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(eerie dramatic music)

- Operator, yes connect call please.

Connect with Elizabeth Sayers, Los Angeles.

KFI, line 37.

Thank you.

(suspenseful music)

Martha Sayers, oh please hurry.

Please.

(suspenseful music)

She has to be there.

(operator speaking)

She told me she'd be there, she has to be.

(operator speaking)

(dramatic music)

(tires squealing)

(dramatic music)

Elizabeth!

Elizabeth!

Elizabeth!

(dramatic music)

- [John] She aint home.

- She told me she'd be here.

- You her sister?

- Yes.

- She just went to the store.

Asked me to give you the key.

(breathing heavily)

(eerie music)

- Oh no.

Please no.

(screaming)

(police sirens)

- John?

What's going on?

- It's your sister Miss Sayers.

She's gone crazy in there.

Screamed and locked the door.

(knocking)

I tried all the doors and windows.

They're all locked.

- Excuse me please.

Martha?

Martha it's me, Elizabeth.

Open the door please.

Can you break it in?

(gunshot)

(dramatic music)

- Well you can't really argue

with the coroners report Miss Sayers.

- Lieutenant, my sister did not commit suicide.

She had no reason to kill herself.

She was happier than she's been in years.

- But no one could have gotten into the house.

The doors and the windows were all locked from the inside.

- She did not commit suicide.

Why would she catch a plane from Massachusetts

hire a car at the airport

and drive all the way to my house to kill herself?

- There's no rationale with suicide Miss Sayers.

I understand how upset you are but you--

- No you don't understand anything.

If she was going to kill herself

there were worst times like when our parents died

or when we were separated by different schools

hundreds of miles apart, but not now.

- But you did admit that she was a melancholy girl.

- That she was lonely.

- Well you hardly saw her during the past few years.

- Than ask her friends at school.

- We did.

- Did you try her ex-roommate, Lucy Denbrow?

- Do you really think she would make that much difference?

- Yes, she was her roommate for two years.

She knows Martha.

- Okay Miss Sayers.

We went to Miss Lucy Denbrow in Massachusetts

and to some of the other classmates at the academy.

And the head mistress.

No one could give us any further information.

- I can't accept that.

- There just isn't enough evidence

for us to pursue it any further.

I'm sorry.

But the case is closed.

- Not for me it isn't.

- I just, I couldn't fly into the funeral.

I mean, there was no warning, none.

I told the police when they called

that everything's fine, I mean just great.

Martha was busy and working, so was I.

If you don't like the sherry, I can run up some vodka.

- Please don't worry about it, I don't drink much.

- I just grabbed this little place

right after graduation.

I sure hope my guardian sings for the loot.

- Lucy, did Martha keep a diary or anything like that?

- You know her better than that.

No memories for her.

Life was now.

- Well something was going very wrong, it had to be.

- Nothing I knew of.

Sure you wouldn't like some vodka?

- No, thank you.

She wasn't upset or anxious or anything?

- Oh anxious maybe.

About our graduation and you and her getting your own place

and finally being together.

- Nothing else?

- Like what?

- Someone, something at the school maybe.

There has to be something there.

- No.

- It had to be something that happened at the academy.

I would know if there was anything else.

- No, I'm telling you no.

- I'm going there.

- Well you won't find out anything, nothing, nothing.

- I've got to try.

- You won't tell anyone you saw me?

Or that you talked to me, promise me.

Do you understand, no one.

(dramatic music)

I'm sorry.

Martha's dead, everything.

Please forgive me.

- Yes of course.

(ambient orchestral music)

(students chatting)

(ambient orchestral music)

- Hi, I'm Roberta Lockhart.

We're the welcoming committee from your class.

Now, the dragon lady had us memorize

a short welcoming speech.

I'm afraid it would make you throw up.

- I'm Elizabeth Morgan.

- We know, we've been expecting you.

This is Debbie Jones.

- Hi.

- [Roberta] And that's Jody Keller.

- Hi.

- Hi.

- Jody, why don't you get the bag?

- Okay.

- The dragon lady wanted us to show you around.

To see that you were fed, housed

suckled and made to feel like one of us within 15 minutes

of your arrival.

How are we doing?

- I feel at home already.

- That's good, the dragon lady said--

- Does the lady have another name, headmistress?

- She is a bad painter, a worse sculptress

and a lousy musician.

(laughing)

She's a perfect headmistress

for an academy of fine arts.

- Those who can, do

those who can't, teach.

- But this place has a marvelous reputation.

- Hey, listen.

A lot of professors are super, really super.

- Jody's got a crush on the head

of the fine art's department.

- We all do, it's a school hobby.

- Uh-huh, if you like that sort of thing.

(speaking foreign language)

- She does not speak French.

She just reads labels very well.

- To our new friend, take a big swallow

because you're gonna need it for the dragon lady.

- Cheers.

- We here at Salem Academy feel that

girls of good breeding are more easily groomed

into young ladies of culture and refinement.

We do have our traditions here.

But then I suppose, like most traditions

they're meant to be broken.

- Not all of them.

- Oh good, I'm so pleased to hear you say that.

I don't know, it seems to me that so many young people today

especially in the arts

tend to have little regard for traditional techniques.

The classic forms.

- Picasso was a realist painter

before he was an impressionist.

- That's a lovely reference my dear.

Now, this academy has its own tradition.

Under different names, it has been here

in this very place

for over 300 years.

Well Elizabeth, I realize that you must be very tired

after your long trip.

But since you were enrolled after the quarter began

I think it would be wise

for you to start your classes today.

- Thank you for accepting me.

- Only because you qualify.

Now, I want you to have one of these

as we're some distance from the main power lines

we often have quite erratic

and exasperating electrical failures.

Nothing to be frightened of.

You just keep that in your room.

Usually the blackouts last only a short time.

Here's your curriculum

and this is your list of classes for today.

- Professor Clampett, Graphic and Fine Arts.

Professor Delacroix, Behavioral Psychology.

- Yes, I think you'll find them very interesting.

Both of them, very interesting.

Good luck Elizabeth.

I hope you'll find Salem Academy as rewarding as I did

when I was a student here.

- Thank you.

(phone ringing)

- Mrs. Williams speaking.

Yes.

Yes.

Yes, the new girl just arrived.

(eerie dramatic music)

- So if illusion and reality are different

they're also very much the same.

What we think we see

is as real as what we actually see.

Example, optical illusion.

How many see the squares coming out

from the canvas, projecting out, hands?

Right, how many see the opposite?

The boxes going into the canvas?

Okay, now what I'm gonna do

on signal, I'll clap my hands

you'll blink your eyes

and then stare right into the drawing.

And those of you who see the reverse

of the image you just saw, raise your hands.

Alright ready?

(claps)

Blink.

Okay now stare at that canvas.

Hands.

- Yeah.

- Good.

Good.

Everybody but our new classmate

who is obviously concentrating.

- Sorry, I guess I wasn't concentrating.

- I think you were concentrating on something

and therefore locked into your mind

the very first image you saw.

You have to let your mind hang loose.

- But I did blink my eyes.

- Without your mind.

The artist has to be free to see things

in different ways.

To dare to see things unlike anyone

has ever seen them before.

Now let's look at some of our own masterpieces.

We have Roberta's landscape.

Which is still rather obvious

but I'm sure she'll see more as she develops.

And Debbie's gloomy view.

I hope she brightens things up a bit

when she goes back to work.

Or when she finds a new boyfriend.

(laughing)

Alright, just remember

everything is the illusion and the reality.

Except for the grade you get at the end of the term.

Until then, condemn nothing, embrace everything.

And hang loose okay?

See you tonight.

(eerie music)

- Hey, class is over come on.

(students chatting)

- Debbie.

I liked your painting.

- You're the only one who does.

- The girl in it, she's very pretty.

Is she a student here?

- Was.

Martha Sayers, she's dead now.

- Were you very close?

- Not really.

I just thought that she...

- What?

- Fitted into that room.

- You ready for round two?

- Yeah, what's the next class?

- Rats.

(rat squealing)

- You'll see that the eating cycle of the rodents

will become more intense.

They'll work harder and fight harder to get food

that sometimes will be where they expect it

and sometimes it will not.

We'll teach them that the food

is always behind the red door.

And when they have that well learned

we'll take the food away

and put it behind the white door.

And when they learn that, we'll switch again.

And again.

And again.

To what end Roberta?

- To frustrate it, drive it crazy.

- Why would I want to do that?

Debbie?

- I don't know.

- Of course not, I might as well ask the rodents, not you.

Elizabeth, what's the purpose of this experiment?

- To make them passive.

- [Delacroix] And why would we want to do that?

- So that they're not able to fight back again.

- Exactly.

(school bell ringing)

To show that a mind can be broken

to any level by manipulation

and locked at that level.

Make it believe what we want.

To act as we wish.

Dismissed.

(students chatting)

(rats squealing)

- So when you step on its tail, it squeaks.

But then when you step on its head

it doesn't squeak.

He told me to point at that tail.

On the other hand, don't forget to close the white door

when you, when you...

(screaming)

- She's still very hot.

- The doctor should be here soon.

- Debbie, you should have told the headmistress

to notify your family.

- No, we can't.

- Why not?

- She doesn't have any parents.

She's only got a guardian, he's somewhere in Europe.

- Hi.

- Debbie, the doctor will be here soon.

- Well, what for?

I don't need a doctor.

- Have you had this before?

- Had what?

- Don't you remember coming out of the psych class

and suddenly screaming?

- Like you were in some terrible pain.

- I don't feel any pain.

Hey, what time is it?

- 6:30.

- I'm gonna go wash my face.

I don't want to be late for Dr. Clampett's wine party.

I'm gonna get some more.

- But you can't just dismiss it, we saw it happen.

- I'm not just dismissing it.

I just hate to feed something like this

on such flimsy evidence.

- Look, we're not asking you to judge Professor Delacroix.

Just talk to him about his class.

About why he's so hard on Debbie.

And you draw your own conclusions.

- What if I draw none?

- Then we'll have to drop it unless--

- Unless what?

- Unless something else happens.

- Well let's just wait and see if something else happens.

If it ever does.

Where's Jody?

She promised to come.

- Still doing office duty for the dragon lady.

- You needn't watch the clock my dear.

I'll let you know when your time is up.

- Yes ma'am.

- How is Debbie?

- She's fine now.

- Jody, have you been aware

of any unusual conduct

from your teachers or your classmates?

I mean, other than Debbie's outburst.

- No ma'am.

(phone ringing)

- If that's the doctor...

If that's the doctor

tell him I still want him to come over.

- Salem Academy.

Yes sir.

Yes.

Yes sir.

It's the Boston Police.

(students chatting)

(dramatic music)

Lucy Denbrow committed suicide.

(eerie music)

- That's two of us.

(thunder cracking)

(knocking)

- Debbie, are you awake?

Were you asleep?

- No.

- I couldn't sleep, I hope you don't mind.

- No, I don't mind.

- I didn't know her, but that girl's suicide

really shook me up.

- Lucy?

- Mhmm.

- Lucy was nice, she was really nice.

- At the party, you said that makes two of us.

- Martha, Martha Sayers.

She committed suicide too.

- Isn't that the girl in your painting?

What do you think made them do it?

(thunder cracking)

- I don't know.

It's like...

They were rats in Delacroix's maze.

Maybe we all are.

I wish those lights would come on again.

- I meant what I said about your painting.

I really do like it.

But that Martha girl seems scared to death in it.

- I paint what I feel.

- What is she so scared of?

- I don't know.

- Was it that room, something in it maybe?

Where is that room Debbie?

It's so strange, it's so cold and dark.

It looks like a dungeon.

- It's like it was a memory.

It's like it was a room I saw a long, long time ago.

- Do you know where?

(thunder cracking)

- Here, here.

I'm almost sure, I am sure.

It was right here in this building.

- Well, I better let you get some sleep.

I'll see you tomorrow.

- [Debbie] Good night.

- Good night.

(thunder cracking)

(eerie music)

(thunder cracking)

(eerie music)

(rats squealing)

(eerie music)

(thunder cracking)

(thunder cracking)

(dramatic music)

Debbie, it's Elizabeth.

Debbie, it's Elizabeth, please.

- [Debbie] What's the matter?

- The room in your painting, I found it.

- No.

No!

No, I've never been to that room.

- Debbie, it's identical.

- I have never, never seen a room like that, never.

- What are you so afraid of?

- I'm not afraid.

- Tell me, please.

- Nothing, nothing.

I didn't have anything to do with it.

- What what?

- Nothing, now get out of my room.

- What's going on?

- I told her I found the room in her painting.

It's in the cellar of this building.

- Cellar?

- Well she's terrified of something in the painting.

- Or something she thinks is in that painting.

Look Elizabeth, she's a very emotional girl.

You saw that.

And there's some creepy legend about a bunch of people

who were killed in a cellar around here

a long time ago.

- How is it supposed to have happened?

- Well, they say during the Salem Witch Trials

there were eight young women

who were accused of witchcraft

and hung in one of the cellars.

- Yeah, but look, all these old houses have cellars.

It could have been any one of them.

I'm going to bed.

- That's a good idea for all of us.

- Roberta, there was someone in that room tonight.

I saw him.

- [Roberta] For God sakes, don't tell Debbie.

(thunder cracking)

(eerie music)

(rats squealing)

- Some of us break under pressure.

Some of us later, but without exception

all are driven to various forms of disorientation.

A kind of random, wild action

that humans might call psychotic behavior.

Now the subjects are in abject terror.

Let's examine what they're afraid of.

Roberta.

- [Roberta] It looks like they're more mad

than scared to me.

- It's the terror that motivates their anger.

The same is true of human beings.

We're all apt to react most only to terror

than any other emotion.

To react violently.

Even to kill out of terror.

But don't let this experiment fool you.

Humans don't show their terror as do rodents.

Running and screeching.

Sometimes terror can break down all the fibers of resistance

so that complete passivity takes over.

A human reaction, passive is most dangerous

in this state of terror.

Elizabeth, what have you gotten out

of this experiment so far?

- Well I'm not really sure.

Do you want us to recognize the terror element

or the motivation to violence?

- Jody.

- Beats me, I'm more lost than the rodents are.

(laughing)

- I wonder if Debbie is taking this experiment

as lightly as you do.

(school bell ringing)

We'll continue tomorrow.

- Boy is he weird.

- Yeah and he's weirder every day too.

Somebody really ought to talk to the dragon lady about him.

- See you later.

- See ya.

- I wonder what he meant about Debbie.

- Beats me.

- Roberta?

- Huh?

- I think it was Professor Delacroix

that I saw in the cellar last night.

- What makes you think it was him?

- That basement, the wine cellar, that room.

It's all like his rat maze.

- Maybe we'd better look at it again.

We could go down there tonight

after everybody's gone to sleep.

- What if I'm wrong?

- That's not what scares me.

What if you're right?

(eerie music)

(giggling)

(eerie dramatic music)

- Roberta?

- Yeah.

You ready?

(eerie suspenseful music)

- You ever been down here before?

- Once, we left the props we use in the play.

- It's back here.

(door creaking)

(eerie music)

- I never saw a door like that before.

- That's how they made them hundreds of years ago.

Come on.

(eerie music)

(dramatic music)

(knocking)

- What's the meaning of this, after hours?

You know the rule.

- Debbie's dead.

- What?

- We found her body in the cellar.

- But how?

- We don't know.

- It looks like she committed suicide.

- Oh.

Oh dear God.

I'll have to call the Sheriff.

Hello, this is Mrs. Williams

the headmistress at Salem Academy.

We need you right away, please hurry.

Yes.

Thank you.

They'll locate the Sheriff as quickly as possible.

- What do we do about Debbie?

- I'll ask Dr. Clampett to lock the cellar door

and wait for the Sheriff.

Now I want you to promise me

to say nothing to the rest of the girls

until after the Sheriff arrives.

I don't want a panic in the middle of the night.

- Poor Debbie.

- And Lucy Denbrow and that Sayers girl?

Oh come on Roberta, you can't believe

they all committed suicide.

- Well it would be one hell of a coincidence.

- It sure would.

Three girls from the same school?

No, they were murdered.

Or at least driven to do what they did.

- You mean like the rats in the maze?

- I'd bet my life on it.

What do you know about Delacroix?

- Not much.

But his personnel file reports are in those cabinets.

The dragon lady keeps them on everybody.

- Let's take a look, come on.

- Diller.

Dendamon.

He's gone.

- Alright, now let's look for Lucy Denbrow

and Martha Sayers.

- What for?

- Just a hunch.

No file on Martha Sayers.

- Yeah, Lucy Denbrow is gone too.

Maybe she took them out after they died.

- Let's look for Debbie Jones.

She's gone.

But the headmistress didn't know she was dead

until just now.

- She wouldn't take them out of here

just to hide them some place else.

That doesn't make any sense.

She probably doesn't even know they're gone.

- Let's check out Delacroix's lab.

- Shouldn't we wait for the Sheriff?

- Might be too late.

- Okay, but I'll tell you one thing

I'm checking out of here first thing in the morning.

What's the matter?

- I've just thought of another one

of your great coincidences.

Something all three girls had in common.

- What?

- They all of them had no one to help them.

All their parents are dead.

- Elizabeth, so are mine

but you don't see my killing myself over it.

Come on.

(eerie music)

Denbrow, Sayers, Jones.

You were right.

- Roberta, look.

(eerie music)

They're all dead.

- They were slaughtered.

(dramatic music)

They were slaughtered.

I know why you came here

and I know who sent you.

But it won't stop me, it won't silence me.

It killed them the way it wants to kill me.

- Who, who killed them?

- It wasn't a person, you know it wasn't a person.

Not me, I won't give in, never!

(dramatic music)

- What the devil is going on?

- Thank God it's you.

- Delacroix was in his lab.

He's killed all these animals.

- He's gone crazy, thinks somebody's after him.

- Where is he now?

- He ran through the woods.

- I'll try to stop him.

- No, he's got a gun.

Wait for the police, they're on their way.

- Mrs. Williams told me.

I took care of Debbie.

Look, if they see him with a gun, they might shoot him.

Maybe he'll listen to me.

You two wait here and don't scare the other girls.

Wait right here.

(dramatic music)

- Jody, Jody help me.

Jody!

Help me.

Help me.

(dramatic music)

Please, please.

I'll never bother you again.

Please let me out.

I don't care, please let me go.

Let me out, I won't tell.

(yelling)

(eerie music)

- [Elizabeth] I'm worried about Dr. Clampett.

- Don't worry about him, he can take care of himself.

- There's something else.

I've never met anybody like him.

- You never will.

For all of us in school

and especially those of us without parents

he's fulfilled a very special need.

- We can't just stay here and do nothing.

- We're doing exactly what he told us to do.

I always do that.

- Sounds to me like you're in love.

- Maybe.

Very special kind of love.

See, when I first came to the academy

I was really lost.

He gave me confidence in myself.

He gave me a belief in my own...

- Ability?

- I was thinking of the word power.

- Power, to do what?

- Not that kind of power.

Power to live, power to never feel vulnerable again.

Never feel like your life is right

on the edge of being wiped out

and if it were, nobody would care.

Nobody would give a damn.

- He gave you all that?

- And more.

He can't help you if you fight him.

He can't help you if you resist him.

- Who wants to fight him?

Right now, I could use all the help I can get.

- Well I guess it was easier for you.

You had parents and a family.

- No, all I had was a sister.

She's gone now.

My real name is Sayers.

Martha Sayers was my sister.

You see, I never really believed that she committed suicide.

That's why I came here.

- When she was here, Dr. Clampett tried to help her.

She wouldn't listen to him.

- You know, I think we're getting very close

to finding out what really happened to her.

And Lucy and Debbie.

- I hope so Elizabeth.

I really do.

- I couldn't find him, he got away.

- The police?

- I don't know what's keeping them

but he could come back looking for you two.

- Maybe he always knew that Elizabeth

was Martha Sayers's sister.

- I'm sorry, I should have told you before.

I just didn't know who to trust.

- I understand.

I don't want you here or in your rooms.

It's the first place he'd look.

Up to my classroom.

Lock the doors, draw the blinds

and don't let anyone in.

(eerie music)

- [Roberta] Oh no.

- [Elizabeth] I'll get the lamp.

(eerie music)

(gasps)

- It would be best to clear the girls out of here

for the night.

- Why?

What are you going to do?

- Just clear the school.

- No.

No, I won't let you do anymore.

I don't know why I let you do what you've done.

But it's over now, it's all over.

Oh, please.

Please.

Don't make me do anymore.

Please.

(crying)

- Jessica.

- Yes Dr. Clampett?

- You'll do as you're told.

- Yes Dr. Clampett.

- You'll tell them and the rest of the staff

it's because of the power failure.

- Yes.

- And tell them the power company's notified us

that it can't be restored

and it would be dangerous.

I want everybody out.

- Yes, whatever you say.

- It won't be long now.

It's almost over.

The bus is full ladies, try the mini bus.

There's plenty of room.

Keep moving.

- Professor?

Why can't we take our own cars?

- Dragon lady's orders.

Doesn't want any of you pure of heart

going out and making clandestine rendezvous.

And don't you dare tell that battle ax

I called her dragon lady.

- It's our secret forever.

- Yes, forever.

- Oh by the way, Professor Jenkins said

to tell you according to the register

there's still eight girls here.

- Tell him I'll transport them

along with the headmistress.

Good bye.

Alright Rudy.

(car horns honking)

- What's that?

- Sounds like some cars.

- The police!

- Hey, they'll come in.

Dr. Clampett said to stay here.

- I'm not waiting.

- Elizabeth, wait!

Elizabeth!

- Wait!

(dramatic music)

Wait!

(dramatic music)

(suspenseful music)

(screaming)

(dramatic music)

- Elizabeth, where have you been?

- Delacroix, he's dead.

- What?

- In my car, I found him in my car.

Where are the police, what's happened to them?

- Come on, we'll call them again.

(dramatic music)

- Mrs. Williams?

Mrs. Williams, Professor Delacroix is dead.

He's been murdered.

- The headmistress isn't here right now.

She told me to wait for her.

She's gonna punish me, I know she is.

But she's wrong, it's a lie.

Somebody told her a lie about me.

I wasn't in that room.

I would never go down there.

- What's wrong with her?

- I don't know.

- Did you tell her?

I bet you were the ones who told her

I went down to that room.

- Forget her, get the police.

- Hey what are you doing?

You can't use that phone.

Miss Abigail doesn't let anybody use that phone.

- Operator?

Operator!

I can't get anybody.

- Phone's must be out too.

- Everybody is gone, I saw them leave.

- What are you talking about?

- All the buses, they were headed toward town.

Roberta, I think we're the only ones here.

- You better get out of this office.

Miss Abigail will give you demerits

if she catches you here.

- Where's your car?

- The keys are gone, somebody took them.

Look, we could walk to the highway

and hitch a ride into town.

- No, that's a long way in the dark.

- It's better than staying here with her.

- Yeah, and whoever killed Professor Delacroix.

I wish we had a gun or something.

- Did she keep one?

- Let's find out.

- What are you doing?

Miss Abigail will throw you out of school.

She'll be back any minute.

- Wait a minute, there's one in the basement.

When I was down there looking for props

there was one in a steel cabinet in the basement.

- Are you sure?

- Yeah, one of the maintenance men kept it there I think.

A gun and a couple of rifles.

- No, you can't go down there.

No, you can't go down there.

That's why I'm in trouble.

Miss Abigail doesn't let anybody go down there.

- Okay, what do you say?

Is it the highway or do we try for the gun?

- Let's get the gun.

- No please, please don't go down there.

She'll think I sent you.

Please, don't go down there.

Please.

- Listen, you just stay here.

And we'll tell her that you didn't have

anything to do with it okay?

- Okay.

You tell her I was never in that room.

- We'll tell her any damn thing you please.

You just stay put.

- Okay.

But he'll find out.

Miss Abigail will tell him.

She always tells him everything.

(dramatic music)

- Where is it?

- On the wall.

(eerie music)

There was a key taped to the top on there.

I got it.

The rifles are gone.

- The revolver?

- I don't know, I'll look.

- It's empty.

- Hold it.

- You know how to use that thing?

- Yeah, I was brought up on a farm.

Father had these around the whole time.

(door creaking)

Come on, let's get out of here.

- Wait, it could be one of the girls.

We've got to see.

- Okay.

Walk to one side in case I have to use this thing.

(eerie music)

- There's a light.

(eerie music)

- We've waited for you Elizabeth.

Look around you.

Eight of my girls died here.

Eight, all unwanted, like you.

Like all of them.

I have waited too long.

Now I have found eight to take their place.

And like them, abandoned once again.

- It's no coincidence that we don't have families Elizabeth.

He wanted it that way.

It has to be that way.

- Jody, Roberta, who do you think he is?

- We know.

- Malleus Maleficarum, the Hammer of Witches.

Some call him Satan.

- I welcome what man rejects.

I beckon what man despises.

I forgive what man will not.

- You don't believe that, that he's Satan.

None of you could really believe that.

- They believe what they must.

Tonight, they will sacrifice their mortal souls

willingly, here where it started.

And they will return with me.

- You're crazy.

Listen to me, I don't know what kind of a hold

he has on you

but he's killed Delacroix and Debbie.

- We know Elizabeth.

- Come with me willingly.

Your sister would not, nor Lucy Denbrow.

- Don't listen to him.

Look, there are eight of us against his one.

You've got to get out of there

before it's too late.

For God's sake.

- For his sake or mine?

They've already made that choice.

Come.

- No!

(dramatic music)

- We shall meet when I have the eighth.

(dramatic music)

- Mrs. Williams, there's a fire in the--

- I'm plant monitor, I forgot to water these plants today.

You won't tell Miss Abigail will you?

- I won't tell Miss Abigail anything.

Now come on, we have to get out of here.

Give me that.

- What are you doing?

(dramatic music)

- Come on get out, come on!

- No, no I want to see!

- [Elizabeth] Come on.

(dramatic music)

(police sirens)

- Your people told us about the power danger.

Looks like we're a little late.

Everybody out?

- No, not everyone.

- Where's the headmistress?

She'll have to notify their families.

- They didn't have any.

- Where, where's Dr. Clampett?

- Where he belongs.

(dramatic music)