(BIRDS CHIRPING)
(CROW CAWING)
(FLIES BUZZING)
(CHILDREN CHATTERING)
GIRL: Ready or not, here I come.
(INHALES SHARPLY)
(THEME SONG PLAYING)
Ripped By mstoll
MARGARET: There was this girl
and her parents were always out
and she didn't like it, she got frightened.
So, they bought her a dog.
One night, her parents were out,
and she's lying in bed,
- and she can hear this, drip... - (DRIPPING)
Drip, drip.
She gets out of bed and goes to the bathroom,
and turns off all the taps, gets back into bed.
A bit scared.
Sticks her hand under the bed, and the dog licks it.
(DRIPPING)
But she can still hear it,
drip, drip, drip.
(DRIPPING)
So, she gets up and goes to the kitchen,
makes sure the tap there is turned off properly,
gets back into bed, sticks her hand under the bed,
the dog licks it.
But she can still hear it,
drip, drip, drip.
And now, she realises it's coming from the wardrobe in her bedroom.
(THUDDING)
Terrified, she gets up,
goes over to the wardrobe and opens it.
The dog,
is hanging from the rail,
blood dripping from its slit throat.
And written on the back of wardrobe,
in blood...
"Humans can lick too."
- That's rubbish. - It's not rubbish. You was terrified.
- I wasn't. - I'm going to sleep.
(EXHALES)
Drip.
- Drip. Drip. - (LAUGHS)
Drip.
Drip. Drip.
Now I need the toilet.
What if the dog's in there with his throat slit?
We don't have a dog.
Oh, my God, what's that?
- BILLY: Stop! - JOHNNY: What was happening then?
Maybe she should take the day off. I can look after her.
If people took a day off every time they got the curse,
the whole blimmin' world would grind to a halt.
- PEGGY: Margaret knows what to do. - (BILLY GRUNTS)
- I've given her the necessary. - JOHNNY: Let's have a look.
Have a nice term, Johnny, see you at Christmas.
Yeah, that's only if you survive the first day of big school.
PEGGY: Cut it out you two, or I'll bang your heads together.
BILLY: Stop!
(TAP DRIPPING)
Monsters.
- JANET: Nervous? - No.
I was just thinking, why wasn't there any clothes in the wardrobe?
I mean, how come she could see the writing on the back?
- I don't know. - (CHILDREN LAUGHING)
- Maybe the licker was wearing them. - Ugh!
Pervert.
(BELL RINGS)
You can hang around with me if you like.
(BELL CONTINUES RINGING)
(LAUGHS)
(PEGGY SCREAMS)
I'll bloody kill you.
JANET: Wasn't me!
- Billy uses it all the time! - BILLY: I...
Maybe it was Johnny.
Blame the one who isn't here.
Look, no more, do you hear me? I've got enough to deal with as it is.
(DOOR SLAMS)
JANET: What does it feel like?
Like someone's yanking on your insides.
You don't feel the bleeding.
But you can feel the pad getting heavy.
It's like having mud in your pants.
- Ugh! - PEGGY: Quiet in there.
- Night. - JANET: Sleep tight.
Don't let the bed bugs bite.
(CREAKING)
Stop it, I'm really tired.
- JANET: (WHISPERING) You stop it. - (CREAKING)
(KNOCKING)
(THUDDING)
Janet, it's not funny, Mum'll flip.
I'm not doing anything.
- (LOUD KNOCKING) - (CREAKING)
Janet.
- Hold my hand. - I am holding your bleeding hand.
That's not my hand.
- (CHUCKLES) - Go on, piss off.
(JANET LAUGHS)
(KNOCKING)
If this is you, I'll kill you.
It's inside the room.
(KNOCKING CONTINUES)
- (BOTH SCREAM) - What is wrong with the both of you?
Haven't we all had enough of a day, already?
- In the same bed. - (BILLY GASPS)
It's bad enough wearing yourselves out, now...
- BILLY: Mum. - (RUMBLING)
(BILLY BREATHING HEAVILY)
(ALL SCREAMING)
Watch me! Watch!
- (YELPS) - Oh.
- (SOBBING) - Oh, no.
Oh, dear, dear, oh.
Brave girl.
That was a bit of a nasty shock, wasn't it, eh?
It hurts.
Let's have a look shall we?
Am I bleeding?
(GASPING)
- Bad dreams? - No.
- Did you dream about her? - No.
Any plans for the day?
- Er... - (PHONE RINGS)
Hello?
(STAMMERING) Er, yes, this is Maurice Grosse, yes.
Oh, oh, right...
Well, thank you, thank you for thinking of me. (WHISPERS) SPR.
(STAMMERING) Well, I, no, of course, I'll do my best.
Thank you very much. Goodbye.
Well, something's come up.
Oh, you have to go then, Maurice.
- Yes, I know, of course. Yeah. - Yeah.
All right.
- It's probably nothing. - Yeah.
- (KEYS JANGLING) - Right.
(DOOR OPENING AND CLOSING)
(PHONE RINGING)
- MAN: Hello? - Ray?
Yes, speaking.
I have to see you.
(CAR DOOR SHUTS)
GRAHAM: That's a domino. MAURICE: Mmm.
GRAHAM: There's a marble,
and that, but look at their hands.
Has your paper published these yet?
No, they're waiting on more of a story.
We didn't know who else to call.
They'd already tried the police.
- (FOOTSTEPS) - Here they are.
Margaret, Janet, Billy.
Maurice Grosse from the Society of Psychical Research.
The cavalry's arrived!
Janet?
What?
And Margaret and Billy. Have, have I got that right?
Er, Mr Bence was just telling me that you've, you've had the police here.
MARGARET: For all the use that was.
They didn't believe us at first.
Then that chair come at the lady police officer.
Thought she was going to piss herself.
Janet.
To be honest, our editor wouldn't have sent us if it wasn't for the police.
- No. - Gives the story credibility.
No offence.
Hmm.
(TAP DRIPPING)
Redecorating?
It's been like that since Dad left.
Mmm.
Thought you said it was brand new.
Don't know what's wrong with it.
It was working fine.
- (CAMERA CLICKS) - (SNIFFS)
JANET: What you doing?
Graham already photographed that.
Well, I like to have a copy for my own files.
- Is this what you do for a living? - I have a business, inventing things.
So, what's the "Society of Cyclical Research," then?
Psychical Research.
It's a group of people who are interested in this sort of thing.
How come we got you?
Well.
I've been pestering the secretary for some time for a case,
and I don't suppose everybody can afford to take the time off.
Are you rich?
PEGGY: Janet Hodgson, what sort of question is that?
You mind your manners. Get in that bath.
Oh, kids, eh?
- You got any, Mr Grosse? - Three.
That's nice. I'm making Johnny's bed up for you,
if you ever want to kip down.
Oh, very kind.
(TAP DRIPPING)
Go on. Piss off.
(TAP CONTINUES DRIPPING)
(CANARY CHIRPING)
MAURICE: Now...
This knocking, Margaret, how many at a time?
Three.
No, first it was in fours, then threes.
I'm interviewing Margaret now, Janet.
I'll do you later, if that's all right with you.
- Why does she get to go first? - You were in the bath.
Why do I always have to use her disgusting bathwater?
Because I'm the oldest.
Have a nice bath, Billy, the water's lovely.
- (FOOTSTEPS RECEDING) - (DOOR SLAMMING)
(SIGHS)
(CLICK)
(CREAKING)
Billy?
(CREAKING)
(KNOCKING)
(BREATHING HEAVILY)
(KNOCKING CONTINUES)
(LAUGHS)
(CLICK)
(JANET EXHALES)
- (CLICK) - (SHRIEKS)
(SCREAMING)
PEGGY: Shh, it's all right.
- What happened? - JANET: He was here.
A horrible old man.
I saw him, through that.
PEGGY: Shh, it's all right.
- That's... - (JANET SOBBING)
PEGGY: It's okay.
I saw it. (SOBBING)
- It's cracked. - But I saw something horrible.
Well, you shouldn't have been looking through it. It's not yours.
(CANARY CHIRPING)
MAURICE: So, the night that it happened...
JANET: Are there lots of poltergeists around?
No. It's a pretty rare phenomenon.
How many have you seen?
Now, hold on a minute, who's asking the questions here?
(CANARY CHIRPING)
How can anybody get any sleep here, with that canary going on all the time?
He only sings when there's someone in the room. At night, zip.
- My turn, what are your pills for? - What pills?
You rattle when you walk.
Old bones.
Liar, liar, your pants are on fire.
I do have old bones.
But I've also got a thing called angina.
That's what the pills are for.
It's a tightening of the chest.
I get tight in my chest sometimes.
Like there's a scream inside that can't come out.
(SNIFFS)
- (THUDDING) - (GRUNTS)
(CLOCK TICKING)
(JANET SOBBING)
(SOBBING CONTINUES)
Oh, dear me, what's happened here?
- I'm getting in with Mum. - Don't go. Maybe it won't happen again.
Hmm.
I was asleep and then crash and that was over there.
(JANET SOBBING)
(KNOCKING)
(SCRATCHING)
I was only doing it, so you'll believe me.
And now, you never will.
Just get some sleep.
(JANET SOBBING)
(CLOCK TICKING)
(CREAKING)
(SIGHS) Damn.
(GROANS)
(SLOW CREAKING)
(SCRAPING)
I'm getting a bit long in the tooth for Grandmother's footsteps.
(BREATHING HEAVILY)
I saw it, as clearly as I can see you now.
And you're not just saying this because you broke the teapot?
- Janet. - (THUDDING)
Oh, God.
- My first ever cover story... - PEGGY: Oh.
- Thank you very much. - Well.
- JANET: Let's have a look. - PEGGY: Ooh.
I don't think they messed around with your quotes too much, Maurice.
And look...
JANET: Oh, there we are.
- DOUG: Nice one of you, Janet. - (EVERYONE LAUGHS)
BILLY: Look at you!
- Farrah Fawcett, eat your heart out. - (ALL CHUCKLING)
PEGGY: Oh, look.
(GIRLS SNIGGERING)
It wasn't me.
It was the poltergeist.
- Leave off. - (GIRLS LAUGHING)
I'm not doing nothing. Must be the poltergeist.
I didn't ask for it.
So, why do you look so fucking pleased with yourself?
That's you ain't it?
A "strange happening".
Pick up your mess.
(JANET YELPS)
(GROANS)
GIRL: Why don't you get the poltergeist to help you?
- (GIRLS LAUGHING) - (JANET SOBBING)
(KNOCKING)
(TAP DRIPPING)
(BREATHES HEAVILY)
- Where's Margaret? - Ask Margaret.
BILLY: Hi... Hi, Janet.
Don't.
Shush, Billy.
Smash any more teapots?
How are you feeling, Janet?
Fine.
I was wondering if you had enough energy for us to try and make contact
with the poltergeist.
Just let your mind go blank.
(DOOR OPENING)
What you doing?
Making contact with the poltergeist.
What do you want to do that for?
- See what it wants. - Join us if you like.
I've got homework.
So relax, Janet.
Just let the thoughts ebb from your mind,
like, um,
like water going down a plughole.
And if a new thought comes along,
it's just passing through, and it's all,
it's all going down the plughole.
Mr Grosse, can I ask you something?
- Of course you can, Janet. - (CANARY CHIRPS)
How many poltergeists have you actually dealt with?
None.
That's okay.
We can learn together.
Hmm.
(KNOCKING AT DOOR)
Front door.
Hello?
- Maurice Grosse? - Yes?
Guy Playfair. How do you do? I'm a colleague of yours at the SPR.
Yes. Yes of course. I...
I saw The Mirror. Thought maybe you could use a hand.
Oh.
JANET: Guy Playfair?
Is that your real name or is that just for your books?
Er, for my books I use Guy Lyon Playfair.
You play fair with me, I'll play fair with you.
- Okay? - (LAUGHING)
BILLY: P... P... Playfair.
MAURICE: Girls' room.
So are the poltergeists in Brazil different from the ones here?
GUY: Well, let just wait and see shall we?
Um, can you pop the kettle on for us?
- Okay. - BILLY: G... Guy.
She's a spirited thing, isn't she? I thought there were four of them.
Well, the elder boy is at residential school.
Boarding school?
- Behavioural problems. - Oh, right.
And that little chap, I can't make out a word he's saying.
- Billy. Well, he has a speech impediment. - Oh, good, I thought it was me.
Listen, I hope you don't think I'm butting in.
No, no, no, no, no, I'm glad for the help and the expertise.
(MACHINE WHINING)
- What does it do? - Er, just imagine it isn't there.
Ow.
BILLY: Uh-oh.
(MACHINE STOPS)
Ow. Stop that. Stop that.
(BREATHING HEAVILY)
- (GASPS) - (MARBLE BOUNCES)
(PANTING)
Hey.
(CLICKS TONGUE)
Oops.
How does it get them to fall from that height and just stop dead?
- It? - The poltergeist.
Oh, for goodness' sake.
- You saw it. - I saw naughty children throwing marbles.
But did you though?
And tell me, how can it or they get one to go over that light,
hit that lamp with such velocity that it destroyed it?
You saw that.
Now forgive me, Guy, one thing I know is trajectories.
Six years in the Royal Artillery in the war.
Hold the front page.
"Marble Behaves Oddly, Another Strange Happening."
But it is strange.
Yes, but you don't go running to the papers
bandying around the good name of the SPR the first time you can't explain something.
I didn't go running to the papers. They came running to us.
And who called them? They did. They're in it for the money.
(SNICKERING) What money? And incidentally they didn't call the papers.
Neighbours did.
When they'd experienced something.
Right, so that's, that's me, the Hodgsons,
three neighbours, the boys from The Mirror and the woman police officer.
I can tell you about the journalists. And who is this woman police officer?
For all we know she's as gullible as you are.
You're not here to lend a hand are you?
Professor Beloff sent me.
He's, uh...
He's worried that you're bringing the august society, of which he is the president,
into disrepute with your credulity and your Mirror headlines.
- So, you're here to close me down? - I'm not looking to make friends, Maurice.
All right. Well, I'm going to bed.
You can have the put-me-up.
(DOOR OPENING AND CLOSING)
(DOG BARKING)
(SNORING)
(TAP DRIPPING)
(DOOR OPENING)
(DRIPPING CONTINUES)
(DRIPPING ACCELERATES)
(CLOSES TAP)
(URINATES)
(TOILET FLUSHES)
(DOOR CREAKS)
(BREATHING HEAVILY)
(CANARY CHIRPS)
Margaret?
It's okay.
- (CHIRPING STOPS) - (SOFT THUDDING)
It's all right.
(MUFFLED SCREAMING)
- (EXCLAIMING) - (SCREAMING)
(SCREAMING)
GUY: It's all right. It's all right, Janet.
It's all right. Come on, it's all right.
- Up you go. - (SOBBING)
It's all right. Shh, shh.
What, what happened?
He was here. He put a hand over my mouth and I couldn't breathe.
- Who? - Janet! What happened?
- She had a bad dream. - I was awake! It happened!
I'm afraid the mind is rather brilliant at creating sense, uh...
Did I imagine the canary and all?
I know what it wants. It wants to hurt me.
(CRYING)
PEGGY: Oh, sweetheart.
(SIGHING)
You saw it?
Can we see that again, please?
It's not supposed to do that.
Oh, can you stop doing that? Stop doing that, please.
Take us back to the live feed.
She's gone.
- I don't like that thing looking at me. - (ALL GASPING)
Come on. Let's, let's pop you back into bed, shall we?
All right.
Right. Jump in there. You get nice and tucked up, that's it.
Just straight.
Yes, I see what you mean. It's that one eye.
Maybe if there was two it would be a bit friendlier, eh?
Big sticky out ears and a big smile. (LAUGHING)
What was it like in the war?
Well,
scary, exciting, boring. Just like life really.
It was a different age.
Food was rationed,
there was no sweets, no chocolate.
Tell me a story from them times.
- Oh, no, you don't want to hear about all that. - I do.
(SIGHING)
Well,
it wasn't all bad.
Run-up to D-Day, I went to a tea dance.
And there was the most beautiful girl
that I'd ever seen.
She was dancing with another girl. And I... I just knew I...
Knew I had to go up and ask her to dance.
She agreed to see me same time, same place next week.
It was the longest week of my life.
Anyway, time came, and I was there, and I waited.
And I waited and,
uh...
She didn't show up. (CHUCKLES)
And I hadn't got her name.
I didn't know where she lived. I mean, it's stupid, but that's what it was like in wartime.
The girl I was meant to be with,
the woman I was meant to be with,
gone forever.
Just as I was walking away,
she came running round the corner, apologising for being late.
(LAUGHING)
I proposed to her that day.
Cor. Then what happened?
They said it wouldn't last but here we are, 33 years later.
(LAUGHING)
Come on, I think it's time you got some sleep.
It's all my fault.
Right before it started,
we were playing hide and seek.
It... It's out of bounds but I hid in the graveyard at the end of the road.
Maybe something come home with me.
I'll look into it. But, uh,
I don't think that's anything you need to lose sleep over.
You haven't done anything wrong.
Don't leave me alone with it.
What, with that?
Lt.
I won't.
Come on.
Tell me, how can that girl asleep in her bed do that?
Of course, just because it's the whole street it doesn't mean it isn't the poltergeist.
The government and the unions would love that.
- Give them a break from blaming each other. - Hmm.
I get the impression that, uh, you don't want there to be a poltergeist.
No, it's not that.
It's not that at all, although I wouldn't wish a poltergeist on anyone.
It's just that I, um...
What I don't want is people whipping themselves up into a frenzy over things
- that can be explained away quite easily. - Hmm.
Tell me, um,
tell me about one of your cases in Brazil.
There's a village
about 200 miles west of Sao Paulo,
Ribeir\E3o do Pinhal.
- No power cuts there, there's no electricity. - Hmm.
What there was, supposedly, was a house possessed by spirits.
Most of the attention was centred around this 13-year-old boy,
Braulio.
And he had such a sort of wide-eyed innocence
that of course I was instantly suspicious.
Even when I saw him nearly choke to death
as he sicked-up a half-alive frog,
tears of shock in those wide eyes. I thought it's a trick, it's a conjuror's trick.
But?
Well, uh, then I saw him levitate,
I saw him slam repeatedly against the wall.
And he would vomit up far worse things than a frog.
What happened?
Um, he died.
God, how awful.
Don't worry. I don't think we're dealing with anything like that here.
Because it's Enfield?
No, because
high-spirited girls have been pulling these sort of pranks for centuries.
It's impossible to believe it until you see it for yourself.
That's what I always say.
(LAUGHING)
- Hmm. - (CHUCKLES)
So, how long have you been a member of the society?
Uh, it was just after our daughter died, so that's, that's just over a year now.
Your daughter died a year ago?
My God, how ghastly, Maurice. I'm so sorry.
Did you, uh, did you know it was coming?
Uh, bolt out of the blue.
Late-night phone call, every parent's worst nightmare.
She'd been on the back of her boyfriend's motorbike.
So there was an accident and...
The thing is almost immediately afterwards we felt,
and other members of the family, that Janet was trying to contact us.
Janet?
Yeah, that was my daughter's name.
Oh. There we are.
(BLOWING)
Hmm.
How could you not mention that your daughter was called Janet?
- It's not relevant. - Oh, it is.
(LAUGHING)
It is one might say, it is the relevant fact.
- Good grief. - Now, hang on, hang on a minute.
When people scream "poltergeist,"
the first question I always ask is what's the payoff for them?
It couldn't be clearer. You're running away from your grief.
I saw a teapot move on its own accord right there.
You see what you want to see.
And you see what you want to see.
A silly old man and Guy Lyon Playfair the great expert.
I am the expert.
This is over.
You're a journalist. If this is fraud,
then you should be able to find proof of fraud.
All right.
All right, I'll stay. I'll find out what's really going on, on one condition,
you're not here.
I, I can't do that, no, I've...
I promised Janet I wouldn't leave her alone.
Well, you wouldn't be leaving her alone.
You're leaving her with me.
All right.
It's, uh, it's just for a bit.
(SOBBING)
(CHOKING)
Janet! Janet!
- All right, all right, all right. - (GASPING)
(SCREAMING)
Argh!
(PANTING)
(LAUGHING)
Ripped By mstoll ﻿1
(CARVING KNIFE BUZZING)
Richard would like something a little less pink, if possible.
The whole thing's overdone for his sake.
I know, and do you know how I know? Because it's the same every Sunday.
- (KNIFE BUZZING) - Oh!
Help!
Don't make a fuss. It's nothing!
(BLOOD DRIPPING)
How?
I'm dead, Maurice.
You know that. Don't make a fuss.
(PHONE RINGING)
Maurice!
It's the phone! It's happened again!
(PHONE CONTINUES RINGING)
Hello?
Guy.
What?
(THEME SONG PLAYING)
Ripped By mstoll
(VCR BUZZING)
This is it. This is, er... This must be just after Maurice left.
GUY: No, don't do that!
- This is the bit we want to see. - I didn't do anything.
- GUY: Well, where's it gone? - It looks like the tape's degraded.
GUY: Well can't you re-grade it or something?
SIMON: I can give it a go.
MARGARET: Looks horrible, don't it, Billy?
- So does your face! - BILLY: Yeah.
- JANET: Is it going to be all right? - It'll be fine.
Your grandma used to get it every time she sneezed.
This is real, this thing.
It's as real as you or I. And it's powerful.
Lifted me off my feet and flung me across the room.
We need to get Janet away somewhere safe.
GUY: I think we need to keep her here, don't we?
We need to find out what's going on.
You asked me to entrust Janet to your care and she nearly died.
It's not something I'm prepared to debate.
Supposed to get rid of it, not me.
I will, and I promise this is... This is just to keep you safe until then.
We're happy to help, we don't get you sleeping over often enough.
JOHN BURCOMBE: I always say, we wasn't blessed with children,
but we was blessed with nieces and nephews.
We're happy to have her.
Any of 'em, any time, ain't we, Sylv?
Yeah.
I like these.
Precious, aren't they.
It's weird. I can see the information's there,
I just can't get at it.
But, (BLOWS SMOKE)
I was listening to the sound...
(SIGHS)
And then I heard this.
(TELEVISION CLICKS ON)
(STATIC BUZZING)
(HISSING AND CRACKLING)
What?
Can't you hear it? It's as clear as day.
(STATIC CONTINUES)
(TELEVISION CLICKS OFF)
My name. He says my name!
Look, old chap, we've heard such a lot of funny things in this house,
it's quite possible we've become deaf to it.
Well, what does it mean if...
Maybe it means you should lay off the wacky baccy for a bit.
I'm not sure it's such a good mix with this sort of thing.
Can I stick a picture on the wall?
MAURICE: Right, yes, here it is.
Gustav Bachmeier was
able to attach himself to a poltergeist with a blood ritual.
No, that's bunkum.
Not even the Catholic Church gave him any credence.
Well, isn't it at least worth a go?
(STATIC BUZZING)
(THUNDER RUMBLES)
Adjuro te ab filio Dei, dono
sanguinis mei.
(FLY BUZZING)
(RATTLING)
MAURICE: Ut discedas
ab hac puella et me...
(RATTLING)
MAURICE: Admoveat.
(WINCES)
(FLY BUZZING)
(RATTLING)
(FLOOR BOARD CREAKING)
Come on.
Come on!
(GASPS)
(SIGHS)
(BREATHING HEAVILY)
(INHALES SHARPLY)
It's the poltergeist, it's come with me!
Well, don't you want to be here?
(SYLVIE SPEAKING, MUFFLED)
JOHN: She's 11 years old.
(MUFFLED FOOTSTEPS TRUDGING)
(THUDDING)
(SCREAMING)
(MIRROR SHATTERS)
(CAMERA CLICKS)
Can I help?
She was like this when her dad left.
Hey.
Don't tell Sylvie.
(GASPS)
Thanks, Maurice.
(FOOTSTEPS RECEDING)
(SCRATCHING)
(THUDDING)
You can't poltergeist-proof a whole house.
I'll do my best.
MAURICE: Get the whole SPR in.
Professor Beloff himself.
Good luck with that.
Why not?
Maurice, you seem to think that the, er,
Society for Psychical Research is made up of people like you and me.
You know, interested believers. But, er, where are they then?
The SPR exists to pooh-pooh this sort of stuff.
Well, they can't dismiss this. We have evidence!
What evidence? We have hearsay.
We have my good name, we have some inconclusive photographs
and damaged recordings. No.
No, the next step, I think,
is a medium.
- Charlatans. - (FOOTSTEPS APPROACHING)
Says who?
- What have you done with it? - What?
My 10 pence piece!
You have to forgive me, Maurice, but in my experience,
which is not inconsiderable,
they have been very, very helpful.
Haven't touched it. Was probably the poltergeist.
Can they do that?
Yes, they have been known to dematerialise things.
It's a bunch of crooks exploiting the...
The vulnerable and the broken-hearted.
There are people here who come highly-recommended
by colleagues in Brazil.
Can mediums talk to the poltergeist?
Yes. That's the point.
They're fakers, the lot of them.
Well, if they're fakers, what harm's it gonna do?
(SWITCH CLICKS)
Now, it's... It's quite possible that some entity
will come through me,
and might be a bit obstreperous.
But don't worry,
Alan knows how to deal with them.
(INHALES DEEPLY)
Dear God,
we pray that you bless this house
and remove and enlighten any trouble-making entities.
There's no need to be frightened.
Nobody will get hurt.
Be a nice change.
Now!
Can you see me?
(SCREAMS AND CRIES)
Go away!
(SOBBING)
- (EVIL LAUGHING) - The time has come to stop it!
(SPITS)
- (CACKLING) - ALAN: You are a child of God.
Look into this,
and see what you can become.
(ALAN GRUNTS)
- (MOANING) - ALAN: That's enough now.
(STRAINING) You are a child of God.
(MOANING)
The time has come to stop it!
- Ah! Lindy, that's too much. - (MOANING)
(WHIMPERS)
(MOANING)
ALAN: (PAINED) It's hurting.
(STRAINED) It's really hurting.
ALAN: Ah! (GROANS)
(WINCING)
(DISTORTED VOICE) I'll shit down your neck!
LINDY: (CHILD-LIKE) ♪ Teddy bear, teddy bear, turn around
♪ Teddy Bear, teddy bear Touch the ground ♪
Touch it! (DISTORTED VOICE) Touch it!
(CHILD-LIKE) Is it secret?
(DISTORTED VOICE) Sit in the corner.
Little bitch.
(DISTORTED VOICE) Touch it!
(GROWLS)
Touch it!
(CHILD-LIKE) No!
No!
(SOBBING)
- (TAPE JAMS) - (LINDY BREATHING FRANTICALLY)
(TAPE CLICKS OFF)
No. No!
I don't want to.
Please, please!
(GAGGING)
Lindy... Lindy!
(DISTORTED VOICE) Piss off!
Stop! This is monstrous.
There you are, old man.
Who are you? What do you want?
(SCOFFS) Wants it?
Why have you come here?
- Give me back my ten pence piece! - (GROWLS)
What's he done with my ten pence piece?
(DISTORTED VOICE) Come here and I'll give you ten pence.
- PEGGY: Janet! - Give me it back!
PEGGY: Janet, no!
There she is.
(HISSES AND GROWLS)
- Lindy? - (GASPING FOR BREATH)
Lindy?
GUY: Was it more than one entity?
Did you get a sense of who any of them were?
One thing I have clear,
this is not something you should communicate with.
And did any of the things that came out of Mrs Craine's mouth,
did they mean anything to you?
GUY: The playground chants or...
This is a house of death.
For you.
Right.
You're not well.
He's got angina.
All right, Janet. Thank you.
LINDY: Broken-hearted.
You're grieving your daughter.
Janet.
(AMUSED) I'm not his daughter.
Er, Janet was my daughter's name.
PEGGY: Was?
Oh, Mr Grosse.
Hmm.
LINDY: You want to make contact with her.
But this... This is not the place.
I felt it draw strength as we went on.
I'm sorry. This was a mistake.
MAURICE: Indeed.
(INDISTINCT CHATTERING)
(SCOFFS) In this house?
Her presence is stronger here.
She's been cheating on you. Has your spirit guide told you that?
- What are you talking about, Maurice? - Lindy and Alan Craine.
Please, please don't tell me you haven't seen them.
What? Are they, are they mediums or...
Well, doubtless your friend here has filled them in on our misery.
It's a real gift, Mr Grosse.
Well, it is for him, yes.
What are you walking out with this time, eh?
Come on, come on, come on.
I bought this for her on her 18th birthday.
Get out of this house, please.
Get out.
What happened?
(DOOR CLOSES)
I've been made a fool of, that's what's happened.
(DOOR BELL RINGS)
Oh, hello. Sorry to disturb you.
I'm Guy Playfair, I'm working with Maurice.
Mr Playfair!
I feel I know you already. I'm halfway through your book!
- Oh. - How do you do? I'm Betty.
How do you do? Maurice, old chum,
I brought your specs. I wasn't sure you could manage without them.
I've been thinking about this knocking,
and the more I think about it, the more I think that it's, er...
It's not just noise or mischief,
er, but that it's trying to communicate with us and so...
Oh, thank you.
I think we ought to be asking it questions.
One knock for "yes," two for "no" type thing,
and see where that gets us.
Well, Lindy Craine has just told us we should
absolutely not try and make contact.
I... I don't want to do anything
that puts Janet in danger.
Well, Lindy was rattled.
She'd... She'd had a very frightening experience.
I don't think we should set too much stock by her forebodings.
They're your people. You got them in.
Why do you want to fly in the face of their advice now?
I didn't think you were taking this "House of death" stuff too seriously but, er,
I certainly understand if you don't want to be there.
Guy, you must promise me,
you will not try and make contact when I'm not there.
- (DOOR CREAKS OPEN) - Guy...
Oh, thank you. Oh, lovely.
I've laid for three.
Oh, that's very kind of you, but I ought to be going.
Oh, please, there's so much I want to ask you.
That night, 3:00 AM.
Phone rang.
Our son, Richard,
telling us that she was in a coma.
BETTY: We had to hurry.
And then,
my sister, Miriam, she's got this clock,
which hasn't worked for years.
Why she keeps it, only God knows. (CHUCKLES)
Erm, anyway, it started working right after...
Right after Janet's accident.
BETTY: It started working again until 4:20,
4:20 was the time of Janet's death.
Oh, tell him about the day of the funeral.
No, no, Guy doesn't want to know about that.
I do. I do.
Well, August the 7th was the funeral.
The night before, we had this very strong feeling that
she was trying to communicate with us.
Er, well, it was a drought, of course.
I thought, well, if you want to send a sign, a shower of rain.
August the 7th, another sweltering day,
not a cloud in the sky. I opened the curtains.
And on the flat roof, just below where Janet's bedroom was,
- it was soaking wet. - BETTY: Soaking wet.
I could almost hear her saying,
"There you go, old man."
(BETTY SIGHS)
Marilyn, that's our, our other daughter. She took that in the spring.
GUY: Oh, gosh.
Maurice says it's just a flare,
but we don't know, do we? (SOBS)
No.
No, we don't know.
BETTY: I know she's here. Around.
Somewhere.
But I don't know if she's all right.
(BETTY SNIFFLING)
Not the night you wished for.
GUY: No, it was delightful.
You've got a wonderful woman there.
Oh.
And I'm glad we've had a chance
- to agree our next step. - Er, Guy, look...
We both want to make contact, don't we,
old man?
(PATS SHOULDER)
Is this what you're looking for?
Where'd you get that?
Bedroom floor.
(LAUGHS) Thanks.
Thanks.
Oh, do you think it's been on the other side?
- Well... - (KNOCKING)
Is someone there?
It's just the poltergeist, Mr Playfair.
Do you have something you want to say to us?
(FRENZIED KNOCKING)
What's going on?
How about I ask you questions and you give,
one knock for "no," two knocks for "yes"?
Er, how about I ask you a question?
What happened to not making contact?
I think we're past that point, Mrs Hodgson. It is making contact.
GUY: We just haven't worked out how to understand what it's saying.
It's a bit like you and Billy, you know,
he gets frustrated when you're not there to translate for him,
and I think that's what we've got with this poltergeist.
Aren't I right, Maurice?
Ain't that just like it?
It's gone quiet.
(KNOCKING ON CEILING)
(SIGHS)
One knock for "no," two for "yes."
Do you understand?
(FRENZIED KNOCKING)
That's not getting us very far, is it?
(KNOCKS ONCE)
(LOWERS VOICE) Janet, you try asking questions.
All right?
What's your favourite colour?
No, no, no, Janet. Janet, it's got to be a yes or no question.
Is red your favourite colour?
Janet, I'll tell you what to ask.
Ask if it's dead.
Are you dead?
(KNOCKS TWICE)
I don't wanna do it no more.
Janet, Janet.
This is important.
Did you die in this house?
(KNOCKS TWICE)
- Where? - (THUDDING TWICE)
- In that chair? - (KNOCKS TWICE)
Oh, Mr Grosse is sitting in the chair he died in!
Well, he doesn't want it now.
Argh!
JANET: Mr Grosse! Are you all right?
I'm all right, I'm fine, I'm fine.
GUY: Sure? MAURICE: Thank you.
Are you here for someone in particular?
(KNOCKS TWICE)
Are you here for me?
I don't like it.
Ask it if there's a message for me.
Do you have a message for Mr Grosse?
(KNOCKS ONCE)
- (KNOCKS ONCE) - Are you playing with us?
(FRENZIED KNOCKING)
Oh, so, you can knock, you can break things,
so, why can't you speak?
Come on! Speak!
(DISEMBODIED SEETHING)
(DISTORTED VOICE) There!
Now you've got me!
Janet, stop it!
Make you wish you'd never been born!
(NORMAL VOICE) What's happening?
You said you had a message for me? What is it?
(DISTORTED VOICE) Fuck off!
Did you die in that chair?
I'm not dead.
I'm right here.
What's your name?
My name is Joe.
(SCREAMS)
MAURICE: Green Street.
Green Street, 284.
Gotcha.
(DOOR OPENS)
MAURICE: I have news!
But better than that, I have Bunty!
It's one of the ones you like, isn't it?
Betty.
Hello.
(LAUGHS) Hello.
I should tell you off, Mr Grosse. You should have let me know,
I'd have smartened up.
Oh, no, I wouldn't have wanted you to go to any trouble.
It's hard enough keeping everything straight with children at home,
let alone a poltergeist.
Is Bunty for me?
Er, yeah. Well, it's... It's for all of you.
- Here. - Thank you.
Thank you ever so for the cake. It's lovely.
Oh, do you know, I was quite nervous,
because I thought... I don't want it to be another thing
for the poltergeist to throw!
We try not to say things like that, it, er, gives it ideas.
Yeah. (LAUGHS NERVOUSLY)
Like this voice didn't come 'til Mr Grosse told it to.
Oh.
Is that so?
(BILLY STAMMERING INDISTINCTLY)
Not right now, Billy.
Do you have another son, Mrs Hodgson?
Johnny.
He's at residential school.
Yes, well, I...
I really wanted four myself, but...
(DISTORTED VOICE) And lost two.
Is there someone there?
Stuck-up cow, that's who.
I had a daughter
named Janet.
(NORMAL VOICE) I know.
What's the news, Maurice?
(DISTORTED VOICE) Sour old bitch.
Would anybody like another slice of cake?
- Ooh, I would actually. - Yes, I'll make some fresh tea.
PEGGY: I'll put the kettle on. BETTY: Thank you.
Thank you for how you were with Janet, with all of them,
but I wish you'd discuss it with me.
It's a bit of a powder keg in there at the moment
and they don't need any more surprises,
and neither do you.
Am I so dreadful, Maurice?
Am I so dreadful that that's what you run away to, that frowsy woman?
And that foul-mouthed little brat.
She can hardly believe what she's getting away with.
Janet spoke to me.
Our Janet.
(SIGHS)
This really may be a charlatan but at least I know
when I'm being hoodwinked.
- Come home. - I can't.
Forty-four.
(KNOCKS ON DOOR)
(SNIFFLES)
Tony Watson?
Who wants to know?
Well, I'm trying to track down the Tony Watson
that grew up in 284 Green Street.
He did die at that house, 1961.
Brain haemorrhage.
Nobody knew 'til they saw the flies against the window.
That's how popular he was.
I don't think it's the same chair, mate.
Not unless someone gave it a good shampoo.
Can you think... Can you think of any reason why your dad's spirit might still be there?
I was wondering if perhaps he had a... Perhaps he had a message for you
or if your presence there would somehow help him move on.
Green Street?
Never been back.
And if that's where he is now, it's the last place I want to be.
About your sister...
She had it worst.
Would she be willing to help us, do you think?
She'd do anything for anyone, Jenny.
She got knocked over by a bus when she was 12.
- Oh. - One, four, one.
Driver said she just stepped out in front of him.
I couldn't blame her.
There's a family there now, erm, an 11-year-old girl.
No chance.
I could, er... I could make it worth your while.
No, mate, you couldn't.
(PHONE RINGING REPEATEDLY)
Hello?
(COIN TUMBLING)
Hello?
BETTY: Hello?
Is somebody there?
Janet?
Yes.
BETTY: My baby?
Oh, my baby.
(BLUBBERING) Oh, my baby.
(SOBBING)
BETTY: Janet.
Oh, don't... Don't cry, my darling.
Don't cry. I'm here.
- (JANET SOBBING ON PHONE) - BETTY: I'm right here.
Janet.
(JANET SOBBING)
Where are you, where are you?
(SOBBING)
(BETTY SOBBING)
BETTY: Don't come.
What you did yesterday was very cruel.
You rang my home and made my wife
believe that it was our daughter Janet.
Did I?
Where's your 10 pence?
Poltergeist took it again.
(SCOFFS)
Look, Janet, I know you're unhappy that we've produced this voice.
You.
I produced this voice. But it's a huge step forward.
- We have a name now. - Big deal.
(SIGHS) I'm warning you, Janet.
Why can't you be on my side?
We're all on your side.
(PEGGY SIGHS)
(DOG BARKS)
MARGARET: There was once this woman called Maria, right?
And she had three children by a man who'd been and gone.
But there was another man who liked her,
only he wouldn't marry her 'cause of her children.
So, one night, she took them down to the river
and she drowned all three of them.
One after the other.
So she could be with the man she loved.
But he still didn't want her and she couldn't bear it.
So, she drowned herself.
She wasn't allowed into heaven without her three children.
So, now she walks the Earth for eternity,
looking for her children.
(PEGGY SOBBING)
MARGARET: And that's the crying you can hear at night.
Joe Watson lived and died in this house.
What else he did here...
He was the worst kind of father.
The very worst.
We need to get the very best mind of the SPR in before it's too late.
Maurice, this is a huge breakthrough but, er...
It doesn't constitute proof and Beloff and co. Won't turn up for less.
We don't know what we're doing.
(KNOCKING)
- I'll go, shall I? - No, I'll go.
(PAPERS RUSTLING, FALLING)
What's... What's... Come on.
GUY: No, don't worry about it. Let me, let me, let me. It's fine.
"Chapter Four, Visit From The Medium."
- "Chapter Two, Maurice's Loss..." - Just an idea...
You're writing a book! This is a book, you're writing a book!
It's not a book. It's not a book until a publisher actually publishes it.
That's, that's why you got the Craines in, is it?
That's, that's why you disregarded their advice.
You're stoking up a story for your damn book.
That's not true. That's not true!
(LAUGHS) That's... That's actually just what...
That's just what old Joe wants, to set us against each other.
That's a very good idea, write it down.
So what if I'm writing a book?
- That's what I do! - Shh.
That case I told you about in Brazil, the little boy who died, Braulio.
I would have done anything to change places with him.
He was 13 years old, for God's sake.
If I want people to read about this
it's because I want them to know it's real,
so they can join in the fight.
We need people to join in now.
We're failing, Guy.
We need the SPR.
So, if you're the president of the society,
does that mean you're more important than them?
It doesn't quite work like that. (CHUCKLES)
It's normally hammer and tongs by now. (LAUGHS NERVOUSLY)
Don't apologise.
Professor Beloff and Dr Gregory are used to it, Mrs H.
It's called the observer effect.
Poltergeists are shy.
It's like they want their victims to be disbelieved.
You never said that when you was the disbeliever.
Come on, Joe.
Professor Beloff and Dr Gregory are going to think you're frightened of them.
(DISTORTED VOICE) I think we know who's frightened.
I smell sex.
Didn't smell sex when Mr Grosse's old bitch was here.
- But I can see her lips moving. - She's not in control of that.
You've read the laryngologist's report.
There's no way anyone could make a noise like that for more than
a few minutes without ruining their normal voice,
let alone an 11-year-old girl.
Joe can go on for hours.
Joe, who was Prime Minister in 1960?
- (NORMAL VOICE) Who was what? - She was asking Joe.
She's just curious, that's all.
Who was Prime Minister in 1960?
Some fucker.
- Like football, Joe? - Yeah.
1953 FA Cup Final. Who won?
What's cold, thin and stinks of shit?
Everyone remembers the Matthews final.
Your girlfriend.
No, please wait, wait, wait. Just, just wait, please.
Janet, bear with me a moment.
Drink that but don't swallow it, just hold it in your mouth.
All right.
She can't breathe.
(JANET STRUGGLING)
(JANET BREATHING THROUGH NOSE)
Come on. Come on, Joe. Come on.
DISEMBODIED VOICE: Blackpool, bloody Blackpool. 4-3.
I lost a tenner. Shove that up your arse.
(SPITS AND GASPS)
(SOBBING)
We should set this place up with thermographic cameras.
What do we know of the real Joe Watson?
It's Maurice, did the legwork there.
(FOOTSTEPS APPROACHING)
Where's Janet?
PEGGY: Janet!
- GUY: Janet? - Janet?
- GUY: Janet! - Janet, stop this.
GUY: Janet, where are you?
You tosser!
Fucking wanker!
- What's your problem, old man? - (GROANS)
WOMAN: Stop it!
Please, somebody stop him!
Stop it!
Wear a helmet.
(WHIMPERING)
(LIGHTER CLICKING)
(KNOCKING ON DOOR)
(DOOR OPENS AND CLOSES)
We just had a call from her dad. She's at his.
(RELIEVED SOBBING)
JOHN: She's all right.
I'll go around and fetch her back.
Please, er, please, please let me if that's okay.
(DOOR BELL RINGS)
- Maurice Grosse. I'm a friend of... - What's it to you? You old pervert.
Old man like you in a young girl's bedroom?
I should get you locked up.
- Dad. - Inside.
I want to hear what he has to say.
You have every, every right to be cross with me.
I was just so desperate to get the, to get the experts on board
that I, I went too far and I'm very sorry.
So far I've just made things worse and I... I...
I'm sorry, I don't know what I'm doing. I'm very sorry.
You said you was here to help but you're not.
You're just looking for your daughter.
No, that's not true actually.
Joe knows.
I am looking, er, for something.
When she was your age, Janet...
Well, I was working, you see,
I wanted to get the business onto a strong footing.
I had three kids to pay for.
I left all the good stuff to Betty.
I wasn't always there for them as a dad.
He's your dad, but...
Well, I've come to care for this Janet
very much.
So, here.
Here.
You feeling tight in your chest?
Er, not at the moment, thank you, no.
Me neither.
Good.
It's funny, since the voice come, mine's gone away.
Can I take you home? Your mum's been so worried about you.
Dad says I can't stay anyway.
And that was before Joe called Doreen a slut.
Ah, there she is. The prodigal returns.
- Is she going to clock me one? - I'm quite sure she isn't.
Bad news, old chum. We're barred.
Seems our friends Gregory and Beloff want exclusive access,
and Mrs Hodgson's been minded to give it to them.
- Well, I'll have a word with Mrs... - No, I've tried everything.
She says this is a house of death for you
and that she doesn't want that on her conscience.
I wish to God I'd never invited that dreadful Craine woman.
Well, it's only important what happens to me.
She doesn't want us here, Maurice.
It's a fresh approach she's after. I'll tell you what, listen.
You help me cart some of this stuff back to Earls Court,
and I'll pour you a very good whisky.
Come on.
(MUFFLED) No, please. No, please, let me go. Please!
(DRILL WHIRRING)
We want her to come to the lab for some tests.
What sort of tests?
I thought you was fed up with Mr Grosse anyway?
It was him that brought on the voice.
The voice isn't so bad.
At least it means the poltergeist needs me
and doesn't want to destroy me.
(DISTORTED VOICE) Is that right? I don't need no-one.
(GASPS)
(SHUDDERING)
JANET: Ah!
(SCREAMS) Get it off!
Get 'em off!
Ripped By mstoll ﻿1
- (EKG BEEPING) - (VENTILATOR MACHINE PUMPING)
- (MACHINE SWITCHING OFF) - (ALARM BEEPS)
Oh, she squeezed my hand!
I felt it!
She's alive.
Oh, Janet, Janet.
(LAUGHING)
Well, she... Well, she can't be brain dead if she can squeeze my hand, Maurice,
can she?
Can she Maurice?
Betty, love, she's gone.
EERIE VOICE: Why don't you do something, Maurice?
Why don't you do something?
(THEME SONG PLAYING)
Ripped By mstoll
BELOFF: Janet, can you come here please?
Coming!
(WHISPERING) Mr Mainwaring.
(GASPS)
Ow!
Oh!
- BELOFF: Janet? - Coming!
Argh!
(WHIMPERS)
What are you up to?
Something burnt me.
I can smell matches.
A tissue. It got burned too.
There's this circle of light, like Tinkerbell.
Tinkerbell?
Where did it burn you?
My hand.
It looks all right to me.
- What did you do to the camera? - It wasn't me!
Funny how they always go off when the "poltergeist" is active.
Hilarious!
(GRUNTING)
(GASPS)
Everyone was so kind at the salon,
fussing 'round me like I'd just come out of hospital.
And then the questions started.
"How's Mr Grosse? How's he taking it? Did he know all along? Was he in on it?"
They're laughing at us, Maurice.
They're laughing at you.
Beloff's blindsided by it.
Yeah, he's livid.
But if there's one thing he does know how to do, it's cover his back.
He's gonna prepare a paper for the journal.
GUY: Which will basically
say that we took a couple of excitable young girls
and whipped them and each other up into a frenzy.
Have you spoken to Doug or anybody at the Mirror?
GUY: No they came to him.
Of their own accord. Of their own free will.
That's what he claims.
(KNOCKING ON DOOR)
Guy, I'm sorry I'm going to have to call you back.
GUY: Okay, old chum.
Your hair looks nice.
We only said it to get rid of them.
So we could have you back.
They was horrible.
MARGARET: They wanted to do all sorts of tests on Janet.
Wires and things.
And they wouldn't let us watch telly.
They were the experts.
They didn't believe us anyway.
That you were faking it?
That we was telling the truth.
Even when I was covered in bleeding ant stings.
They think we're doing this to each other.
- Oh my! - MAURICE: What about your mum?
Oh my God.
She wants you back too.
She is still worried about what Mrs Craine said.
That it's a house of death for you.
These experts, just a load of old rubbish, aren't they? (CHUCKLES)
Joe Watson asked for his ashes to be scattered at Highbury.
His son didn't even pick 'em up from the funeral parlour.
So we take them to Highbury and he leaves us alone?
It's not quite as easy as that.
But it does put us in a very strong position to be able to try and drive out his spirit.
- An exorcism? - It's not an exorcism.
It's a disobsession.
With a priest?
Not a priest, no.
Is it going to hurt?
If we get this right, you're gonna feel light and free afterwards.
We'll... We'll be right here.
- We need to tie her arms to the chair. - What?
- Really? - It's for her own protection.
He really knows what he's doing?
Well, he's done it before.
In Brazil. Where the nuts come from.
Now, we must pay no attention to whatever the spirit says
and on no account address it.
The only voice it must hear is mine.
Are we clear about that?
Yeah.
Are you all right?
- Yeah. - Are you hurting?
- If you drop that... - Janet, behave.
Sacred principle of the universe,
infinite are your powers, absolute is your science.
Grant me the power to reflect your divine will.
Grant of me, Divine Father,
the delegation of having power over malevolent spirits.
Make of me, Absolute Lord,
a vehicle of Your infinite love to those who deserve it.
(DEMONIC SNARLING)
Hello, Joe.
(DEMONIC GROWLING)
You recognise this?
It's your ashes, Joe.
It's what's left of your body after cremation.
They're in here because you're dead.
DEMONIC VOICE: Not my ashes. Cat litter.
But they are your ashes, Joe.
You know that. So what are you still doing here?
It's time for you to go...
If I go, I'm taking her with me, you filthy old eunuch.
(JANET WHIMPERING)
What do you want with the body of an 11-year-old girl?
This is not you.
This is you.
This is what's left of what you were.
Don't you want to join it?
- Playfair, psst, Playfair. - Be at peace?
- At rest? - I've got something for your book.
Don't you want to rest? You must be so tired.
- Wanna know what it is? - You don't
- You won't believe it. - Have to keep running, Joe.
- Proof! I'll give you proof! - Why do you stay?
Are you afraid of moving on?
Whatever you did, whatever you were, well it doesn't matter now.
All is forgiven. Doesn't that sound good?
(NORMAL VOICE) Mum? I need to go to the toilet.
I really need to go, Mum.
(WHIMPERS)
(DEMONIC VOICE) You stupid bitch. I'll make her pay.
(CHAIR CLANKING)
(JAR CLATTERING)
There is no hell. Is that what you're afraid of?
It doesn't exist. But there is an afterlife where all is forgiven. God forgives all.
And you know that Joe so you have nothing to be frightened of.
You can go.
Grouse. Oi, Grouse.
Don't you want to talk?
I've got someone here who wants to talk to you.
Can you guess who it is?
(AS JANET GROSSE) Old man?
Dad? Dad, I can't take it.
He's hurting me!
(DEMONIC VOICE) Just shove that back in her mouth.
So many holes in this one, spoilt for choice.
I like this one at the back of her head.
(WHIMPERING)
Do you repent, Joe?
Is that why you're here?
Because it's not too late.
(DISTORTED VOICE) Dad! Dad! Why won't you help me?
It's not her, Maurice. It's not her.
All those wrongdoings...
Dad, are you there?
GUY: You can just let them all go.
You can be your true self again, without that awful burden, Joe.
That question you asked me,
you know the one.
Yes.
That's enough. That's enough! I order you to go out.
Go out and leave her, now!
Don't you want to know the answer?
- Yes. Yes. - For God's sake, Maurice! For God's sake!
I don't forgive you.
(STRAINING)
(SCREAMING)
(DISTORTED EXPLODING)
Are you all right?
- Yeah. - Here, take this.
No, no, thank you. It's gone.
You can feel it too?
Joe Watson has passed over.
How do you feel?
A bit funny.
Yeah, lighter.
Maybe I should have some chocolate.
Is that it then?
Over?
(MELLOW MUSIC PLAYING)
I might sign off, old chum.
All right then. Have a good evening.
No, I mean, call it quits.
It's been days now.
We did it, Maurice. We won.
Hmm.
We won't know what to do with ourselves.
All this quiet.
I'll send you a draft of my book before it goes to the publishers,
make sure you're all happy with everything.
It's not going to have all that language in it, is it?
What come out of Janet's mouth?
Oh gosh, oh.
That's Joe Watson.
Oh, that's marvellous.
- I was rather worried it was me. - (EVERYONE LAUGHING)
Billy did the blood.
Oh, thank you all very much.
Not me.
Of course this isn't really goodbye.
I'd very much like to come and visit.
I don't know. We might be busy.
You're always welcome.
Look after yourself. Keep taking them pills.
Yeah.
- What's this? - Nothing.
Well, it's not nothing, is it?
It's ashes.
Who is it?
Oh, don't worry, it's quite harmless now.
What's it doing here?
It's just a memento.
Maurice, this is not a museum of the dead.
Isn't it?
Get rid of them.
(DOOR SHUTS)
(BOTH GASPING)
Now I'm going to have a heart attack.
Look.
Maybe the poltergeist did it.
Maybe it's because I can't remember the last time we changed the water.
We should tell Maurice.
Well, let's see how we go, eh?
(GASPING)
- Johnny's not going to believe any of it. - (SCOFFS)
- He'll go, "It's so boring here." - (GIRLS LAUGHING)
It'll be nice to have him home.
It don't feel the same without him, does it?
(DOORBELL RINGS)
Maurice?
(DOOR CREAKING SHUT)
(BELL RINGING)
Oi! Let me in.
Stop messing about.
(MUFFLED CHATTERING)
- I don't know what time he'll be back. - Yeah.
(BREATHING HEAVILY)
PEGGY: Well, I've missed him. MARGARET: Well, I haven't.
PEGGY: You have missed him. MARGARET: I haven't.
Dad, where are you? I need to tell you something.
(GRUFF MAN'S VOICE) Vorid mech ge tenem, agarka!
(DISTORTED VOICE) Listening to you moaning on and on and on
all the fucking time!
Janet?
(TABLE RATTLING)
(JANET BREATHING SHARPLY)
(GASPS LOUDLY)
(EXHALES LOUDLY)
Ah.
She's broken a thumb but she's otherwise unscathed.
But they're keeping her in.
Right.
They think she's been doing it to herself.
- We should tell them! - We have.
Look, we had a job persuading them that it wasn't a criminal matter.
I thought Joe Watson had gone.
She was talking in voices, more than one and not Joe's.
You know, a poltergeist is not just one spirit.
Perhaps in removing Joe Watson, we've allowed something worse in.
And not just one, scores.
It's my fault.
I didn't want it to be over.
If I said it was a poltergeist would you pay me some attention?
I think that you think that I've left you.
But I'm right here.
I just wish it was enough.
It is enough.
It is.
- I thought... - I no, I can't.
Not now. No.
It's back.
She's in the hospital, all alone.
She needs me.
I need you.
She's a girl.
But she's not our girl.
Ring.
My ring.
They had to cut it off.
- No! - Shh.
Burns.
They've done the best they can.
I'll be back to dress it again this evening.
There.
Tinkerbell.
That?
That's just...
Get some sleep.
JANET: Help.
Help.
Help! Please, help me!
Help!
(STRUGGLING)
(SCREAMING)
MARGARET: Once upon a time, there was a girl who lived a perfect life.
She had a mum and dad who loved her and beautiful gardens around a big house.
Everything was perfect.
Except every night when she went to sleep,
she had this nightmare.
She was chained to a wall in a dripping dungeon.
She'd wake up crying and her mum would tell her, "It's just a dream."
(WHIMPERING)
But night would come
and she was back in the dungeon.
And now she knew why she was there.
They were gonna burn her as a witch.
And being awake was such a relief,
but it got harder to forget the dreams.
And finally the night came
when they carried her out to the stake.
And as the skin started to blister and crack
and the smell of it filled her nostrils,
she knew,
it was the other life that was the dream.
Dosing Janet correctly has been a challenge.
She has a surprisingly high tolerance to a lot of the benzodiazepams.
That's why we're keen to get her started on ECT.
You can't just fry her brain!
It's barbaric!
What's barbaric is treating her with mystics and mediums.
This is Enfield, not Africa!
You cannot medicate away what is happening in that house.
You're guessing that this is caused by neurological factors.
But there is an abundance of evidence that something external
has been afflicting Janet for months.
And yet the President of your Society, the very expert you call in,
assures us there is no such thing.
This man is an expert.
He knows how dangerous a poltergeist can be.
Tell them about the boy in Brazil. He was killed.
By a poltergeist?
Yeah.
Mr Playfair, how exactly did he die?
Hanging.
Oh, he hanged himself!
It was the poltergeist! Tell them.
There was a note.
Yes, it said, erm, it said, "I can't go on any more.
"I'm sorry."
And that's precisely what we're trying to avoid with Janet.
I'm sorry, erm, I'm...
I'm not good with fancy words.
Janet's the clever one.
She'd know what to say.
When, when their dad left, er, I was worried that I wouldn't be able to cope...
Not with the others so much, well, Johnny's a bit wild, but, um...
Janet, she can run rings 'round me.
And then this started and Mr Grosse and Mr Playfair come
and they was a match for her.
Almost.
Look, they've been so kind to us and... And...
I feel bad saying this, I really do,
but it was nice for all of us having men around the place.
And that's what this has all been about.
It's just been a bit of fun that we got carried away with.
Now Janet, she's took it too far and I should have told her that.
But we was all so happy to have them there.
Now, she's wasted people's time and she's made things up
and she's hurt herself. But...
She doesn't need electricity through her brain.
What she needs is for her mum to sit her down and say, "Enough."
Now, let me talk to her and it will stop.
Peggy, I'm as opposed to ECT as you are,
but we can't pretend this was just a fiction.
I'm not pretending. Not any more.
You saw it, sofas overturning, objects flying about...
There were four of us, and only two of you.
- But the voice! - Her nan's good with voices.
Maurice, Maurice.
Sorry, now Janet wouldn't do that.
With respect, Mr Grosse,
she's not your daughter.
There you are.
I've been looking everywhere.
Come on, let's go and prepare the welcome party.
Come on, old man.
(TYRES SCREECHING)
What are you doing here?
You're not welcome.
I said you're not welcome.
Marilyn and Richard are coming over for dinner.
I've told them that you were working away.
(CHINA SHATTERING)
Maurice!
(CHINA SHATTERING)
What?
Oh, no, please Maurice, that was Mum's.
Why didn't you tell me he had a motorbike?
Oh, Maurice.
She told you everything!
You're her mother!
Why did you let her get on the back of his motorbike?
Oh, Maurice, please, don't ask me...
And you have the nerve to blame me?
I don't, I never blame you.
(CRYING)
That I let it happen.
That we weren't there.
That I didn't go and kill the little swine before he killed her.
Our daughter.
Our precious, little precious little girl.
(CRYING)
I'm sorry.
Don't be.
I thought Janet was there.
Our Janet.
But she wasn't.
It's over.
No, you have to save that poor girl.
I've seen it.
I've seen what it does.
But you don't believe it.
I do.
I've always believed it.
And I believe in you.
PEGGY: Just a little bit. JANET: Never mind, Mum, I'm all right.
Morning.
- Oh! Mr Grosse. - Hi, Janet.
Do you remember me?
Is he
the milkman?
No milk today, thank you, Maurice.
(ALL LAUGHING)
What's that?
- What? - Is it a lovebite?
I've got bruises all over from the poltergeist.
But they don't make you blush.
(LAUGHING)
I had it repaired.
PEGGY: Oh.
Any, er, activities?
Just these voices.
(SCREAMING)
(VOICES SHOUTING INCOHERENTLY)
(JANET SHRIEKING)
(JANET CRYING AND WHIMPERING)
PEGGY: I'm not having her going back to hospital. Not on any count.
GUY: Do we, do we do another disobsession?
PEGGY: And another? And another?
How many voices have you counted already? Thirty-five?
GUY: It's the relentlessness that gets them in the end.
That's when Braulio hanged himself. I'm sure nothing like that will happen.
Shall we get out of here?
(MUSIC PLAYING OVER STEREO)
When I told you about my angina,
you said that you get a tightness in your chest,
like there's a scream that you can't get out.
And then when the voice came, the tightness went away, that's what you said.
Yeah.
Well, some people think that...
That poltergeists happen when, when people are repressing their anger.
You can't just push it away, anger, it's like air under the linoleum,
it pops up somewhere else.
And that's the poltergeist?
We running away?
No.
We're going to stop running away.
Say what you really feel, here.
- Where no one can hear you. - (AIRCRAFT ENGINE BOOMING)
You can hear me.
(AIRCRAFT ENGINE ROARING)
What?
Shut up, you great big horrible loud old bird!
Shut up!
That's it! Go on, put it into words, go on!
I hate you Professor Beloff because you old stinky old...
You think you know it all!
I hate you, Professor Beloff!
Because?
Because you were mean when the ants stung me
and you didn't let us watch telly!
I hate you motorcyclists because you... You're not safe!
And I hate the doctors and nurses at the hospital!
'Specially the Irish one with the onion breath!
And I hate Johnny for calling me a moron when he's the moron!
And I hate Mum for being stupid and old and letting Dad leave.
And I hate Dad.
I hate him.
Go on!
And I hate Doreen cos she's a slut.
And I hate the poltergeist for smashing my head in, and burning me.
I hate Maurice and Guy and everybody cos they don't want to make it go away.
I wanna smash the stupid fucking little poltergeist into little pieces
and make Doctor bloody Beloff eat it up!
- Oh, I'm sorry sir, Ow! - Argh!
Oh, my God, Maurice, I'm so sorry.
No, it's all right, it's all right. Sorry, we we're just having a bit of fun.
We'll move on.
Sorry, I hit you.
Yeah, but it felt good though, eh?
What's wrong with me?
There's nothing's wrong with you. You've just got a poltergeist.
No. Before that.
Everybody goes.
Dad and Margaret, and you.
Your dad going was not your fault.
Him leaving was about him and your mum.
It's nothing to do with you.
And Margaret, she's a good sister.
She'll always be your sister and you'll have a bond like no one else.
But she'll meet a boy some day she wants to spend her life with.
And so will you.
Not, someone silly and unreliable like your dad
but someone who'll see what a special girl you are.
Why's there stones on it?
Oh, it's a Jewish tradition.
Can I put one on?
'Course you can.
That's it now. You're family.
We're going to get rid of this poltergeist, but me you're stuck with.
That question you ask her...
Well, it doesn't matter.
I'm never gonna get the answer.
I'm just gonna have to live with that.
Janet? Are you all right?
Janet?
(THUNDER RUMBLING)
Been going crazy.
What have you two been up to?
It's Maurice!
- What? - He's the one keeping the poltergeist here.
It's him!
What's going on?
Er...
Look, old chum, I think there's something we need to try.
No, Mr Craine?
He didn't want me to come.
And he was right.
I said the first time was a mistake,
I said don't make contact and you did.
I can't control any of this.
And I won't be responsible for the death of a child.
If you don't do this, you will be responsible.
Well, shouldn't we listen to what Lindy's saying...
We know what we're doing.
And it has to be done.
Isn't that right, Mrs H?
Are you sure?
It's the only way.
Now!
Can you see me?
Fuck off!
(MAN'S VOICE SPEAKING GIBBERISH)
(WOMAN'S VOICE) We had ox cheek, was the first meat I'd had in two weeks,
so at first I thought it was that.
(DISTORTED VOICE) Then I was on the street home from the shop
and I couldn't help meself, had to go to the toilet.
Out it come like water.
Then the top end too...
You are children of God.
Go towards the light!
BOTH: Piss off. Why doesn't he go towards the light?
(MAN'S VOICE) What's that light doing?
Don't you know there's a war on?
Lindy, I want to speak to Lindy! Is Lindy there?
(WOMAN'S VOICE CHATTERING INDISTINCTLY)
Lindy, you said this was a house of death for Maurice. Is it still?
It is a house of death for Maurice.
Not his death.
There's someone here, someone wants to tell him something.
Janet?
(OLD WOMAN'S VOICE) They gave me an emetic.
What you want to give me that for, says I, it's keeping it down's that's the problem.
(GIRL'S VOICE) Every night!
Every bleeding night...
Janet? (STAMMERING)
- I don't understand. I can't hear you. - On that pavement you'll crack your head
and your brains will spill out and I'll throw my head back and I'll laugh.
Dad?
(INDISTINCT WOMAN'S VOICE SPEAKING)
Janet?
(AS JANET GROSSE) Hey, old man.
Is that you?
Yes, Dad.
It's me.
Are you... Are you all right?
It's been a bit bumpy, but it's fine now.
I've been wanting to get through to you.
But it's so hard.
All this noise.
I wanted to answer your question.
No.
I don't forgive you,
because there's nothing to forgive.
I'm tired.
Is it okay if I go?
Yes.
We love you.
Me and your mum.
I know.
It's time to go.
Janet?
Can you take everyone with you?
Doing it, we're going now.
It's beautiful, Dad.
Goodbye, Janet.
Goodbye.
Thank you.
She's gone.
Thank you.
GUY: You all right, old chum?
Yes, Guy.
Thank you.
What will you do?
Well, I've got all this stuff to write up.
Oh yeah, of course.
First of all I'm going to set my mind to a bloody good rebuttal
of Beloff's hatchet job.
Come and help me if you're at a loose end.
I'd like that, thank you, yes.
You'll, erm, well, you'll have to come to dinner again.
- Yes. - Betty keeps going on about it.
Ripped By mstoll