All language subtitles for The.Haunting.1999.1080p.BluRay.x264-GUACAMOLE

Now, I'm just 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 is 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, I've cleaned,
I've mopped up her urine.

You call that an
"unpleasant detail"?

Hey, your sister
didn't write the will.

Nell, 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?

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
Morn'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,

and we could use someone to help
us with the cleaning and the cooking,

looking after Ritchie.

"Eleanor, help
me. I got to 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. Let go. That's
right. Sorry. Are you okay?

Here you go,
honey. Follow Daddy.

Come live with us, Nell.

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 Keirsey
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 are
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.
It's perfect, isn't it?

The Hill House Project...

Is absolutely essential
to my research, Malcolm.

No, wait. Just
listen. I grant you,

fear and performance
is a big, sexy idea.

But as chairman of this
department, I cannot...

Malcolm, 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 non-adaptive.

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 you Mr. Dudley,
the caretaker?

Yeah. I'm Mr. Dudley, the
caretaker. What are you doing here?

Oh, 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 Eleanor Vance.
I'm here with the...

Dr. Marrow's group.
You're the first.

Yeah, 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 that Hill House has had

since Mr. Crain died.

Really?

These are beautiful.

I know. I've seen
them. 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 6:00.

You can serve yourselves.
Breakfast is ready at 9:00.

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 schlep 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 6:00.

Breakfast is at 9:00.

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.

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 working
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.

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.

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.

Look at my bedroom, though.

- Isn't it beautiful?
- Yeah, it is.

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

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

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 onto 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?

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

Okay.

Whoa.

- Is it real?
- No.

- Should we go in?
- Yeah.

Wow!

- Wow!
- Wow!

It's beautiful.

- Would you care to dance?
- Yes.

I'm starting to like this house.

This is great.

Let's get out of 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 got to be through here.

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

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.

- Yep.
- 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. 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 hotlines.

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 moving to Montana

and becoming 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 there was
always somebody calling me,

there was always
somebody banging.

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

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.

But it's weird because,
even though 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
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?

Because, I got to 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.

Well, 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 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 Hill 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. 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.

- What happened?
- You all right? All right.

Let me see. Oh, my God.

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

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

Mary, we're gonna get you
to the hospital straight away.

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

Three steps.

We'll get you to a hospital.

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 don't want
the tests disturbed.

Okay, sure.

Hey, you guys, wait up.

Okay. You guys want to 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,

Ms. 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 Mobile 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 do it.
- It's okay. It's okay.

- Looks good on you.
- Mm-hmm.

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

Yes.

Well, the world's missed you.

Happy tossing and turning.

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...
- I'm sorry. I'm sorry.

- Oh, you got to be careful.
- Are you all right?

- I'm sorry.
- Oh, no, no, no.

You just don't jump out...

- Are you all right?
- Oh, yeah. No, no, no.

- What's with the glove?
- What?

- What's with the glove?
- I couldn't sleep.

- I was just... Insomnia.
- Yeah.

- What's with...
- Oh, well, me, too.

Yeah, you got to
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.

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 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, it 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 to Theo?

Theo, if it was you, did you...

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.

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,

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 coming along?
- I can't get this one.

- What about you?
- I did all right.

But, I mean, 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.

- Just relax. Okay.
- 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 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.

- You really think I wrote that?
- You found it. You could have.

With what? With the 20-foot
ladder that I keep in my back pocket?

Maybe you wrote it,
Theo. You're the artist.

- Maybe this is your great idea of art.
- Don't be ridiculous.

I want to 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 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.

"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 have 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?

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.

Eleanor. Follow us.

Over here.

This way, Eleanor.

Find us.

Eleanor, find us.

- Eleanor.
- Hmm?

Eleanor. The ledger.
Look in the ledger.

What?

It's Crain's study.

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.
- Nell, what?

There's hundreds of them.

He kept records of everyone.

I was having 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 got to
get some sleep, okay?

You've got to 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.

- 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
it. I know I can. It's true.

Oh, I know it is.

Carolyn.

Carolyn was his second wife.

Eleanor, the fireplace.

Eleanor. Eleanor.

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 will. Okay.

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

I'll get you out.
Don't you worry.

What's that smell?

I can't. 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?

- Listen. 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.
- What is happening to her?

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

Come on. Get a blanket.

He wanted to fill the
house with children,

but he turned into a monster.

It's okay,
sweetheart. It's okay.

No, Carolyn showed me in the
photograph where she hid them.

And they're all locked
together in there.

- He won't let them go.
- Eleanor. 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.
- Yes.

No. What if she's
right? What if she's right?

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

- Luke, stop. 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.

What? 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.

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

- before you said anything?
- No.

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. Eleanor.

Well, that...

- None of this is real.
- It is real.

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

You have to look at the
bones in the fireplace.

- It's not real.
- No.

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.

- Okay, that's enough.
- He's not gonna look.

- 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.

- Oh, please. Okay.
- Or whatever other bullshit

you need to understand this.

- 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!

I will not let you hurt a child.

Luke! David!

Dr. Marrow!

Luke!

Eleanor.

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?

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

Welcome home, Eleanor.

Oh, no. No.

It's not true. No.

Eleanor? 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.
- Oh, my God.

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

- Eleanor. Eleanor.
- I want to help you.

Don't move. Don't move.

Oh, Nell.

Just stay there.

Hold on, Eleanor. Hold on.

- 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, Eleanor.

Go ahead. Hurry.

- Come on. 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. No.

She doesn't look good.

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

I think I'm gonna have to
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, Eleanors" on the wall.

Luke, I didn't write
that stuff, okay?

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

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 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. Oh, my God. Nell! Nell!

Dr. Marrow! Dr. Marrow!

- What's going on?
- I can't get the door.

Stay away!

- Nell!
- Eleanor!

- Eleanor! We're here!
- Nell!

- Nell!
- Eleanor!

- Push. Push.
- Come on.

Push.

Oh, my God.

- Nell. Quick. Come on.
- Oh, sweetheart.

We've got to get
her out of here.

Oh, God.

Come on. Hurry up.

Try to get her out.

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

That's it. Come on. Hit it.

- Come on.
- Come on, Nell. Come on.

Quick. Grab her

Get up.

- Come on. Pick her up. We got to go.
- Come on.

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 got to crash the gate.

We got to 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.

Luke.

- Eleanor.
- Come on. You got to get out.

- Please, come back.
- Push the door.

- Turn the engine off.
- Push the door.

You got to get out.

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

It won't go.

Come on. Luke,
you got to get out.

- Stand back.
- Hurry up. Come on.

- Grab my arm.
- You okay?

Are you okay? Are
you hurt? Come on.

- Are you okay?
- Yeah.

- Oh, my God.
- Got the wind knocked out of me.

- Where's Nell?
- What?

- Eleanor?
- Come on. 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,

and 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, Theo.

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 hunting 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. 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!

God damn you!

Luke, don't.

- What?
- Don't.

I'm gonna burn the house down.
Come on. Let's burn it down right now.

Help!

- Get off!
- Luke, get off, get off!

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

Oh, no.

Theo.

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.

Eleanor.

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, Eleanor.

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.

Move away. Move away.

- I'm gonna stop you now.
- Eleanor, 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,

so you could hear
their voices. 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!

No!

Thank you, Eleanor.

Thank you, Eleanor.

Thank you, Eleanor.

- Thank you, Eleanor.
- Thank you.

- Thank you, Eleanor.
- Thank you.

- Thank you, Eleanor.
- Thank you.

Oh, Nell.

Jesus.

City people.

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