Original subtitles

(bright music)

(dramatic music)

(bright music)

(dramatic music)

(tense music)

(soft creaking) (woman screaming)

(dramatic music)

(doorbell ringing)

(doorbell ringing)

- I'm sorry.

I said I'm sorry.

(doorbell ringing)

- You've come about the room.

- That's right. - Yes.

You see, my friend and I we wanted to get a place.

I'm over here on a study course.

- We have a beautiful room,

and it should suit you marvelously.

It's all prepared for you.

- For us? - Well,

someone very like you.

You're such pretty girls.

Such pretty, pretty girls, come along.

I'm Mrs. Oxhey.

I live right there should you want anything,

and don't hesitate to call, day or night.

I like company.

- Oh, well we haven't made up our minds yet.

- Oh, you will it's a marvelous room.

Isn't it, Mr. Patrick? - Mm?

- This is Mr. Patrick.

These two young ladies

are going to join our happy household.

They'll love it here, won't they?

- Yes, you'll be marvelously happy here.

Excuse me.

I'm sorry.

- It's on the first floor.

I keep saying room,

but it's more a teeny apartment really.

- Oh, it's lovely.

- Well, it's not bad.

- Yes.

Everything's en suite,

except the bathroom and that's just across the hall.

- It's fantastic, isn't it, Chrissie?

- A lot better than we expected.

- Yeah, but I don't think we can afford it.

Uh, Mrs?

- Oxhey. - Oxhey.

See, we're kind of on a budget.

- How much would you say was fair?

- Don't you have a set price?

- I like people to be happy.

- Well, we had set our limit at 24 pounds a month.

- Well, let's call it that then.

You can move in right away, if you want to.

- Well, we have to get our luggage from the station.

- Don't you want references? - I like you, my dears.

I want you to have it.

- Do you believe that?

- [Chrissie] She wants us to.

(women mumbling faintly)

Ah, relic of a previous owner.

- Very previous if this paper's anything to go by.

(laughing) 1852.

- What? - Yes.

- You're kidding.

Oh, it is.

- Let's see.

Oh, look.

Good luck charm.

- [Chrissie] Yeah.

- You do like it here, don't you, Chrissie?

- [Chrissie] Of course I like it.

It just seemed too good to be true, that's all.

(dramatic music)

(clock ticking)

(lock rattling)

(footsteps creaking softly)

(dramatic music)

(alarm ringing)

- Chrissie, up.

(soft gasping)

- Good morning.

You must be one of the new tenants.

- Gillian Pemberton, yes.

- Colonel Wright.

- I didn't expect anyone else to be up this early.

- Excelsior and all that.

Old habits die hard.

Besides this is the most marvelous time of day.

(soft humming)

(water splashing)

- Oh, dear.

Well, hello.

What's your name?

- Teddy's broken.

- Oh, dear, he is, isn't he?

Well, maybe he's all broken up like that

'cause you loved him too much, huh?

- He's just a toy he isn't real.

- Oh, but he's a friendly toy.

- I wish he was real.

- Don't you have any real animals,

a cat or a dog or anything?

- No, I wish I did.

- Oh well, maybe for Christmas or your birthday, huh?

- Jonathan.

Oh, there you are.

I do hope he hasn't been bothering you.

- Not at all we were just getting acquainted.

- I think you met my husband last evening.

I'm Mrs. Patrick, Emma.

- I'm Chrissie Morton it's nice to know you.

- Hello. - Hello.

There's my roommate Gillian Pemberton.

This is Mrs. Patrick.

- How do you do? - Hello.

- Well, if there's anything I can do to help you settle in,

we're right next door you just have to knock.

- Well, thank you very much.

- Come along then, Jonathan.

Come along, Jonathan.

- You're gonna be late, aren't you?

- My class doesn't start until 10:15.

- Oh, lucky you.

- Here, have a sip of this.

- Oh, great.

Mm, it's lovely, okay.

So I'll see you tonight then.

- Bye, bye.

(door closing softly)

- Marvelous.

Marvelous.

- Thanks a lot.

Would you like to put those things in the kitchen?

I'm Gillian Pemberton.

- John Elgar.

- Ah-ha.

I thought these it'd brighten up the place a bit.

- Very pretty.

Yes, they'll be very pretty.

An echo of yourself.

- I keep telling Chrissie, she's my roommate,

how lucky we are to have this place.

Everyone's so nice.

- Gillian.

(chuckling) What's going on?

- I thought these would sort of personalize the place a bit.

John's been helping me.

He lives down the hall.

This is John Elgar, by the way, Chrissie Morton.

- Hi, John, how are you?

- Hello.

- Oh, no, he's cute. - Isn't he sweet?

- Is he for us?

- No, for Jonathan the little boy next door.

- Will Mrs. Oxhey let him keep it?

- Oh, I never thought of that.

- Don't worry Mrs. Oxhey's wild about cats.

He won't have a problem there I promise you.

- Oh, I hope not.

I'm gonna go give it to him before he goes to bed.

Excuse me.

Come on, babe, come on.

- [Gillian] Yoo-hoo.

- What a marvelous surprise and such a kind thought.

- Oh, well, he was saying this morning

how he'd like a real animal.

It just so happened that the janitor's...

I guess you call him a caretaker here.

Well, anyway, he was gonna have him put away,

and I just couldn't let it happen.

Now, you sure you don't mind too much?

- Mind?

What is there to mind?

Little thing like that.

It's marvelous of you.

And what do you say, Jonathan?

- Come on, Jonathan.

Say thank you to, Mrs. Morton.

- He's marvelous.

(soft chuckling)

- We don't seem to have brought him up very well.

- He's just excited, that's all.

- Will you come in and have a drink with us, Chrissie?

- I've gotta help Gillian with dinner.

Another time, huh?

- Any other time.

Thanks again.

- Well, that deserves a cup of coffee.

Or some supper, if you'd like.

- Coffee would be fine.

I've some work to catch up on later.

I'll bet he flipped.

- Huh?

- Jonathan, the kitten.

- No not flipped exactly, but he was pleased.

Marvelously pleased.

- We do have some biscuits, don't we?

- Yeah, I think so.

John, have you lived here long?

- Quite a while.

- You must know most of the people in the house then.

- Know all of 'em.

- Well, who lives upstairs?

- Why, you two.

- No, I mean at the very top of the house.

- Oh, you mean Mr. C.

- Mr. C?

- The oldest inhabitant been here longer than any of us.

- Longer than Mrs. Oxhey?

- Even her.

I think he comes with the house, a part of it.

- Well, I haven't seen him yet.

- Well, he's pretty old, you know, something of a recluse.

But you'll see him sooner or later you're bound to.

- He's handsome, cultured,

intelligent, and single.

- [Chrissie] Who is?

- John, John Elgar.

What are you looking for?

- [Chrissie] My blue bra I was gonna wear it tomorrow.

- Well, it's in the top drawer.

- [Chrissie] No, it was, but...

Maybe I put it in the wash, oh, well.

(woman screaming)

Did you hear that?

- That was probably the kid next door having a nightmare.

- That didn't sound like that.

It sounded like an animal.

(dramatic music)

(birds chirping)

- What are you doing?

- [Chrissie] Huh?

- Chrissie, my dear, that's the door to the cellar

the stairs are steep and very uneven.

You might have had a terrible accident.

We don't want that, do we?

- No.

- The back door is there, my dear.

- Ah, fine, thanks.

(dramatic music)

- It was last night.

I must have left the window open.

I don't know how the poor little thing

managed to climb up there,

but it obviously did and fell.

- We didn't know about it ourselves until this morning,

and then I found it lying in the yard, poor little thing.

- I, hid it, didn't want Jonathan to see it.

You understand?

- We didn't know how to tell you either.

Of course, we would have told you, eventually.

- We're terribly sorry.

- Terribly.

- Oh, they must still be here.

Where are they in here?

You haven't see them, have you, Chrissie?

- What?

- My tights the ones with the pattern.

You haven't seen them, have you?

- No.

- I suppose you don't have a class this morning.

- No.

- Look, I don't mind if you borrowed them

as long as you tell me.

- I don't have them, Gillian, take a pair of mine.

- Oh, thanks.

What are you gonna do with yourself this morning?

- I don't know

go somewhere and think.

(lively music)

- I hope you've forgiven me.

Collision, suitcase.

Red polka dot pants all over the road.

- Yes, hello.

- Better make it more formal this time.

Masters, Gary Masters.

Really, how interesting to meet you, Gary.

And what do you do?

Well, I'm here in London on an art scholarship,

but my home is in Cambridge.

How interesting and what do you do?

- I'm sorry.

My name is Chrissie Morton.

I'm a student too.

- Did you eventually get a room in that house?

- Yeah. - Well, that's damn funny.

- Why?

- They wouldn't even answer the door to me.

Never mind, I got a room couple of streets away.

Perhaps they were saving the room

especially for you and your friend.

- Why do you say that?

- No reason.

Just somethings to say.

(soft sighing) Hey,

you look like somebody in need of a friend.

I'm a very friendly fellow.

- It's nothing.

- From a woman that always means it is something.

- It's just crazy.

- Well try me.

(soft sighing)

- Well, it's that house.

It gives me the creeps.

- Well then move.

- I can't. - Why?

- Well, that'd be silly.

The place is fine and the rent is ridiculously low.

- Well, then what is it?

- I don't know I can't put my finger on it.

- Just the architecture?

Well, those old Victorian places,

they seem to have a fustiness all their own.

Full of nooks and crannies and memories.

- Maybe that is it, the atmosphere.

- I'll let you know.

- Huh?

- Well, you are going to ask me back

for a drink sometime, aren't you?

- An art student?

- Art scholarship.

- Well what's the difference?

- Well, anybody can be an art student.

That scholarship means that...

Well, it means that somebody believes you have

talent enough to support you and develop it.

- And what time's he arriving?

- About half an hour.

(dramatic music)

(tense music)

What do you think you're doing in there?

Come out here right now.

- [Mr. Patrick] What's going on?

- [Chrissie] Look in there.

- What? - Look.

Look in there.

I just found him in there looking at me in the bathroom.

Now that's ridiculous.

I mean a little boy like that is--

- I'll take care of him.

Don't you worry I'll take care of him.

You come with me young man, come on.

Now what do you mean by this?

You've really done it this time, haven't you?

- Jonathan, how could you?

- Come on, inside we go.

(people laughing hysterically)

(doorbell ringing)

(clock ticking)

(doorbell ringing)

That's Gary.

Would you let him in, please?

- Well, are you sure you wanna see him just now?

- Yeah, I'll be all right.

- Okay.

- Hello, I'm--

- Gary Masters, yes I know.

Chrissie told me all about you.

I'm- - Gillian Pemberton.

Yes, I know Chrissie told me.

- Well, come right this way.

- Well, I don't feel it.

- Feel what?

- The air of pervading evil.

- I can see Chrissie's been telling you lots of things.

- All I detect is the air of mustiness.

A few open windows would soon cure it.

- I don't know there just might be

a poltergeist lurking somewhere.

Do you I've lost three pairs of underwear

in the last two days? (Gary laughs)

Well, you can laugh.

Girl can catch an awful cold.

- Hi.

I've solved the problem.

- I'll be with you in a minute, Gary.

- About the house I know what's wrong with it.

It's dead as a dodo, died a long time ago.

Could be revived, though, some bright paint,

truckload of new furnishings,

or even better a good demolition gang.

You've been crying.

- Would you like a cup of coffee?

- What's wrong, Chrissie?

- There's been a nasty incident that's all

- What, here? - Yes.

- Well, tell me about it, Chrissie.

- Well there's this kid next door.

- Yes there's a kid next door,

and a poor little kitten.

This awful house.

- Hey, hey.

You are in a state come and sit down.

What's been happening?

- Well, Chrissie went in to take a bath.

- And?

- Well, there was this kid looking.

- Looking?

- Through a hole in the wall, a peeping Tom, you know.

- Well, that's a rotten thing.

Look, it could have been worse.

I mean it was just a kid.

- Well what about the other things?

What about the kitten that was killed?

- It fell from the window.

What about the people then (sobbing)?

Those marvelous, marvelous, marvelous people.

- [Gillian] What do you mean?

- Haven't you noticed?

Marvelous.

That's the number-one adjective around here.

Marvelous.

Don't you remember it's gonna be marvelous day?

We're going to be marvelously happy here.

Even that poor little kitten was marvelous.

Don't you understand?

- You've got to take it easy come on.

- Gary, I'm sorry.

Please, just leave me alone.

- Put her to bed or something.

I'll call her in the morning.

Ciao.

- Look, Chrissie, we--

- Look, Gillian,

I know that you're gonna think I'm crazy,

and this is illogical and irrational

but we've gotta get out of this house.

- Oh, Chrissie. - We do.

I don't know what it is but I feel it.

It's something wrong.

We've got to get out of here before it's too late, really.

Now tell me we can go,

We'll pack up today. - All right, all right.

Okay, don't get so upset.

- I'm sorry. - We'll leave

if you wanna leave.

- Okay.

- Let's wait until the end of the month.

We're all paid up until then.

- Oh, it doesn't matter. - But Chrissie,

the end of the month.

We'll leave then, I promise it.

- All right.

- Okay.

(doorbell ringing)

(doorbell ringing)

Good morning.

- Good morning.

You look very pretty this morning.

- Thank you.

(doorbell ringing)

- Very pretty.

- Good morning, I believe you rent rooms here.

- Yes, I don't know if there's anything available right now.

- Oh, I'm not looking for a room.

I just wanted to talk to whoever runs this place.

- Oh, well that's Mrs. Oxhey.

Come in, please.

Mrs. Oxhey.

Mrs. Oxhey.

I'm sorry I guess she isn't here right now.

- Well, then maybe you could help me.

Does this girl live here?

- No.

- And you never saw her before?

- No, I'm sorry.

- Oh, well, it wasn't much of a hope.

- Who is she?

- She's my daughter, Sally.

- Is she missing?

- Well, not exactly, she left home about a year ago.

There'd been a row and she left home.

Then, couple of months ago she wrote to me.

I was foolish I was still angry with her.

I tore the letter up.

Now I'd like to contact her again and make it up to her.

- Well, you think she might have stayed here?

- Well, the address was somewhere in this area,

I remember that.

It was a rooming house, a nice place.

She said over and over in her letter how marvelous it was.

- Marvelous.

She said it was marvelous.

- Yes.

- Maybe she did stay here.

Before me I haven't been here very long.

There's someone else I can ask.

Colonel Wright.

Colonel Wright.

I guess he's in the bath.

Listen, why don't you leave the picture with me,

and I'll ask Mrs. Oxhey about it tonight.

- Well, that's very kind of you.

You can reach me at this number.

My name's Thurston, by the way, Harold Thurston.

- Okay.

(dramatic music)

- [Chrissie] Mrs. Oxhey.

- Yes my dear?

- [Chrissie] Could you come in just a minute, please?

- Certainly.

- Mrs. Oxhey, a man came by here this morning.

You weren't home.

- Oh, well, no matter.

As you know we have no more rooms vacant at the moment.

- His name was Thurston.

- Oh, yes.

- Well, he was looking for his daughter.

He thought she might have stayed here.

- Thurston, no, I don't think so.

- Well, he left a picture of her.

- Oh, such a pretty girl.

- She stayed here then?

- Of course not.

Such a pretty girl if she had I should have remembered.

(Gillian humming)

(door closing softly)

- You know, since you told me about peeping Jonathan,

I don't feel safe in that bathroom anymore.

I don't mind kids getting sex education early,

but I do object to being the textbook.

Who's that?

- A girl Mrs. Oxhey says never stayed here.

I've just shown her to her,

and she denies ever having seen her.

- "Denies," now what bee has crawled into your bonnet?

- Look.

What do you see hanging around that girl's neck?

- [Gillian] Well, it's a locket or a pendant or something.

- Right, this pendant.

- Could be.

Oh, it's too small to tell.

- Well, what about this?

Gillian, we always thought that was some kind of joke.

What if it wasn't?

- You're not gonna start all that over again, are you?

- Have you noticed that none of the

other tenants ever get any mail?

Nobody but us-- - Now, Chrissie.

- Another thing have you ever seen any of them go out?

I mean actually go out into the cold light of day?

- Of course they go out.

- When, name me one occasion?

- Well, I don't recall, exactly,

but they have to go out, don't they?

- Marvelous, and the man upstairs

that we never see. - I'm tired of it all.

I'm going to bed.

(dramatic music)

(dramatic music)

- Gillian.

- What.

- There's something else.

- What.

- This.

(footsteps echoing)

That's Mr. C leaving his den at last.

The door's locked or something.

- [Gillian] Oh, it can't be.

- [Chrissie] I can't get it open.

- Look, the door must have stuck.

Why don't we just forget it?

I've gotta get some sleep.

(dramatic music)

(bright music)

- [Man] Gillian.

Gillian.

Gillian.

(bright music)

(dramatic music)

- Gillian.

Gillian.

Gillian, what is it?

What is it?

Come on.

- What's up has she been walking in her sleep?

- Yeah, I guess so.

- Can be nasty waking them when they're sleepwalking.

Better get her back to bed.

- Come on, it's all right.

- She looks all right.

You better keep the door locked, though.

Or put her shoes close to hand.

- Yeah.

Thanks.

- Don't mention it after all what are...

what are neighbors for?

- Do you know her?

Do you know her?

- No.

Pretty, though.

Very pretty.

- I know Mrs. Oxhey was lying.

Thank you.

(lively music)

I know Elgar was lying too.

I'm sure he recognized your daughter.

- Why would he lie?

- That's something for the police to find out.

- Not until I've seen this Oxhey woman.

I must find out the truth from her first.

- Well, I'm sure the police could find out.

- I've already seen them, weeks ago.

They have Sally listed as a missing person.

They told me nearly 1,000 young girls go missing every year.

Did you know that?

- I don't see what that has to do--

- Nearly 1,000.

Most of them disappear voluntarily because they want to

because they're in trouble.

Yes, the oldest kind of trouble a girl can get into.

They disappear discreetly, have their baby,

or they abort it in some back room somewhere.

Usually with the help of an older woman,

a woman who specializes in that sort of thing.

- Mrs. Oxhey?

- It seems likely, doesn't it?

It would explain why she doesn't want to admit

Sally ever stayed at the house.

I must see Mrs. Oxhey

and face her with it.

Well, thank you for all your help.

I'll call you and let you know how I got on.

- Yeah, please do.

(clock ticking)

(doorbell ringing)

(tense music)

- Hello.

Anyone home?

Hello.

Who is it?

Is it Mrs. Oxhey?

(suspenseful music)

- Why don't you just face the fact that he's not home?

You must have tried at least 10 times tonight.

- Well, he said he'd call.

- If he had anything to tell you.

He hasn't.

(footsteps creaking slowly)

(door creaking open)

(door latch clicks)

Ciao, see you tonight.

- Bye.

(door creaking open)

(suspenseful music) (loud thud)

(door slamming)

That house is evil.

- And you need to get away from it.

Now what do you say, this weekend, eh?

Get away, be with people, have some fun for a change.

Then come back and look at the house with a cold, clear eye.

- I can't leave Gillian.

- Well, I'll invite her too.

- I don't think she could go.

She's got an exam coming up.

- Okay, so she stays behind.

Well, what difference does it make.

- I don't wanna leave her alone in that house.

Gary, don't you understand that?

- Chrissie, if you exam that last remark,

you'll have to admit it's a pretty foolish one.

We can make an early start tomorrow morning.

I'll call for you at 9:00.

Look I'm not taking no for an answer.

Chrissie, ill call for you at 9:00,

and you'll be ready, won't you?

- I guess so.

- That's better.

- I think it's a great idea.

Get you out of yourself,

out of this cloud you're under.

What time's he coming?

- About a half an hour.

Gillian, are you sure you're gonna be all right.

- Don't start all that again.

Here I'm not a child, you know.

- I know but listen it's just for tonight.

I'll be back tomorrow.

If you need me for anything-- - Need you.

What would I need you for.

What do you think's gonna happen to me.

Tell me I wish there was a chance

of something exciting happening.

- Listen if you don't want me to go, I won't go.

- Look, tell you what.

I really want you to go.

- But if you-- - Chrissie.

- Alright, alright I won't say anymore.

(doorbell ringing)

Oh, he's early.

- How do you it's him?

It's him.

- You'll wake up the whole house.

- Take a real strumpet to do that.

- Come on in I'm just about ready.

- Who's this old boy?

- I don't know just a painting.

- No, he's part of the house.

- Why do you say that?

- No reason just feel he is, that's all.

Hi.

Beautiful.

- Hey, thanks.

- For what?

- Taking her away for a while.

- Hey, sounds that you trust me.

- Well, I do.

- Probably the worst thing you could say to a man.

- [Chrissie] I'm ready.

- Fine.

(footsteps creaking)

- Mr. C. - Who's he?

- The man upstairs.

- The one with the long nose.

- What?

- He's always watching when I come to the house.

It must be him.

Someone peeping out of the top window.

- [Chrissie] Have you seen him?

- I was aware of someone.

- Gillian I-- - You're leaving,

and you're gonna have a fantastic time here.

Here's your coat, lovely, yes.

I'll be fantastic, bye love.

(dramatic music)

(water splashing)

(soft knocking)

Come in.

Hello, John.

- Hello.

If I'd known, I'd have bought a couple of shirts.

- The more the merrier.

- Slaving away.

That's no way to spend a Saturday.

- Well, I'm open to ideas.

- Doing this all on your own?

No Chrissie to help.

- She's gone away for the weekend.

- Now that is too bad.

I came to give you both an invitation.

I'm having a little celebration later on

just a drink or two.

Too bad Chrissie will miss it.

But I can count on you, can't I?

- Well, I do have studying too catch up on.

- An hour or so won't make much difference, will it?

- No, I guess not.

I'd love to come what time?

- Oh, say two o'clock

when the French would call a soiree.

(people chatting faintly)

- Garage is going to send out a tow truck.

It may take a while.

Would you like a drink whilst we're waiting?

- Yeah, thank you.

- Gillian, do come in.

You look marvelous, Gillian.

Marvelous.

- We all here then?

- I shouldn't have left Gillian.

- I knew that's what was bothering you.

- Gary, she's alone there.

- Oh, sure quite alone

with people living on every floor.

Look, didn't we have an agreement

a quiet relaxed weekend

and not one word about that darn house.

- I'm sorry.

- Look.

I want you to be happy, not sorry.

Nothing can happen to Gillian.

She's safe amongst a house full of people.

- Oh, it is so nice to have

all my dear friends together at once.

- A united body.

- Not quite (giggling).

There's an absentee, Mr. C.

(giggling) Absentee, Mr. C.

(group giggling)

- Poor man.

- Shouldn't he be here?

- I'm afraid he never leaves his room.

- Never. - Never.

- Never.

But we keep him in touch with the outside world.

- We do his living for him, don't we?

- Yes, I suppose we do.

- But you were right to remind us of him, my dear.

We can't leave him out of our little celebration, can we?

- No point without him.

- Celebration, you know you haven't yet told me

what we're celebrating.

- Why you, Gillian, you.

- Me.

- We really ought to have Mr. C join in.

- At least send him up a drink.

- What a good idea.

And Gillian should take it to him.

- What?

- He'll like that.

He likes a pretty girl.

Oh, yes, he does like 'em pretty.

- He adores them.

- You won't mind taking something up to him, will you?

- Oh, no, I won't mind.

Never thought I'd get a chance to see him.

- You were destined to see him, my dear.

- And today's the day.

Marvelous. - Marvelous.

- Marvelous. - Marvelous.

- Perhaps she'll go now.

Take this to Mr. C.

- They're going to tow the car in.

It's not far apparently.

Better you wait here, don't you think?

Better than standing around in the garage.

I'll go with them and pick the car up

as soon as it's fixed, okay.

I'll be as quick as I can.

- Beer please, Charlie.

Make it quit I have to be in town to pick up the old man.

- Excuse me.

Did you say you were going into town?

- Yes.

- Can I hitch a ride with you?

- Sure, why not.

- Thank you.

I have to write a note.

I'll just be a minute, all right.

- Go on, Gillian, he's waiting.

(suspenseful music)

(soft creaking)

- [Gary] Had to go back.

- Gillian.

(eerie tone)

(dramatic music)

(loud thud)

Mr. Elgar.

Mr. Elgar, is Gillian in there with you?

Mrs. Oxhey.

Mrs. Oxhey.

(dramatic music)

Colonel Wright.

(dramatic music)

Mrs. Oxhey.

Mrs. Oxhey.

(tense music)

(soft gasping)

Oh, ow.

(engine stalling)

- Mrs. Morton.

- Oh, Mr. Thurston.

Mr.Thurston in the cellar.

- I know, I know.

- We've gotta called police.

- I've already done that, but before they arrive

there's something you have to see upstairs.

Come on.

- Is your daughter?

- Yes.

She's down there too.

- There put be others, all those trunks.

- Come on.

(dramatic music)

(suspenseful music)

- Mr. Thurston, I don't see why.

(eerie tone)

- Thurston is dead.

Yes, you saw him, spoke to him.

But you saw what I wanted you to see,

what I willed you to see.

But he is dead, really dead.

Like Oxhey, Elgar, the others

they are all long dead,

and yet they exist.

- This is a nightmare,

a terrible night.

- No, this is real.

Everything about you is real.

I am real.

- The house is-- - Empty.

Just a shell.

It has no more substance than a spider's web.

You have been the most difficult until now.

Your will against mine,

and you sense things

sense them with an extraordinaire perception.

It was different once this house, very different.

Cochise rattled to the door.

Pretty women soiree.

But that was long ago.

1852 to be precise,

September 1852

that was when I retired to this room.

Yes, more then 100 years ago.

- Retired to this room, you.

- I.

I am very old, you see.

And clever.

And time has been on my side.

I have made it so.

- Oxhey and Elgar.

- You saw them because I wanted you to see them.

Like Thurston just now

I willed him upon you.

I told you I was clever,

and I am the living proof of it, living.

Of course, there is good and evil in every man.

But I'm a Cartney.

You will find a Cartney involved in every black mass

since the days of civilization.

We Cartneys have been imbued

with more than our share of evil.

Good and evil.

But good is such a poor pious thing.

Who could possibly survive on good alone?

But evil it is the stuff of life itself.

It is vital, alive, immortal

for those who have found the way,

and I have founded way

eternal life through the infinite power of evil.

Through the rich black arts,

the devil himself breathed upon my chilled cheek

and gave me eternal life.

I have embraced him and he me.

I exist and will exist

until that final trump when Satan emerges

to claim his very own.

- No.

Those people were real.

I saw them.

I knew them.

- And through them you knew me.

Oh, yes.

They were real once.

Each and every one of them lived under this roof, my roof.

But they are gone now.

All that remains is what I choose shall remain,

the darker side of their souls.

Those vile black, hidden things,

these have become my inheritance.

Oxhey, Elgar, the Patricks all long dead,

and yet they live on through me,

through my imagination and yours.

Through my great hallucinatory powers

they actually exist again.

Not as ghosts race, but as substance,

so that they become real, tangible,

and they actually exist again through me.

Marvelous.

Marvelous.

In the beginning was

the word.

In the beginning was Lucifer,

Beelzebub

old Nick himself,

and in the end shall be old Nick and me

the last of the Cartneys.

My influence shall endure forever.

I am very old,

and yet I remain young.

Can't you guess my secret?

I steal from others.

I steal the life of others.

You must not mind too much, my dear.

You will live on, you see through me.

(doorbell ringing)

(muffled gasping)

(loud screaming)

(loud screaming)

Go on.

Live on I swear it.

(dramatic music)

You can't destroy me.

Will

live on.

Live on.

(police siren blaring)

- Well, that makes nine so far.

We haven't even started looking yet.

- It's over.

It's all over.

Chrissie, all that nonsense about him living on

forget it he's finished.

Cartney can't touch you anymore.

- That's marvelous.

(eerie music)

Marvelous.

(dramatic music)