[Siren Wailing]
[ Kids Shouting ]
[Children] Ring-around-the-rosy
-[Continues] -[Woman] Now, I'm trying to tellyou...
that we can'tafford tokeepyouhereanymore.
Youalreadyowe twomonths worth ofback rent.
It's mine, and you're not taking it away.
Read the will, Nell. It states, in plain language:
"The executorshallhave theright to dispose of...
any and all personal property as he shall see fit."
- He's not even real family. - Yeah, well, maybe not.
But clearly, Mother thought Lou would be much better equipped...
to deal with these unpleasant details than you.
" Unpleasant details"?
Whathave Ibeen dealing with forthepast 11years?
I've cooked, cleaned, mopped up her urine! You call that an "unpleasant detail"?
- Hey, your sister didn't write the will. - We all know whatyou've done.
- We're trying tohelp. - Do not help me!
- [ Imitating Car Engine ] - [Crashing]
Oh, Ritchie. Just go sit on the couch, okay?
- Oh. - [ Laughing ]
[Lou] Anyway, onceprobate closes,
we canput this apartment on themarket,
andweallmightbeable tomakea fewbucks.
Also, we know how much you love Mom's car, so we're giving it toyou.
You're taking away my home and giving me a 20-year-old car?
Absolutely. We'll deduct the value from theproceeds oftheapartment.
Who areyou?
Doyou understand that I have nowhere to go?
We've been talking, and Lou and I are very busy.
We could use someone to help us with the cleaning and the cooking,
looking after Ritchie?
[Banging On Wall]
Eleanor, help me. I gotta pee. [ Laughing ]
- [Laughing Continues] - [Lou] Ritchie, notnow!
Get outta my home.
Well, suityourself. We'll let the courts handle it.
Get out ofmy home.
Honey, let go. That's right. Oops. Sorry. Okay.
Hereyougo, honey. FollowDaddy.
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.
[DoorCloses]
[WindGusting]
[ Sighs ]
[ Ringing ]
Hello.
Yes, this is Eleanor.
- Where? -[PaperRustling]
Iseeit.
" Research subjects. Nine hundred a week."
Here'showthey're organized. Thegroups have very differentpersonalities.
Scored all over the KierseyTemperament Sorter,just likeyou asked for,
andtheyallscore veryhigh on theinsomnia charts.
Oh, what a beautiful profile.
A classic dependent personality disorder.
However, we were looking for "suggestible."
Hermotherdied twomonths ago.
She reallywants to do this.
And what areyour feelings, Mary?
Tell me what your intuitions say.
I put my favorites on top.
Mm-hmm. What else have we got here?
"Lowself-esteem, highnarcissism,
chronic feeling ofemptiness,
identity disturbance. "
Good, good. Verygood.
Is this where we're going?
That's Hill House. That's perfect, isn't it?
- The Hill House Project-- - Is absolutely essential to my research, Malcom.
No,just listen. I grantyou,
fear and performance is a big, sexy idea.
- But as chairman ofthis department, I cannot-- - I knowyou clinical guys...
don't like to ask these questions, but think about it.
What is fear, anyway? It's a series of automatic responses to a given stimulus,
characterized by increased heart rate, respiratory activity and adrenaline function.
The only problem with fear is that it has largely become inappropriate and nonadaptive.
Do sweaty palms help to talk toyour boss?
Does a racing pulse help some kid's score on an SAT?
And yet we carrywith us these primordial fear responses...
that do the opposite ofwhat theywere intended to do.
- So why is that? - David, David, no one is saying...
that these aren't provocative questions.
Butyou can't conduct this research ethically or responsibly.
And on top ofthat, 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 offear.
You don't tell the rats they're actually in a maze, Malcom. Come on.
[Humming]
[ Leaves Rustling ]
[Horn Honking]
What doyou want?
Are-- Areyou Mr. Dudley, the caretaker?
Yeah. I'm Mr. Dudley, the caretaker. What areyou doing here?
I'm with Dr. Marrow's group.
I'm supposed to see Mrs. Dudley. Is she here?
-[KeysJingling] - What doyou think?
Why doyou need so many chains?
That's a good question.
What is it about fences?
Sometimes the people on either side ofthe fence see a locked chain,
they feel a little more comfortable.
Why doyou suppose that is?
-[WindGusting] -[Leaves Rustling]
Mrs. Dudley?
Hello?
[ Creaking ]
Mrs. Dudley?
Hello?
[Pounding]
[Pounding Continues]
Hello? Mrs. Dudley?
- [ Door Squeaks ] - Oh, my--
I'm-- I'm, uh-- I'm EleanorVance.
- I'm here with the-- - Dr. Marrow's group.
You're the first.
Yeah, I'd-- I'd heard a sound, and that's--
It's make the dinner or answer the door. Can't do both.
- Areyou Mrs. Dudley? - So far.
I'll showyou your room.
This way.
[Mrs. Dudley Clears Throat]
[Clears Throat]
The Red Room.
You're going to be the first visitors Hill House has had...
- since Mr. Crain died. - Really?
These are beautiful.
I know. I've seen 'em. It's a lot to dust.
I've never seen this kind ofbeauty.
You must love working here.
Isetdinneron the dining roomsideboardatsix.
Youcanserveyourselves. Breakfastis readyatnine.
Idon't waitonpeople.
Idon'tstayafterdinner,
notafteritbegins togetdark.
Ileave... before dark comes.
We live in town-- nine miles--
so there won't be anyone around ifyou need help.
We couldn'tevenhearyou... in thenight.
Whywould 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.
[DoorCreaking Shut]
[DoorLocks]
[Mrs. Dudley] You'llbestaying in thenorth wing.
Hi. Don't worry. I'm notan obsessivepacker.
It'sjust asking people to help me schlepp this stuffis a cheap...
and exploitative way ofmaking new friends.
- Here. I'm Theo. - Hi.
Eleanor, but everyone calls me Nell.
Well, Everyone Calls Me Nell, don'tyou love it here?
I love it. Sort ofCharles Foster Kane meets the Munsters or something.
- I likeyour 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. [ Chuckling ]
Oh, this is so twisted.
Seriously twisted.
[Mrs. Dudley]Isetdinner on the dining roomsideboardatsix.
Breakfast is at nine.
I don't stay after dinner, not after it begins to get dark.
Ileavebefore dark comes,
so there won'tbeanyonehere ifyouneedhelp.
- We couldn't even hearyou. - No one could.
No onelives anynearerthan town.
No one will come any nearer than that.
In the night.
- In the dark. - [ Quietly] In the dark.
Mybedroom's rightnextdoortoyours.
[DoorCloses]
I thinkwe share the same bathroom.
Oh, don't worry. I probablywon't be in here much.
- Light sleeper. - That's why we'rehere.
- What doyou do, Eleanor? - I'm betweenjobs right now.
The last person I was workin' for, it ended. Over, so-- And you?
Well, that depends.
I'm supposed to be an artist,
but I've been distracted from work by love.
- You know what I mean? - Mmm, not really.
Hey, don't tell me Boston's different from New York.
Oh, you mean you have trouble with commitment.
Well, my boyfriend thinks so, my girlfriend doesn't.
Ifwe could all live together-- But they hate each other.
Hello. The bag.
You know, it's hard when you're the only one at the party.
- You know what I mean? - No.
A blank canvas.
I could paintyour portrait directly on you.
Or maybe not.
So, what aboutyou?
Husbands? Boyfriends?
Girlfriends, Eleanor?
Where doyou live?
Mmm. I don't have anyone.
But I do have a little apartment ofmy own.
It has a little flower garden.
Youcanjustsee the ocean. Andwhen the wind...
comes injust right, you can hear the buoys in the harbor.
Wow. That sounds really nice.
You're lucky. Butyou 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? - [ Chuckling ]
Look at that. Wow!
Look at my bedroom, though.
- Isn't it beautiful? - Yes.
- You'vegot tosee the GreatHall. - Uh-huh.
I mean, there's so much carving. It's everywhere.
- I know. - Oh, look at this one.
- Isn't this one great? - No, that's creepy.
Oh, and this one. This one's weird.
Well, you don't get this from the Martha Stewart catalog.
[Nell] Idon'tlikeit.
Isn't it based on The Gates ofHell by Rodin?
Well, it's notjust hell. See, the children, they're reaching for heaven,
but theirsouls are trappedinpurgatory.
And these are the demons...
who can hold on toyour soul for as long as theywant.
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.
[ Chuckles ]
Doyou see?
Well, let's not stand here. Come on.
[ Chuckles ] Okay.
Whoa. [ Chuckles ]
- Is it real? [ Chuckles ] - No.
- Shall we go in? - Yeah.
[Clanging]
[Calliope]
[ Whispers ] Wow!
[ Both Laughing ]
[ Laughing Continues ]
Whoo!
- Wow! - Wow!
- [ Humming ] -[Continues]
It'sbeautiful!
Oh!
[ Humming Continues ]
- Would you care to dance? - Yes.
[ Both Laughing ]
[ Sighs ] I'm starting to like this house!
This is great!
Let's get outta here.
God! We're like rats-- rats in a maze.
Oh, God! IfI ruin these boots--
Jesus, they cost me a fortune.
-Let'sgoback. -It's gotta be through here. [ Screams ]
- I'm sorry. I'm sorry. - That's all right.
Oh. Hey, I'm sorry. I didn't mean to scareyou.
I'm Luke Sanderson, just a bad sleeper.
Basic tosser-turner. And you are?
- Nell Vance. - What kind ofsleeper? Nightmares?
- Not really. - Anxiety attacks?
No. Uh-uh. [ Chuckles ]
Okay. Obsessive indecision.
Wow. And you? Let me think.
You, I'm gonna guess, are a--
Don't even start.
Wow, you're so dominant.
Thanks. Theo.
Hey, Theo.
Jesus.
Here we are.
- Hey. - You're Luke.
- Yup. - You're Theo. You're Eleanor.
- Hi, I'm Dr. Marrow. - Hi.
- Welcome. - Hi. - Hello, Dr. Marrow.
- Hi. This is Todd. He'sjust come up. - Greetings, fellow insomniac.
Mary Lambetta, my assistant. So how was your drive, Eleanor?
- It was fine. Yeah. - Good. Good.
Welcome to Hill House, everyone. Come on.
Allright. Let thegoodtimes roll.
Doyouknow what? Therestofyoumayhateyourinsomnia,
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.
Areyou kidding me? 3:00 a.m. I start to feel...
like I'm losing my mind, watching those infomercials on psychics...
or listening to Tony Robbins and the psychic hot lines.
-Haveyou ever seen that late-night TV? -Oh, yeah. Thankyou.
I swear to God. You get a steady diet ofthat crap,
and pretty soon you start thinking about movin' to Montana...
- and becomin' a survivalist. -[Group Chuckling]
That's why God created barbiturates, honey.
- Nembutal? - Mm-mm.
No, Todd, I thinkwe have a classic Seconal woman on our hands.
- In fact, I think I see a littleJackie Susann in Theo. - [ Sarcastic Chuckle ]
- Ow. -[Dr. Marrow]Allright, you two.
- Enoughaboutpharmaceuticals. - [Group Chuckling]
So, look, what do we all need in life?
- What are the basics? Food, water, shelter. - Sex.
[ Imitates Cat Meow ]
[Dr. Marrow] Andsleep. Sleep.
I'm working on a five-year study, with the help of Mary here,
making profiles ofbad sleepers.
I'm looking for a commonpsychologicallink.
Ihope that the work we dohere willsomedaybeable tohelp otherpeople likeyourselves.
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 aboutyou, Nell?
Um, well, it seems that you all have trouble sleeping,
becauseyour lives are exciting,
and it's complicated, and you think about it when you go to sleep.
But, um, I don't know. Nothing's ever really happened to me,
so I don't have a reason to sleep badly.
But in your application you said you had trouble sleeping.
Mm-hmm, yes, but it's not like them.
It's because, uh, there was always somebody calling me,
there was always somebody banging.
Ever since I was little, I took care ofmy mother.
And-- And she would wake up in the middle ofthe night.
She would bang with her cane on the wall.
And it wasjust this relentless--
it was a relentless banging all through the night.
That's weird, because even though, uh, she's dead,
I still hear it and I wake up.
Well, that's whywe're here, Eleanor-- to try and helpyou.
Yeah, Nell. I thinkwhat Dr. Marrow's trying to say is...
thatyou're a basket case, just like the rest ofus.
[Group Chuckling]
[Harpsichord]
[Dr. Morrow] Thankyou, Mary.
Okay. Okay. Whyare wehere?
Really, toanswer themostbasicquestion::
- What is wrong with you people? - [ Chuckling ]
Thesearestandard cognitiveandperception tests.
I'llbegivingyoua varietyofthese during the course ofthe week.
Youarenotin competition, so donot worryaboutbeing theheadofthe class, okay?
Between all these tests, you'll have each other--
Todd-- and the house to keepyou 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 ofemergencies, okay?
And, um, what's the deal with the Addams Family mansion? Because, I gotta be honest,
- I don't get a real strong sleep vibe from this place. - No. Me too.
[Dr. Morrow]I wantedtomakesure youdidn'tsleep too easily.
- [Luke] Congratulations. - Seriously, isolation is essential...
in the creation ofan experimental model.
This house, who built it? Who lived here?
Well, actually, thatmakes fora verygoodbedtimestory.
Once upon a time, there was a king who built a castle.
His name was Hugh Crain.
A hundred and thirtyyears ago,
towns like Concord and Manchester were the center ofAmerican industry.
That's where Crain made a fortune--
on the backs ofworkers 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 ofchildren.
That's why there are all the carvings.
Hemarriedthemostbeautiful womanin town, calledRene,
andhebuiltherthishouse, oratleastsome ofit.
God, it sounds like a fairy tale or something.
[Dr. Morrow] But that's where the fairy tale ends.
HughandRene wouldhaveno children.
They all died at birth.
Then, a fewyears later, Rene, she passed away,
and Crain became a total recluse.
But he kept on building, adding room upon room.
It's as ifhe was--he wasbuilding a home forthe familyhe wouldneverhave.
No one had seen Crain foryears.
But the townspeople said that sometimes at night...
they could hear sounds coming from the old house.
Sounds ofchildren.
So sad.
- [ Loud Crackle ] - Ooh! -Jesus Christ!
[Theo Chuckling]
Christ, I need a drink.
-[Bottle Opens] - I think there's more to that story.
I can feel it. I-It's all around us.
It's in the ceiling.
It's in the walls.
It's in the furniture.
It's in this.
[ Screams ]
- Mary! - Oh,Jesus. Oh, no.
- Oh,Jesus Christ. - All right.
What happened? Let me see. Oh, my God!
- Keepyour hand away from it. - Don't touch it.
- What wereyou doing? - This'll stop the blood from getting into her eye.
Mary, we're going to getyou to the hospital straightaway.
It's gonna be all right. It's gonna be okay.
- Come on. -[Sobbing Continues]
Three steps.
[Mary] Please!
[Dr. Marrow] It'sallright. It'sallright.
- 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 wantyou 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 askyou not to tell the women? - Yeah, yeah.
- It'sjust I didn't want the tests disturbed. - Okay, sure.
Hey, you guys, wait up.
Okay. You guys wanna hear something really scary? I just found this out.
Turns out there's a darker chapter to the Hugh Crain fairy tale.
Remember his lovelywife, Rene?
Well, Rene, the town beauty, she didn'tjust die. She killed herself.
- Really? Hejust 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 thatyour fragile, delicate sensibilities--
After all, you know, I'm a man. I can handle this kind of-- [ Chuckles ]
How'd she kill herself?
He didn't say.
Oh, and ladies, sleep tight.
Jesus.
After dinner and the first bland history of Hill House successfully relayed,
Miss Vance appears most susceptible to suggestive history,
evincing a strongly sentimental reaction to the love-story component.
Mr. Sanderson, who tested at the bottom ofthe Mogel Reliability Scale,
was given the second part ofthe story.
Whenhepasses thestoryon, the experimentalhaunting fiction...
shouldmanifestitself within thegroup.
AnddearMary almostlostan eye.
[ Whirring ]
[ Humming ]
I like the way you combyour hair like that.
Here. This is foryou.
- For me? - Yeah.
It's beautiful.
- No, I'll-- I'll do it. - It's okay.
It's okay.
Mm-hmm.
- Looks good on you. - Mm-hmm.
You've been out ofthe world a long time, haven'tyou?
Yeah.
Well, the world's missed you.
Happy tossing and turning.
[Child Whispering] Eleanor.
[Children Whispering] Nowllayme down tosleep.
Ipray the Lord mysoultokeep.
IfIshoulddie before I wake,
Ipray the Lord mysoulto take.
- [ Both Gasp ] - [ Yells ]
- God! You scared the f-- - I'm sorry.
- Oh, you gotta be careful. - Areyou all right?
- I'm sorry. - Oh, no, no, no. Youjust don'tjump out--
- Areyou all right? - Uh, yeah. N-N-No. Oh!
- What's with the, uh, glove? - What?
- What's with the glove? - No, I couldn't sleep. I wasjust-- Insomnia.
- What's with-- - Ah, well-- [ Mutters ]
- Yeah, you gotta be careful, 'cause I-- - I wasn't. I wasjust--
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. Seeyou tomorrow.
- All right. There's some good hallways that way. - Uh-huh.
- How's this one? - Not bad.
- Good. Good. - Seeyou tomorrow.
Okay.
[WindHowling]
[Growling]
[Pounding]
Coming, Mother.
-[Pounding Continues] - I'm coming.
-[Pounding Intensifies] - [ Gasps ]
[Rattling]
[Growling]
[Theo] Nell! Nell!
- What is it? - I don't know.
- Where's it coming from? - It's everywhere.
[Rumbling]
[Thudding]
- [Rattle] - [ Gasps ]
- [ Pounding, Rattling ] - [ Both Gasping ]
[Creaking]
[ Breathing Heavily]
Oh, my God. What's happening?
- Canyoufeelit, Nell? - Mm-hmm. [ Panting ]
The cold, can you feel it? Nell, can you feel it?
Oh.
[Rattling Continues]
[ Screams ]
-[Pounding] - Nell?
[ Breathing Heavily]
[Pounding, RattlingStops]
It's moving.
It's over.
It's over, right?
Nell, comebackhere.
[ Squeaking ]
- Come back here! - No, it's in my room.
It's in my room.
- [Knocking On Door] - [Both Gasp]
[Luke] Youguysallright?
- Hey, is everythingokay? - Oh, God.
It's Luke.
-[Luke]Hey, is everythingokay? -[Knocking Continues]
- Youguysallright? - Luke! Oh, God.
- What's going on? - Did you hear it?
- Yeah, I just heard it. I-- - W-W-Was it part ofthe experiment?
- Was what part ofthe experiment? - The noise!
- What did you hear? - Theo, all I heard was you screaming,
" Luke, help me, please."
I wasn't screaming foryou.
- It was in my room, and then it went into Nell's room. - Here, let me look.
- Are there any lights? - Yes.
I don't-- I don't see anything. I don't hear anything.
Wow, I sort ofgot screwed on the old bedroom selection.
Every room's, like, four times as big as mine.
[WaterPipe Rattling]
[FaucetSqueaking]
-[Rattling Continues] - Is that it? Is that whatyou heard?
Well, I didjust take a bath. I mean, could've been.
Yeah, but then how doyou 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, ifit was you, did you sayTheo?
- Theo, ifit wasyou, didyou-- - Look, I don't need anyone to tell me I'm cold.
Let'sblameiton the oldplumbing then, huh? Whatelse coulditbe?
Well, ifyou don't need me anymore, I guess that's it.
- Myjob 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.
-[WindHowling] - [ Rattling ]
[WindowPane Rattling]
[ Whispering ] Eleanor.
[Child's Voice] Eleanor.
Find us, Eleanor.
Oh, Eleanor.
Find us.
Okay.
[Rattling]
[Scraping]
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...
withasoftspot forkids.
Theguy was obviously runningasweatshop.
Had children working 16 hours a day,
and then he builds all this crap as propaganda.
It's like those Teletubbies. Those things freak me out also.
And they sing, so they're actually even kind ofscarier, ifyou think about it.
[ Chuckling ] Yeah.
- [ Sighs ] How areyou comin' along? - I can't get this one.
- What aboutyou? - I did all right. But that's another thing.
These tests. It's like, why do we have to be here?
Why do we have to be in this weird old house?
I like this house. I think it's a beautiful house.
Yeah, I guess.
I don't know. I just think Dr. Marrow's up to something.
I'll tell you another thing.
I'm gonna get to the bottom ofit,
right after I check on Theo, that is.
See how my old pal Theo's doing.
- Doing orwearing? - Yeah, no kidding.
Did you see what she had on yesterday?
Wow. Yeah, Idefinitelygot asoftspotfor Theo.
Nell, I'm gonna shut this door and giveyou a little privacy.
[ Clinking ]
[Clinking Intensifies]
[WindGusting]
[Thud]
[ Gasps ]
[ Screaming ]
- Ifthere'sanyonein there, we'll findhim. - Youjust saw something move?
- I saw something in the fireplace. - Okay. Just relax.
I did. I know I did.
You were here alone?
- Mm-hmm. Yeah, Luke hadjust left. - I didn't see anything, though.
Luke, can you help me?
[Chains Clinking]
-Just ashes. - Charred wood.
-[Luke] Watch out. Letitgo. -[Dr. Marrow] Yep.
[DoorCrashes Down]
Hello? Santa?
- Whoa! -Jesus! God!
- God, areyou all right? - Yeah, I'm fine.
- [Luke] Whatis that? - A flue.
-[Luke]A what? -[Theo]It's-- It'san oldflue!
[Nell] Itopens up the chimney.
God! [ Sighs ]
Is this whatyou saw?
No. No, that's not what I saw.
Mm-mmm, thatisnot whatlsaw.
God. Hey, areyou okay?
- Luke, areyou 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. Ofcourseyou were scared.
- Itscaredthehelloutofme too. - No, I know what I saw.
Eleanor, this is a very confusing house.
You said ityourself. 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.
[Ascending Footsteps]
[Luke] "Welcomehome, Eleanor"?
-[Theo]Oh, God. -[Luke] Whatdoes thatmean?
His face.
It's my name. Who did this?
Who wrote this?
Is this one of your sickjokes, Luke?
What? Come on. Give me a little credit.
I think I have a better sense ofhumor than that. Doyou really think I wrote that?
[Theo] Youfoundit. Youcouldhave.
Oh, with what? With the 20-foot ladder that I keep in my back pocket?
M-Maybeyou wrote it, Theo! You're the artist!
- Maybe this isyourgreatidea ofart! -[Theo] Don'tberidiculous.
I wanna know right now! Who wrote this? Did you write this, Theo?
No! Ofcourse not! Maybe it was you!
[Nell] Howdareyouaccuseme ofwriting this!
[Theo]Maybeyoulike being the centerofattention!
-[Nell] Whatareyou talkingabout? - Let's stop this now. Come on.
Who wasit?
Whoeverwrote this, it's cruel.
Youdon'tknowme.
I didn't do it.
Eleanor.
Areyou all right?
I knowyou think I did it, but I didn't.
- Look, people are always-- - No, I'm not making this stuffup.
I mean, I knowyou all think I'm crazy or doing this for attention. I'm not.
Forwhat it's worth, I believeyou're a very sensitive woman,
and I believe that people have taken advantage ofyou in the past.
Mmm. "Welcome home." [ Chuckles ]
You'll never see it again. Mr. Dudley's taking care ofit.
Come on. There'ssomething I wantyou tosee.
- Oh, this is beautiful! - [ Chuckles ] Thoughtyou'd like it.
- [ Nell Chuckles ] - Well, I wonder whathappenedtohim.
Yeah, yeah. Oh, violets.
Somebodymust've diedhere.
- Well. - [ Chuckles ]
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.
Andhere Iam.
Paintingsare callingout tome,
strange noises in the night, and all it cost was five gallons ofgas.
[ Chuckles ]
Doyou really think that someone's playing with you, Eleanor?
Yeah, it doesn't matter.
I can be a victim, or I can be a volunteer.
I'm gonna be a volunteer. Mm-hmm.
[Humming]
[ Creaking ]
[Creaking]
[Child's Voice Echoing, Indistinct]
Eleanor. Eleanor!
[ Creaks ]
[Echoing] Eleanor, findus.
- Eleanor. - Hmm?
Eleanor, the ledger. The ledger.
What?
It's Crain's study.
[ Blows ]
"Concord."
Oh, his textile mills.
"Man. Woman. Child. "
Child.
"Twelveyears. "
" Eleven years.
Twelveyears."
There's so many ofthem.
"Tenyears.
Twelveyears."
They died soyoung.
" Eleven years."
What happened toyou?
-[Nell Knocking] Theo! - Okay, okay.
- Theo! - Yeah, what?
- There's hundreds ofthem. - [ Sighs ]
- He kept records ofeveryone. - I was havin' the best night's sleep ofmy 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-- - [ Sighs ]
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 aboutyou.
Theo, the house, it's trying to tell me something.
No. You know what?
Nell, youjust gotta get some sleep, okay?
You've gotta sleep. Come on. Go to bed.
[DoorOpens, Closes]
[DoorCreaking Open]
Okay.
I'm listening.
[ Gasps ]
- [ Rattling ] -[WindHowling]
Dr. Marrow?
[ Dr. Marrow's Voice ] EleanorVance continues...
her alienation ofthe 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 greenhouseyesterday...
toascertain the extent ofherself-delusion...
was inconclusive, due tosubject's...
emotionalinstability.
[Shuts Tape RecorderOff]
[Luke] Well, I think Iknowhowexperiments work.
Wait a second. Hold on. Hold on, Theo.
What about all the noises, and the fireplace and the painting?
- I think it's an old academic "bait and switch," where-- - What?
whereyou 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. -[Nell] No.
It's not Dr. Marrow.
Oh, Nell, I've been--
Areyou all right?
God, I've been looking foryou everywhere.
- Areyou okay? - Mm-hmm.
It's not Dr. Marrow.
Then who? Come on, Nell. Ifit's not Dr. Marrow--
Ifyou don't think this is really somehow part ofthe experiment,
then why wouldyou stayhereanothersecond?
'Cause home is where the heart is.
Oh, myGod!
-[Theo] Whatisit? - Oh, no.
What?
What, Nell? Nell!
Ifit's not Dr. Marrow, that's a pretty scary proposition.
No, I'm not. No, I'm not.
I'm not making this up!
No, I'm not. I'm not, I know I'm--
There is something-- There's something in here.
I can prove it. I can prove-- I know I can.
Oh, I know it is.
Carolyn.
Carolyn was his second wife.
[Carolyn's Voice Echoing] Eleanor, the fireplace.
[ Grunting ]
[ Screams ]
[Children's Voices Overlapping, Echoing]
Where? Where areyou?
Whereareyou? I'm here. Ihearyou.
-[Voices Continue] - Where? That's whereyouare.
Okay, I'll letyou out. I'll getyou out.
I-I will. Okay.
I'mgonnagetyouout. I will. I'llgetyouout.
Don't worry.
[Groans] What's thatsmell?
[ Groaning ]
-[Roaring] - I'm trying. I'm trying.
[ Screaming ]
He killed them.
- What? - Hekilledthem.
The children from the mills. It'sjust likeyou said.
He wanted to fill the house with the sounds ofchildren.
He took them from his mills and he brought them here, but he wouldn't let them go.
He wouldneverlet themgo.
And I found the skulls, just like Carolyn did.
- Carolyn? Who's Carolyn? - Killed who, Eleanor?
- Calm down, now. -[Eleanor]Andhehadasecondwife.
But he couldn't hide his secret.
You can never hide a secret.
Carolyn found out what he'd done.
And now he wants me.
Who? Who wants you? And why?
- She's delusional. - But what is happening to her?
She's in a fugue state. Let's get her to the sofa.
- Wanted to... fill the house with children, but... - Get a blanket.
- Come on. - he-he turned into a monster.
- It's okay, sweetheart. It's okay. - No.
Carolyn showed me in the photograph where she hid 'em.
And they're all locked together in there.
- He won't let them go. - Eleanor, listen to me.
Listen to me. Listen to me. It's not true.
He's still here.
Hugh Crain is still in the house.
- No. - Yeah.
I mean, what ifshe's right? What ifshe's right?
What areyou sayin', Theo? It doesn't do any good to talk about--
- Stop. Stop! Stop! -[Theo] Whatifshe's right?
Now, listen to me, all ofyou.
Let me explain what's happening.
You're participating in a study on group fear and hysteria.
[Luke] What? That's whyyoubroughtushere? That's what this isallabout?
You brought us here to scare us? Is that it?
Yes.
You'rejust waiting for her to have a total nervous breakdown beforeyou said anything?
- No! - What is your problem?
I gaveyou the clues. You created the story as you were meant to.
- But it's over. I'm pulling the plug. - Oh, that--
- None ofthis is real. - No, it is real.
- Eleanor, it's not real. - No!
- You have to look at the bones in the fireplace! - It's not real!
And then I saw-- I saw his wife, hanging in the greenhouse!
- I know I saw it! - I'm sorry.
I'm sorry. I'm sorry I broughtyou here, all ofyou.
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.
- I'm taking her upstairs. I thinkyou've done enough. - I'll helpyou.
[Dr. Marrow] Becauseit wasa controlledexperiment.
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.
Youjust wanted to scare the hell out of us so we'd fit intoyour little test...
- or model orwhatever bullshit you need to understand this! - Oh, please! Okay!
- You can't do it! - Now, listen! You listen.
I am trying to help people. My field ofstudy is the science offear.
I try to understand why people act the way they act, why they feel the way they feel--
You don't feel.
Where areyou going?
I'm gonna find out what Eleanorwas talking about.
[ Grunting ]
[ Sighs ]
What am I doing?
Good night.
Berightback. I'llgetyousome tea.
[DoorCloses]
[WindGusting]
[ Crackling ]
[Children's Voices, Indistinct]
[ Creaking, Pounding ]
[ Whispering ] Oh, God, it's looking for me.
[Children's Voices Echoing, Overlapping]
[ Screaming ]
[ Gasps ] Who was holding my hand?
-[Crackling] - No.
- [ Roaring ] - [ Children ] No!
No!
I will not letyou hurt a child!
[ Gasping ]
[Rumbling]
[WindGusting]
Luke! David!
Dr. Marrow!
Luke!
[Rumbling Continues]
[Children's Voices] Eleanor!
[ Gasping ]
No! That's not me!
[ Gasps ]
[Rumbling]
No!
[ Panting ] No!
Who areyou?
Oh, no!
Why doyou want me?
Who am I? Who am I?
Why doyou want me? Why?
Oh, God! [ Panting ]
Who am I? What areyou trying to tell me?
Welcome home, Eleanor.
Oh, no! No!
It's not true. No!
-[Child's Voice]Eleanor? - What?
Eleanor, don't be afraid.
You can understand me?
[ Echoing ] The doors, Eleanor. Only the doors can hold him.
-[WindGusting] - [ Gasps ]
Oh, no! He's coming!
What? What's wrong?
What doyou want from me?
Help us, Eleanor. Help us.
What? Whatareyou trying to tellme?
What? Whatdoyou wantfrom me?
What doyou want me to do?
Nell?
- Nell! -[Nell]I'mgonnahelpyou.
I'm gonna help. I'm almost there!
Eleanor.
- I wanna helpyou. - Eleanor.
Don't move. Don't move.
Oh, Nell.
Just stay there.
- Hold on, Eleanor. - [Luke] Watch out! The cable!
[Theo] Look out!
It's not gonna hold yourweight there! It's breaking apart!
[Dr. Marrow] Don'tmove, now. Don'tmove.
Oh, my God.
- [ Gasping ] -[TheoScreaming]
No!
[ Theo Gasps ]
-[Cables Snapping] - Oh, shit.
[Dr. Marrow] Eleanor, lookatme.
I need you to climb over and step back on the platform.
Come on. I wantyou to come down withme.
Climb overandstep on theplatform. Canyoudo that?
I can't. The children, they need me.
Ihave tojoin them.
Please. Please, trust me.
Climb offtherail onto theplatform.
- Come on. Come on. -[Theo]Justdoit, Nell.
Please?
No! No!
[ Grunting ]
- Hold on! - [ Gasps ]
- [ Straining ] - Here.
- Thankyou.
Thankyou.
[ Gasps ] Hurry.
- Come on. - No. He won't let them go.
Even now, he won't let them go.
- Come on. Come on. We have to go. - No, he won't--
- I won't leaveyou. I won't leaveyou. - Okay.
[WindHowling]
[ Groaning ]
[Luke] She doesn'tlookgood.
Hey, I think I'm gonna take her to see a doctor, right now.
I think I'm gonna take her to see a real doctor.
We'll take her to the hospital in the morning. The gate's still locked.
We have to wait until the Dudleys arrive.
What? That's real compassionate.
Yeah, let's wait until the morning,
and then maybe tonightyou'll have a chance to scribble a few more...
- "Welcomehome, Eleanor"s on the wall. - I didn't write that, okay?
You'd neverwrite that. That wouldn't be ethical, would it?
Will you guysjust shut up? Come on!
Somebody's gonna have to staywith her tonight. We can't leave her alone.
All right, I'll take the first watch.
[ Whispers ] Okay.
The, uh, environmentis provingentirelysuccessful...
in promoting shared hysteria reactions.
The group is manifesting--
manifesting classic pathologies oftrauma and--
I should have stopped this when Mary got hurt,
and definitely when Eleanorwas--
Jesus, I need to get them out ofhere.
[ Gasping ]
[ Gasps ]
What happened?
-[Shuts WaterOff] - What happened?
[Panting]
[ Gasping ]
[Children's Voices Echoing, Overlapping]
It's nothin'. It's not real.
[ All Gasping ]
[Rumbling]
[ Roaring ]
[ All Gasping ]
- [ Screaming ] - [ Gasps ]
It's Nell!
- Nell! - [ Screaming ]
Nell! Nell!
[ Screaming ]
[ Gasps ]
- Dr. Marrow! Dr. Marrow! - What's going on?
I can't get the door!
[ Screaming ] Stay away!
-[Theo] Nell! -[Dr. Marrow] Eleanor!
- Eleanor! - We're here!
[Theo] Eleanor!
-[Luke] Push! -[Dr. Marrow] Come on!
[ All Grunting ]
[ Whispers ] Oh, my God!
Nell! Quick! Come on!
Wegottagether outofhere.
Oh, God!
[Theo] Hurry up!
- [Luke] Getoutofthe way! - That's it.
[ Grunting ]
[Dr. Marrow] That'sit. Come on!Hitit!
- [ Roaring ] -[NellScreaming]
- Come on! - Come on, Nell! Come on!
-[Roaring Continues] -[Theo] Getup!
Come on! Pick her up! We gotta go! Move!
Move! Let'sgo!
Come on! I'm not staying in this freak house another second! Come on!
[ Panting ] Get it open! Come on!
- [ Grunting ] I can't get up there! - Come on!
Hurry up! Come on!
Oh, God!
Dr. Marrow. How did you know the house wanted me?
-[ShovelClanging] - What doyou mean?
Why did you call and tell me to look foryour ad?
Ad? But-- I didn't call you.
You told me to look in the paper.
Eleanor, the first time I spoke toyou was here at the house.
[Luke Grunting, Straining]
- God! - What do we do?
We gotta crash the gate.
Nell, I need your car.
[ Tires Squealing ]
Move! Get out ofthe way!
- [ Groaning ] - Luke!
[ Gasps ]
- Luke, areyou okay? - Get out! Get out! - Open the door!
[Child's Voice] Eleanor!
[Theo] Luke!
- Eleanor! - Come on! You gotta get out!
- Please, comeback! -[Theo] Push the door!
[Dr. Marrow] Turn the engine off.
[Theo] Push the door! Yougottagetout!
- Turn the engine off! - Luke, turn offthe engine!
- It won't go! - [Theo]Luke, yougottagetout!
Stand back!
[Theo] Hurry up! Come on!
Aah!
- Grab my arm! - You okay?
Areyou okay? Areyou hurt? Come on!
-[Dr. Marrow]Areyouokay? -[Theo]Oh, myGod.
Where's Nell?
[ Exhales Deeply]
- Eleanor? - Come on. This is crazy.
- Maybe she doesn't want to be found. - Nell?
-[Clicking] - [ Dr. Marrow ] Eleanor?
[ Whispers ] Listen. Listen.
[Rumbling]
-[DoorOpens] - Oh, she's in there.
[Rattling]
Nell?
Eleanor?
Come on. Go get her.
[Theo] Oh, Nell.
Hey.
Come on, sweetheart. You're gonna have to come with us now.
- No, I can't do that, Theo. - Ofcourseyou can.
We-We're gonna go toyour apartment, justyou and me.
We'llsitandwe'lllisten to thebuoy in theharbor. 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.
-[WindGusting] - I'm home.
- Dr. Marrow, please, we don't have time...
- tobaby talkher. - [ Classical ]
You see, this is the room...
where Carolyn had her baby before she ran away.
And the children, theywanted me to see this so I would know this was my home.
Oh, my God.
Yes. See, Carolyn was my great-great grandmother,
and the children are my family.
This is where I belong.
I have to stay. I'm not afraid anymore.
I have to stay for the children. They need me.
No.
Nell, the children are dead.
No. Not for him.
He's still haunting them. But ifI'm here,
-he can'tharm them. -[Pounding]
Nell, please! We have to go! Just grab her!
- You have to go now. You can't stay. -[Pounding Continues]
- Come on. - I'll takeyou outside. You're not safe here.
- Hurry! Come on! - [ Gasps ]
Come on! Hurry!
[Doors Slamming Shut]
- [ Grunting ] - No!
He's not gonna letyou go!
It's too late.
He's not gonna letyou go.
The hell he's not. I'm getting us out ofhere. Come on.
[ Grunting ]
-[Glass Shattering] - Open up!
- Come on! Open up! - Come on!
This is insane! [ Groaning ]
There's got to be anotherway out.
Oh,Jesus! Oh, God, he's got glass in his hand.
- Here, wait. - Get it out.
-Just pull it.Just pull it. - Oh,Jesus.
-Just pull. - Okay.
[Theo] Wrapitup.
You bastard! Son ofa bitch!
Goddamnyou! [Yelling]
Luke, don't!
- What? - Don't!
I'm gonna burn the house down.
- Come on! Let's burn it down right now! -[Roaring]
[ Screaming ]
Oh, my God! Luke!
- Get off! - [Nell] Luke, getoff!
[ Groaning ]
[ Gasping ]
Oh, my God! Luke, get out now! Luke!
[ Roaring ]
[ Screaming ]
- [ Screams ] - Oh, no!
[Roaring Continues]
[ Panting ] We can't get out. Whywon't he let us leave?
- What do we do, Eleanor? - He played hide-and-seekwith 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?
- [ Roaring ] - No! Watch out!
[ Screaming ]
Oh,Jesus.
- [ Roaring ] - You're not gonna hurt them!
-[TheoScreaming] -[Dr. Marrow]Getaway!
Go, Theo!
- Go! - Follow us! Follow us!
[ Screeching ]
Theo!
Hugh Crain! [ Echoing ]
[WindGusting]
Hugh Crain!
[Creaking, Rumbling]
[Child's Voice] The doors, Eleanor.
Bringhim to the doors.
- The doors, Eleanor. The doors. - Hugh Crain!
[Crackling]
[Roaring]
Nell! Nell! Whathappened?
- Where wereyou? - Eleanor, areyou all right?
[ Roaring ]
No!
Youleave them alone!
I'm not afraid anymore. I'm not afraid ofyou.
- The children need me, and I'm gonna set them free! - [ Roars ]
Even in death, you still wouldn't let them go!
[ Dr. Marrow ] Eleanor, move away. Move away!
- I'm gonna stopyou now. -[Dr. Marrow]Don't!
[ All Gasping ]
[ Screeching ]
Don't do it, Eleanor! He's gonna kill you!
[ Roaring ]
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.
Ifyou could hear theirvoices-- It's family.
Well, I'm family, Grandpa, and I've come home.
[ Growling ] No, you're not!
[Nell] Now, it'sjustyouandme, Hugh Crain.
Purgatory's over. You go to hell!
Staywith us, Nell!
[ Growling ]
No!
[ Growling ]
[Child#1] Thankyou, Eleanor.
[Child#2] Thankyou, Eleanor.
[Children's Voices Overlapping]
Oh, Nell.
[Sets Parking Brake]
Jesus.
[KeysJingling]
City people.
Did you find out what you wanted to know, Doctor?
[Chain Rattling]