Did you see
what she had on yesterday?

Wow. Yeah, I definitely got
a soft spot for Theo.

Nell, I'm gonna shut this door
and give you a little privacy.

If there's anyone in there,
we'll find him.

You just saw something move?

- I saw something
in the fireplace.
- Okay. Just relax.

I did.
I know I did.

You were here alone?

Mm-hmm. Yeah, Luke
had just left.

I didn't see anything, though.

Luke, can you help me?

Just ashes.

Charred wood.

- Watch out.
Let it go.
- Yep.

Hello? Santa?

- Whoa!
- Jesus! God!

- God, are you all right?
- Yeah, I'm fine.

- What is that?
- A flue.

- A what?
- It's--
It's an old flue!

It opens up the chimney.

God!

Is this what you saw?

No. No,
that's not what I saw.

Mm-mmm,
that is not what I saw.

God. Hey, are you okay?

- Luke, are you okay?
- What?

No, I'm not okay! Did you not
see that thing?

It almost crushed me!

Yeah, I saw it.
Jeez, I was only asking!

That's what it was.
Of course you were scared.

- It scared the hell
out of me too.
- No, I know what I saw.

Eleanor, this
is a very confusing house.

You said it yourself.
Nothing is what it seems.

Look at me.
I'm not confused.

I saw something,
and that wasn't it.

There was
something in there.

Hey, you guys
should take a look at this.

"Welcome home, Eleanor"?

- Oh, God.
-
What does that mean?

His face.

It's my name.
Who did this?

Who wrote this?

Is this one of
your sick jokes, Luke?

What? Come on.
Give me a little credit.

I think I have a better
sense of humor than that.

Do you really think
I wrote that?

You found it. You could have.

Oh, with what?
With the 20-foot ladder

that I keep
in my back pocket?

M-Maybe you wrote it, Theo!
You're the artist!

Maybe this is your
great idea of art!

Don't be ridiculous.

I wanna know right now!
Who wrote this?

Did you write this, Theo?

No! Of course not!
Maybe it was you!

How dare you
accuse me of writing this!

Maybe you like
being the center of attention!

What are you talking about?

Let's stop this now. Come on.

Who was it?

Whoever wrote this,
it's cruel.

You don't know me.

I didn't do it.

Eleanor.

Are you all right?

I know you think I did it,
but I didn't.

- Look, people are always--
- No, I'm not making
this stuff up.

I mean, I know you
all think I'm crazy

or doing this
for attention. I'm not.

For what it's worth,

I believe you're
a very sensitive woman,

and I believe that people have
taken advantage of you

in the past.

Mmm. "Welcome home."

You'll never see it again.
Mr. Dudley's
taking care of it.

Come on. There's something
I want you to see.

Oh, this is beautiful!

Thought you'd like it.

Well, I wonder
what happened to him.

Yeah, yeah.
Oh, violets.

Somebody must've died here.

- Well.
-

You know, all my life I've
been waiting for an adventure,

and I thought
it would never happen to me.

Adventures are for soldiers

or for the women the
bullfighters fall in
love with.

And here I am.

Paintings are calling
out to me,

strange noises in the night,

and all it cost was
five gallons of gas.

Do you really think that

someone's playing with you,
Eleanor?

Yeah, it doesn't matter.

I can be a victim,
or I can be a volunteer.

I'm gonna be a volunteer.
Mm-hmm.

Eleanor. Eleanor!

Eleanor, find us.

- Eleanor.
- Hmm?

Eleanor, the ledger.
The ledger.

What?

It's Crain's study.

"Concord."

Oh, his textile mills.

"Man. Woman. Child."

Child.

"Twelve years."

"Eleven years.

Twelve years."

There's so many of them.

"Ten years.

Twelve years."

They died so young.

"Eleven years."

What happened to you?

- Theo!
- Okay, okay.

- Theo!
- Yeah, what?

- There's hundreds of them.
-

He kept records of everyone.

I was havin' the best
night's sleep of my life.

I swear.

The names, the dates
and the ages.

The names--
they're crossed out.

It's dead children, Theo.

Can we talk about this
in the morning?

- They showed me. They--
-

Oh, you're never gonna
believe how I found them.

How'd you find them?

The blood led me
to the bookcase.

The blood?

Little footprints
in blood.

Nell, I'm worried
about you.

Theo, the house, it's trying
to tell me something.

No. You know what?

Nell, you just gotta
get some sleep, okay?

You've gotta sleep.
Come on. Go to bed.

Okay.

I'm listening.

-
-

Dr. Marrow?

Dr. Marrow?

Dr. Marrow?

Dr. Marrow?

Eleanor Vance continues

her alienation
of the other subjects.

It remains unclear
what she saw in the fireplace

and whether she truly believes
she did not deface
the painting.

Interview with Vance
in greenhouse yesterday

to ascertain the extent
of her self-delusion

was inconclusive,
due to subject's

emotional instability.

Well, I think
I know how experiments work.

Wait a second. Hold on.
Hold on, Theo.

What about all the noises,

and the fireplace
and the painting?

- I think it's an old academic
"bait and switch," where--
- What?

where you pretend that
it's a study on insomnia,

but what he's
really interested
in is seeing our reaction

- to these phenomenons
he's obviously behind.
- No.

It's not Dr. Marrow.

Oh, Nell, I've been--

Are you all right?

God, I've been looking
for you everywhere.

- Are you okay?
- Mm-hmm.

It's not Dr. Marrow.

Then who? Come on, Nell.
If it's not Dr. Marrow--

If you don't think this is

really somehow part
of the experiment,

then why would you
stay here another second?

'Cause home is where
the heart is.

Oh, my God!

- What is it?
- Oh, no.

What?

What, Nell?
Nell!

If it's not Dr. Marrow, that's
a pretty scary proposition.

No, I'm not.
No, I'm not.

I'm not making this up!

No, I'm not.
I'm not, I know I'm--

There is something--
There's something in here.

I can prove it.
I can prove-- I know I can.

Oh, I know it is.

Carolyn.

Carolyn was his second wife.

Eleanor, the fireplace.

Where?
Where are you?

Where are you?
I'm here. I hear you.

-
- Where? That's where you are.

Okay, I'll let you out.
I'll get you out.

I-I will.
Okay.

I'm gonna get you out.
I will. I'll get you out.

Don't worry.

What's that smell?

-
- I'm trying. I'm trying.

He killed them.

- What?
- He killed them.

The children from the mills.
It's just like you said.

He wanted to fill the house
with the sounds of children.

He took them from his mills
and he brought them here,

but he wouldn't let them go.

He would never let them go.

And I found the skulls,
just like Carolyn did.

- Carolyn? Who's Carolyn?
- Killed who, Eleanor?

- Calm down, now.
- And he had
a second wife.

But he couldn't hide
his secret.

You can never hide
a secret.

Carolyn found out
what he'd done.

And now he wants me.

Who? Who wants you?
And why?

- She's delusional.
- But what is
happening to her?

She's in a fugue state.
Let's get her to the sofa.

- Wanted to fill the house
with children, but
- Get a blanket.

- Come on.
- he-he turned into a monster.

- It's okay, sweetheart.
It's okay.
- No.

Carolyn showed me in the
photograph where she hid 'em.

And they're all
locked together in there.

- He won't let them go.
- Eleanor, listen to me.

Listen to me. Listen to me.
It's not true.

He's still here.

Hugh Crain
is still in the house.

- No.
- Yeah.

I mean, what if she's right?
What if she's right?

What are you sayin', Theo?
It doesn't do any good
to talk about--

- Stop. Stop! Stop!
- What if
she's right?

Now, listen to me,
all of you.

Let me explain
what's happening.

You're participating
in a study on group fear
and hysteria.

That's why you
brought us here?

That's what this is all about?

You brought us here
to scare us? Is that it?

Yes.

You're just waiting for her to
have a total nervous breakdown

before you said anything?
What is your problem?

I gave you the clues.

You created the story
as you were meant to.

But it's over.
I'm pulling the plug.

- None of this is real.
- No, it is real.

- Eleanor, it's not real.
- No!

- You have to look at
the bones in the fireplace!
- It's not real!

And then I saw--
I saw his wife,
hanging in the greenhouse!

- I know I saw it!
- I'm sorry.

I'm sorry. I'm sorry
I brought you here,
all of you.

The Dudleys will be here
in the morning,

and then
we can all go home at once.

No! I can't believe
you're not gonna look.

That's enough.
I'm taking her upstairs.

- I'll help you.
- I think you've done enough.

Because it was
a controlled experiment.

A controlled experiment?

She's in total shock!
You can't do that!

- I told you, it
wasn't meant to be like this.
- Oh, come on.

You don't care about us.
You don't care about insomnia.

You just wanted to scare
the hell out of us

so we'd fit into your little
test

or model or whatever bullshit
you need to understand this!

Oh, please! Okay!

- You can't do it!
- Now, listen! You listen.

I am trying to help people.

My field of study is
the science of fear.

I try to understand why people
act the way they act,

why they feel
the way they feel--

You don't feel.

Where are you going?

I'm gonna find out what
Eleanor was talking about.

What am I doing?

Good night.

Be right back.
I'll get you some tea.

Oh, God, it's looking for me.

Who was holding my hand?

-
- No.

-
- No!

No!

I will not let you
hurt a child!

Luke!
David!

Dr. Marrow!

Luke!

Eleanor!

No!
That's not me!

No!

No!

Who are you?

Oh, no!

Why do you want me?

Who am I?
Who am I?

Why do you want me?
Why?

Oh, God!

Who am I?
What are you
trying to tell me?

Welcome home, Eleanor.

Oh, no! No!

It's not true.
No!

- Eleanor?
- What?

Eleanor, don't be afraid.

You can understand me?

The doors, Eleanor.
Only the doors can hold him.

-
-

Oh, no!
He's coming!

What? What's wrong?

What do you want from me?

Help us, Eleanor.
Help us.

What? What are you
trying to tell me?

What? What do you
want from me?

What do you
want me to do?

Nell?

- Nell!
- I'm gonna help you.

I'm gonna help.
I'm almost there!

Eleanor.

- I wanna help you.
- Eleanor.

Don't move.
Don't move.

Oh, Nell.

Just stay there.

- Hold on, Eleanor.
- Watch out!
The cable!

Look out!

It's not gonna hold
your weight there!

It's breaking apart!

Don't move, now. Don't move.

Oh, my God.

No!

Oh, shit.

Eleanor, look at me.

I need you to climb over
and step back on the platform.

Come on. I want you
to come down with me.

Climb over and step on the
platform. Can you do that?

I can't.
The children, they need me.

I have to join them.

Please.
Please, trust me.

Climb off the rail
onto the platform.

Come on. Come on.

Just do it, Nell.

Please?

No! No!

- Hold on!
-

Here.

- Here.
- Thank you.

Thank you.

Hurry.

- Come on.
- No. He won't let them go.

Even now,
he won't let them go.

- Come on. Come on.
We have to go.
- No, he won't--

- I won't leave you.
I won't leave you.
- Okay.

She doesn't look good.

Hey, I think I'm gonna
take her to see a doctor,
right now.

I think I'm gonna take her
to see a real doctor.

We'll take her to the
hospital in the morning.

The gate's still locked.

We have to wait
until the Dudleys arrive.

What? That's
real compassionate.

Yeah, let's wait
until the morning,

and then maybe tonight
you'll have a chance

to scribble a few more
"Welcome home, Eleanor"s.

I didn't write that, okay?

You'd never write that. That
wouldn't be ethical, would it?

Will you guys just shut up?
Come on!

Somebody's gonna have
to stay with her tonight.

We can't leave her alone.

All right,
I'll take the first watch.

Okay.

The, uh, environment is
proving entirely successful

in promoting
shared hysteria reactions.

The group is manifesting--

manifesting classic
pathologies of trauma and--

I should have stopped this
when Mary got hurt,

and definitely
when Eleanor was--

Jesus, I need to
get them out of here.

What happened?

What happened?

It's nothing.
It's not real.

-
-

It's Nell!

- Nell!
-

Nell! Nell!

Dr. Marrow! Dr. Marrow!

What's going on?

I can't get the door!

Stay away!

- Nell!
- Eleanor!

- Eleanor!
- We're here!

Eleanor!

- Push!
- Come on!

Oh, my God!

Nell! Quick! Come on!
We gotta get her out of here.

Oh, God!

Hurry up!

- Get out of the way!
- That's it.

That's it. Come on! Hit it!

-
-

- Come on!
- Come on, Nell! Come on!

-
- Get up!

Come on! Pick her up!
We gotta go! Move!

Move!
Let's go!

Come on! I'm not staying

in this freak house another
second! Come on!

Get it open! Come on!

I can't
get up there!

Hurry up! Come on!

Oh, God!

Dr. Marrow. How did you
know the house wanted me?

What do you mean?

Why did you call and tell me
to look for your ad?

Ad? But--
I didn't call you.

You told me
to look in the paper.

Eleanor, the first time

I spoke to you was here
at the house.

- God!
- What do we do?

We gotta crash the gate.

We gotta crash the gate.
Nell, I need your car.

Move!
Get out of the way!

-
- Luke!

- Luke, are you okay?
- Get out! Get out!

Open the door!

Eleanor!

Eleanor, please come back!

Push the door!

Turn the engine off.

Push the door!
You gotta get out!

- Turn the engine off!
- Luke, turn off the engine!

It won't go!

Luke, you gotta get out!

Stand back!

Hurry up! Come on!

Aah!

- Grab my arm!
- You okay?

Are you okay?
Are you hurt? Come on!

- Are you okay?
- Oh, my God.

Where's Nell?

- Eleanor?
- This is crazy.

- Maybe she doesn't
want to be found.
- Nell?

-
- Eleanor?

Listen. Listen.

-
- Oh, she's in there.

Nell?

Eleanor?

Come on.
Go get her.

Oh, Nell.

Hey.

Come on, sweetheart.

You're gonna have
to come with us now.

- No, I can't do that, Theo.
- Of course you can.

We're gonna go to your
apartment, just you and me.

We'll sit and we'll listen
to the buoy in the harbor.

Can we do that, Nell?

That sounds
so beautiful, Eleanor.

Theo is saying anything
she can.

You know I don't
have an apartment.

Then we'll go to my loft
in the city.

You're gonna love it there,
I promise.

Come on, Nell.
Please?

No.

I'm right where
I'm wanted.

-
- I'm home.

- I'm home.
- Dr. Marrow, please,
we don't have time

- to baby talk her.
-

You see,
this is the room

where Carolyn had her baby
before she ran away.

And the children,

they wanted me to see this so
I would know this was my home.

Oh, my God.

Yes. See, Carolyn was
my great-great grandmother,

and the children
are my family.

This is where I belong.

I have to stay.
I'm not afraid anymore.

I have to stay for the
children. They need me.

No.

Nell, the children are dead.

No. Not for him.

He's still haunting them.
But if I'm here,

- he can't harm them.
-

Nell, please! We have to go!
Just grab her!

- You have to go now.
You can't stay.
-

- Come on.
- I'll take you outside.
You're not safe here.

- Hurry! Come on!
-

Come on! Hurry!

-
- No!

He's not gonna
let you go!

It's too late.

He's not gonna let you go.

The hell he's not.

I'm getting us
out of here. Come on.

-
- Open up!

- Come on! Open up!
- Come on!

This is insane!

There's got to be
another way out.

Oh, Jesus! Oh, God,
he's got glass in his hand.

- Here, wait.
- Get it out.

- Just pull it. Just pull it.
- Oh, Jesus.

- Just pull.
- Okay.

Wrap it up.

You bastard!
Son of a bitch!

Goddamn you!

Luke, don't!

- What?
- Don't!

I'm gonna burn the house down.

Come on! Let's burn it
down right now!

Oh, my God!
Luke!

- Get off!
- Luke, get off!

Oh, my God!
Luke, get out now! Luke!

-
- Oh, no!

We can't get out.
Why won't he let us leave?

What do we do, Eleanor?

He played hide-and-seek
with them.

That's why he built the house.
You have to hide.

Hide? What does he think
this is, a game?

What's going to happen?

Why does he want us?

-
- No! Watch out!

Oh, Jesus.

You're not gonna hurt them!

-
- Get away!

Go, Theo!

- Go!
- Follow us! Follow us!

Theo!

Theo!

Hugh Crain!

Hugh Crain!

The doors, Eleanor.

Bring him to the doors.

The doors, Eleanor. The doors.

Hugh Crain!

Eleanor...

Nell! Nell!
What happened?

- Where were you?
- Eleanor, are you all right?

No!

You leave them alone!

I'm not afraid anymore.
I'm not afraid of you.

The children need me,
and I'm gonna set them free!

Even in death, you still
wouldn't let them go!

Eleanor, move away. Move away!

I'm gonna stop you now.

Don't!

Don't do it, Eleanor!
He's gonna kill you!

It's not about them.
It's about family.

It's always been about family!

It's about Carolyn
and the children
from the mills.

If you could hear
their voices-- It's family.

Well, I'm family, Grandpa,
and I've come home.

No, you're not!

Now, it's just
you and me, Hugh Crain.

Purgatory's over.
You go to hell!

Stay with us, Nell!

No!

Thank you, Eleanor.

Thank you, Eleanor.

Oh, Nell.

Jesus.

City people.

Did you find out what
you wanted to know, Doctor?