All language subtitles for Satans.School.For.Girls.1973.480p.DVDRip.x264.AAC-[YTS.LT]

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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)