Subtitles by explosiveskull www.OpenSubtitles.org
(HAUNTING PIPE MUSIC)
(TWIGS SNAPPING)
Lydia?
Is that you Lydia?
(HAUNTING PIPE MUSIC)
Lydia!
Lydia.
(DRUM BEATING)
(EZEKIEL GRUNTING)
Master Stearne.
This is the man.
Ezekiel Fletcher.
It is said abroad in the parish
that you are given to the reading of dangerous books.
Enticing to the practise of the hidden mysteries of magic
and of enchantments.
No, no, no, Sir!
That's not true.
You are summarily accused
of sorcery, witchcraft
and necromancy.
No, no, no, Sir!
That's all lies.
See, like his master Beelzebub, he is a consummate liar.
As we watched you from amongst the trees,
I, the captain and his men here all plainly heard
you calling for your daughter Lydia.
And yet, it is known abroad that your daughter
is dead these past nine months.
Sir!
Furthermore, since her passing, Lydia has been seen
walking here in Jacob's Wood.
What greater proof of sorcery does any God-fearing man need?
Why Sir, Lydia is my cat's name.
I named her thus to keep alive the memory of my daughter.
By my troth tis true.
Why you are a slippery fellow.
Be not deceived by this wily gentleman.
Through his practise of the dark arts.
His familiar may appear at his side in many forms.
Be it dog or cat, owl or bat, toad or rat.
Yet ye may be certain that it is his daughter
risen through his lord Satan's unholy power.
Sir, you do belie me.
I'm innocent of this charge.
Confess!
Confess man that you may be free of hell torments.
Please I'm innocent.
See, as he lies to our faces, he prepares
a restorative ointment for his familiar.
Without it, the ghouls corrupt flesh will rot
and turn to dust as all godly flesh must.
Why sir.
That is my supper.
Oh, is that so?
Well I will not keep a man from his supper.
Come, let us see you dine.
You see?
He will not stomach it.
It is as I said, an unholy sow.
Here's a sorcerer.
String him up!
No!
No! No!
Behold, I destroy this instrument of your wizardry.
That bereft of it's succour your familiar may dwindle
and turn to dust.
(EZEKIEL MOANING)
Sir.
I beseech you.
No! No!
No!
Now, join your master in hell.
Sir, I beseech you!
Please!
(EZEKIEL GASPING)
(OMINOUS DRUM BEATING)
(EERIE MUSIC)
(ETHEREAL MUSIC)
You wanted to see me, Professor Edwards?
Yes, yes, I certainly do.
Sit down Isabelle.
Take a look at this.
You recognise it?
Yes, it's the Stearne Cauldron.
So named because it was amongst the effects
of John Stearne, associate Matthew Hopkins,
the so-called Witch Finder General.
It's in the civil war collection
because that's the time they were operating,
but the cauldron is in fact much older than that,
quite possibly Celtic or pre-Roman period.
PROF.: Hmm mm.
Are these pictures from when it was discovered?
Yes.
And no.
Take a closer look.
My goodness!
This isn't our half of the cauldron is it?
It's the missing half.
Well it might be.
That's what I want you to find out.
The photos and the letter were sent to me
by a chap in Shropshire,
one Karl Scott-Morton.
Bit of an eccentric I think,
apparently doesn't have a phone,
communicates only by letter.
Anyway it seems he was doing some renovation work
to his stately pile and discovered it
buried beneath the floor in his cellar.
At least that's what he says.
He may, of course, be aware of our half of the cauldron
and knocked up a fake in the hope of raising some funds.
Do you think it's genuine?
Well I'd like to of course.
The fact that it's still partially in the ground
suggests it might be, but...
You only have to look at the British Museum's experience
with the Risley Park Lanx to realise
there are some awful crooks out there.
Yes, but the lanx was completely lost
and then rediscovered.
We at least have the half of the cauldron already.
Indeed we do, which should give you a distinct advantage
when you come to look at Mr. Scott-Morton's half.
You want me to go?
Absolutely.
You are an assistant curator now and besides,
I have to deal with some tedious financials
for one of our benefactors.
I don't think I'm ready for such a responsibility.
If I didnt' think you were up to it,
I wouldn't ask you to go.
I have taken the liberty of booking you
onto a train up to Shropshire tomorrow.
You've got the rest of the day to get ready.
Okay, thank you.
(MYSTERIOUS MUSIC)
Hi there.
I need to go to the Hall please.
Scott-Morton's?
ISABELLE: Yes, that's it.
Yeah, everyone knows the big house.
(FOREBODING MUSIC)
Isabelle, I presume?
Hello, Mr. Scott-Morton, it's very nice to meet you.
Karl, please.
Come through.
My wife Evelyn is in the drawing room.
The professor's given me some of the background,
but how did you come across the cauldron?
Well we've been undertaking some renovation work
of the house, part of which was the installation
of a new gas main.
Once we were excavating for it, we uncovered the cauldron.
Well I was aware of the Stearne Cauldron of course.
But not wanting to risk damaging it,
I thought it best to give you a call.
I'm looking forward to seeing it.
Good!
I hope you'll be comfortable here.
Tomorrow you can make a start removing it from the ground.
But for now, we better introduce you
to our daughter, Scarlet.
Scarlet!
Well she's around here somewhere.
The trouble is that this place is too damn big.
Why don't I show you to your room dear.
The house was a girl's boarding school many years ago.
I'm afraid we haven't managed to restore it entirely
back to its former glory as a country house.
Hopefully, all that will change soon.
Here is your room dear.
I'm sure you'll be very comfortable.
What beautiful sketches.
Did you do these?
Yes, they're mine.
I used to be a theatre costume designer,
oh many years ago now.
I was rather good.
Of course I don't get much chance to do that sort of thing
anymore, just the odd bit of sewing and dressmaking.
Nothing more.
Not enough to pay the bills sadly.
It's more of a hobby of mine.
Anyway, let me show you the bathroom.
Now you'll need a torch at night, so I put one in your room.
Not all of the house has been rewired
so we haven't quite got round
to putting in all the lighting.
There's always so much to do, isn't there?
(NO SIGNAL TONE)
(GONG RINGS)
(GENTLE PIANO MUSIC)
It's this way.
Do you come from a performing background Isabelle?
You've a lovely face, for the stage.
I've played the piano a bit.
Oh how nice, I love the piano.
Was that on stage?
No, that was in church.
You must have seen the organs in the Hall.
My great grandfather was very keen on them.
You don't strike me as the religious type.
Oh I'm not, really.
I used to enjoy it when I was younger,
but when my parents divorced, I didn't want to go anymore.
How long have you lived in this house?
Forever.
Our family bought the house in the 1800s.
I'm sure a house of this age must keep many secrets.
Oh yes!
The Atterley family who built the house,
they were secret Catholics.
Throughout the reformation,
they refused to renounce their faith.
I'm really looking forward to seeing the cauldron.
Forgive me but I had expected the professor himself
to come here, given the importance of the find.
But, I'm sure you know what you're doing.
If we can say it, it will make a tremendous difference
to the much needed renovations.
But I'm sure the importance of it is not lost on you.
We're very glad...
May I be excused.
Of course darling.
Thanks Mummy.
(FOOTSTEPS KNOCKING)
(OMINOUS MUSIC)
(FLOOR CREAKING)
Scarlet?
Scarlet.
Hello.
(FOOTSTEPS CLICKING)
Scarlet?
(GENTLE PIANO MUSIC)
You dance beautifully.
Mm hmm.
Scarlet.
Was that you walking about last night?
Walking about?
Are you imagining things?
Last night I was sleeping peacefully and now,
I'm trying to dance, peacefully.
Sorry, I didn't mean to interrupt you.
But, I do, I think you dance beautifully.
Well, there it is!
As you can see, once we realised what it was
I stopped the men from digging any further,
for fear of damaging it.
Yeah, you did the right thing.
Any idea how much it might be worth?
We have such a small income to maintain the Hall.
Sometimes we even have to sell vegetables to the local inn.
I hope you're aware that sometimes these things
don't have much commercial value.
Oh, you must think I'm as green as grass.
Museums will pay handsomely for such items.
Besides, as your university already has the other half
I would have thought it would be of particular value to you.
Well let me get it out of the ground first.
I'm sure Professor Edwards
will be happy to discuss it with you.
Alright.
Now, is there anything else you need
or can I just leave you to it?
No.
I'm happy to make a start.
Good.
See you later.
(FOREBODING MUSIC)
(FURNITURE SCRAPING)
(ETHEREAL MUSIC)
(KNOCKING ON DOOR)
Hello?
Hello dear.
I thought you might like a nice warm drink
to help you sleep.
Thank you Evelyn.
That's really kind of you.
Just put it on the side, I'll wait for it to cool off.
Oh its fine just as it is.
It's a tonic my dear.
I made it specially, just for you.
That's it, all the way down.
I can take the mug back with me.
Bonne nuit.
(EERIE MUSIC)
(HORSE HOOVES BEATING)
(HORSE NEIGHING)
So, what does your boyfriend think
of your interest in all this?
I don't have one.
I did, but we never really spoke about all of this stuff.
Oh to be like you.
Young again.
Still, you can take your pick.
A caved Carthage, where a frying pan of abominable loves
cracked about me on every side.
I was not in love yet, yet I longed to be in love.
I was looking for something to love.
I was in love with love itself.
Have you ever read Saint Augustine's Confessions?
Um, no, I can't say I have.
KARL: Well you should.
There's a copy in the library.
This is interesting.
There seems to be an original inscription
on the side of the cauldron,
but someone's scratched it out.
Really?
I'll leave you to it.
(OMINOUS MUSIC)
Isabelle.
Look you've been working so hard,
why don't you take the night off?
That's okay.
I'd like to get everything finished as soon as possible.
Oh no, not at all.
I'm sure you're making excellent progress.
Look, there's a lovely pub in the village.
I think I'll just...
No.
I insist.
(FOREBODING MUSIC)
Hello there.
What can I get you?
Vodka tonic please.
Here you go.
That'll be three 10 please.
Am I right in thinking you're Isabelle?
The one doing some work up at the Hall?
Yeah, that's right.
How did you know?
I'm psychic.
Famous for it round here.
Really?
Absolutely.
It's a gift.
Comes from working in a pub where everyone talks about
what they're doing and somehow I know what's going on.
I see.
Who told you?
Robert the gardener.
Makes sense, I didn't think it would be Mr. Scott-Morton.
No, he's not the pub going type.
We hardly ever see him in here.
I'll put these round the back Veronica.
Thanks Robert.
So how long you here for?
I shouldn't think much longer,
I've fairly much done what I came here to do,
so I'll be heading off in the next day or two.
That's a shame.
Nice to see a fresh face around the place.
So, what we talking about?
Nothing.
Isabelle here was just saying
how she's leaving in a day or two.
Oh well I better seize my chance and buy you a drink then.
What you having?
ISABELLE: Oh, I'm okay thank you.
Usual is it?
No, I better not.
I promised mein fuhrer I'd help him move some stuff later
and I don't want to keep him waiting.
Have you worked for the Scott-Morton's for long?
'Bout seven years now, since they lost the last gardener.
What you mean, lost him?
Some sort of mysterious accident.
Shall we get a table.
ISABELLE: So what happened?
No one knows.
There was no witnesses.
What we do know is he was using his quad bike to move
some wood and he knew that land like the back of his hand.
But somehow, he ran into a barbed wire fence
ripped his throat out.
He bled out in Jacob's Woods
trying to get back to the village.
No!
It was Karl that found him.
Sitting on his quad bike, stone dead, engine still running.
He called the police.
That's awful.
You're not pulling my leg?
No, you can ask Karl.
No I don't think I will.
What you gawping at?
Go on, mind your business.
Oh I better get a shift on.
Do you want me to walk you back?
No, I think I'll stay and have another.
Fair enough.
I would if I could.
Well it's nice meeting you.
Hope to see you around.
Bye.
Can I get you another?
ISABELLE: Yes please.
Here you go.
So what is it exactly you're doing up at the Hall?
Oh I'd love to tell you, but I don't think
Mr. Scott-Morton would appreciate it.
Fair enough.
How's Scarlet?
She's fine.
You know her then.
Yeah, she's the only one of the Scott-Mortons
who ever came in here.
At least she did when she was with her boyfriend.
And since they split up, we hardly ever see her.
How about you, boyfriend?
No.
Not anymore.
Hmm, sounds ominous.
Do I sense a story there?
There is, but it's not very exciting.
It's a bit silly really.
Well, you don't have to tell me that either
if you don't want to,
but believe me, working in this job,
I've heard it all before.
Well, this is not a big secret or anything.
I had a strict Catholic upbringing and I know it's not
the way these days, but I've always been of the belief
that sex should be reserved for marriage.
Richard, he's my ex, he couldn't cope with that, so.
I see.
Yeah, he went along with it all at first
and then as time went by,
he found it more and more difficult.
Until, in the end it came down to ultimatums
and neither of us would compromise.
Well, it was probably for the best.
I mean, I admire you for sticking to your guns.
The world would be a lot simpler if more people did that.
(FOREBODING MUSIC)
Hey wait.
I want to talk to you.
Listen!
Don't go in there.
Bad things happen to people who go in there.
(TENSE MUSIC)
Get off me!
Shut up.
I warned you not to come here.
But no, you wouldn't listen.
Let go!
You're hurting me.
A lot worse is gonna come to you.
Unless you come with me right now.
See, my dad he...
I told you before.
I'd mark you if I saw you on my land again.
Argh.
KARL: Now go!
Thank you.
Don't mention it.
I abhor such crass behaviour.
Who was that?
Oh, no one.
Local idiot.
I've had trouble with him on the property before.
(EERIE MUSIC)
(THUNDER RUMBLING)
Do you like my perfume?
Sorry?
My perfume.
Do you like it?
Yes, it's lovely.
Oh Scarlet, have you seen my phone?
I can't seem to find it anywhere.
No.
I haven't.
Okay, well if you see it,
will you let me know?
Of course.
(SOFT, SUSPENSEFUL MUSIC)
Right, let's look at the ramblings of Saint Augustine.
(DRAMATIC MUSICAL TONE)
JEREMIAH: Haven't retired from a scholarly life in Oxford
to the County of Salop, my custom of an afternoon
was to take the airs and walk abroad.
Familiarising myself with my new surroundings.
On one such excursion, I found myself on the fringes
of Jacob's Wood, a particularly wild and ancient place,
grown all the more so
because local men fear to venture there.
I have ascertained this because there are some persistent
rumours of witchcraft which have led
to this wood being shunned by all.
In this age of reason, such beliefs seem to me ridiculous.
As I walked along the tangled fringe of the wood
I fancied I heard curious music
faintly drifting on the wind.
Intrigued, I stopped and listened.
The thin, piping melody seemed to be emanating
from the dark boughs of the wood,
and being aware of the local reputation,
my curiosity was pricked.
I determined to find its source.
I struck out into the wood, which having being left
abandoned and uncoppiced for many years
was dense and overgrown.
Eventually, I came to a small clearing
and as I stepped into it, the melody was no more.
As I turned to leave, my foot struck an object
protruding from the earth.
I would not have remarked upon it,
but for it made a singular metallic sound.
Clearing away leaves and other detritus, I soon concluded
I had stumbled upon something quite striking.
I toiled to free the item from the earth
which held it in a vice-like grip.
Having only my bare hands and sticks, such as I could find,
it took me some time to lever the item free.
It was nothing less than part of a cauldron.
Returning to the house with my trophy,
I set about scraping the soil and grime
of centuries from it.
The item was bronze and of ancient origin
covered with Brythonic writings.
Over the next few weeks,
I set about translating them as far as I was able.
The cauldron was no household cooking pot
but a religious item, used in a ceremony of rebirth.
The story revealed by the antiquated text
was that of a dread queen slain in battle
who was placed in the cauldron
along with the blood of her enemies.
Through its magical power, she rose again.
The name of this queen is lost, as at a later date,
someone had been at pains to grind her name
and likeness from the cauldron.
In an act of further vandalism, the Latin word profanum,
or unholy, had been etched into the sides of the vessel.
Other words too, but as they crossed into
the missing portion, I was unable to decipher them.
At the time I took this to be the work
of some dull mechanical, afraid of his own shadow.
But as the days passed, I too began to fear.
At first, I was plagued by restless fevered nights
in that cholerical space between sleep and waking,
I often fancied I could hear that same melody
as I heard in Jacob's Wood floating throughout the house.
Several times I rose from my bed and searched the house
in an effort to locate its source.
Always without success.
Until one such night, I left my bedchamber
and walked along the long gallery.
Around which, in swimming, grainy darkness,
a thousand fanciful fiends danced in my fevered imagination.
I stopped, determined to put such thoughts from my mind.
It was at that point, the figure of a deathly pale woman
appeared in front of me.
I stared at her bleached, cavernite face etched
with a hunger deeper than just a need for mere sustenance.
Then, in an instant, she was gone.
By morning, I was convinced my encounter
with the awful woman was the product of a fevered mind
and attempted to put it from my thoughts.
But several days later I was at the piano
and without realising it, I found myself playing
the eldish melody I'd first heard
floating on the wind in the woods.
As I looked up from the keys I saw again.
I was startled and turned away.
But when I looked up again, the apparition was gone.
I know that I can no longer stay in this house.
I am resolved to depart forthwith.
I leave this account of the occurrences here
along with the musical notation of the melody
that accompanies the spectre as a warning
to all those who come after me.
God save us all.
Jeremiah Cane, 6th April, 1807.
(OMINOUS MUSIC)
KARL: Well, you are making progress.
Yes, it's out of the ground now
and I've made a preliminary examination of the piece.
Is it as I thought?
The missing half of the Stearne Cauldron?
Well, I have to say the prospects are looking positive,
it all seems to check out.
But the only way to know for sure is for me
to take it back to the university and match up...
Oh no, no, no.
We can't let you do that.
It stays here.
Mr. Scott-Morton if you want us to verify...
Possession is nine tenths of the law.
If I let you take it away, I might never see it again.
You might keep it for your collection, I know you want it.
But others, may pay more for it.
Really, that's not...
If it's so important that you verify it with your half
then have it sent here.
You can look at it, satisfy yourself it's the real thing.
Then we can talk money.
But until you, or somebody else pays me for it,
it's not leaving this house.
Well, this hasn't happened before.
I will need to ring Professor Edwards...
Ring whoever you have to.
But unless you, or somebody else pays me for it,
that cauldron does not leave this property.
Let me know what you decide.
Hello again.
How are you this fine day?
I'm okay thank you.
On my way in to the village.
You're not going down to the pub again?
No, to make a phone call.
I'm sorry I left early, I heard what happened.
You must have been terrified.
Didn't expect that of Tom.
You know who that lad is?
Yeah.
Remember I told you about the previous gardener
died in that weird accident.
That was Tom's dad.
That's why he was looking at us like that.
Well you can imagine,
whole episode really messed him up pretty well.
Of course I'm not his favourite person, I took his dad's job.
And he's always had it in for Karl, blames him
for his dad's death because it happened on Karl's land.
ISABELLE: I see.
I thought there was some history there.
Oh yeah.
Tom will tell anyone who listens that Karl's to blame
for his dad's death.
By now you must have realised you don't want to get
on the wrong side of Karl.
Yes, I gathered that.
He can be quite...
Forceful.
He's got a reputation locally.
You just be careful around him.
You've seen what he can do.
I will, thank you.
Take care.
(GENTLE MELANCHOLY MUSIC)
Hello, Professor?
It's Isabel.
No, I've got it out of the ground.
Well I think so.
Metallurgically speaking it's a match
and the inscriptions are the same.
Yes, the ageing seems genuine, non-chemical,
but this piece is going to be different
as it's been in the ground.
Yes, well that's why I'm calling.
We have a problem.
Well what does he think we're gonna do?
Steal it!
Ridiculous.
Alright Isabelle, you're the one on the ground.
What's your instinct.
Oh I don't know.
Well, if you're sure.
Alright, I suppose so, I'll get it sent up immediately.
The sooner we know one way or another the better.
Alright I'll see you in a day or two.
Good luck.
God, the world really is full of money grabbing idiots.
(SIGHING)
(EERIE MUSIC)
What are you doing?
Why are you creeping around?
Do yo like me dressed like this?
Seen enough?
(DRAMATIC MUSICAL TONE)
Are you blushing? (LAUGHING)
I'm going to bed.
Oh it's cute when you do that.
(EERIE MUSIC)
(DOOR SLAMMING)
(DRAMATIC MUSICAL TONE)
(DOOR SLAMMING)
Did you think that was funny?
Have you been having nightmares?
Bad dreams are common in this house.
I thought I saw someone in my room.
Why don't you get into my bed.
You could sleep with me if you wanted.
Have you been seeing shadows in your room?
The best thing to help you sleep
is for me to tell you a nice, scary ghost story.
I used to love them when I was growing up.
Come here.
I'll tell you a story.
It's a story about a girl
just like you.
She was in a house with lots of rooms.
There were lots of hidden places, just like here.
She was an inquisitive girl who wanted to know things.
Clever.
Just like you Isabelle.
I think she even looked a little bit like you.
She was all alone in the big house.
Trapped.
Like a bird in a cage.
She lay in bed scared because there was no one out there.
She heard noises too.
And one night, she decided to look, because she was brave,
just like you.
She went all on her own to see what was out there.
Because there was something out there.
Something evil that hated the girl.
It watched her as she walked all alone in the dark.
It could see her, but she couldn't see it.
Isn't that scary, Isabelle.
Imagine how that would feel, walking all on your own
in the dark, with someone behind you
but you didn't know that they were there,
ready to jump on you at any moment.
You couldn't do anything about it.
If it wanted you, it could just take you.
All over you.
That empowering evil...
(ISABELLE GASPING)
Imagine how that would feel.
Irresistible.
(DRAMATIC MUSIC)
Isabelle.
Good morning.
Did you sleep well darling?
Like a lamb Mommy.
EVELYN: And how did you sleep Isabelle?
I was dreaming a lot.
Nice ones?
A bit mixed, to be honest.
Do tell us about them.
It's all a bit of a jumble.
(DOORBELL RINGS)
I'll go.
Tell us what you can remember.
It's amazing how revealing, even the fragments
of a dream can be.
Yes, do tell us what you dreamt about.
I can't really remember.
And as I said, it's a bit of a jumble.
EVELYN: That's a shame.
Never mind.
Perhaps you'll have the same dream again.
It's here!
The other half of the cauldron is here!
Come on!
You can help verify our half now.
Karl, she hasn't even had her breakfast yet.
I'll move it to the cellar.
Well, there's not much doubt about it.
Congratulations Mr. Scott-Morton.
You found the missing half of the cauldron.
You can see the two halves are a very good match.
The cut seems to have been made
with a very sharp bladed instrument.
Even allowing for some distortion
to the pieces down the centuries,
you can see they're two halves of the same piece.
Excellent.
That's excellent news.
Now the two halves are reunited,
you can see the original inscription.
The original stuff is some sort of Brythonic writing
which is beyond me, but this later graffiti is interesting.
See here, (SPEAKING LATIN).
Very creepy.
Really?
Loosely translated, it means unholy necromancer.
It sounds like nonsense to me.
Well of course it is.
But it ties in with John Stearne and a document I found
in your library, from the 1800s.
I meant to mention it to you earlier.
It's a journal entry from someone who stayed at the house.
It seems they were frightened off by a ghost.
There are no ghosts in this house.
I would know.
Now, isn't it time you rang the professor
and gave him the news.
Of course, I will.
But I need to finish a full examination of the piece,
brief him properly and then he can give you
an accurate idea of the value.
It's getting late now, I'll do it in the morning.
Well, you'd better be up bright and early then,
hadn't you?
(SIGHING)
Isabelle?
You alright?
Actually, I've been thinking about what you said.
Oh yeah.
I think I've annoyed Karl.
What happened?
It's ridiculous really.
I think I saw something in the house last night,
or at least someone.
Maybe I dreamt it.
Anyway, I told Karl about it and he instantly got annoyed.
That's odd.
It's probably best I don't say anymore.
You're likely to think I'm an idiot.
I don't want to get you involved.
I'm going to try something tonight.
Well if you need any help, just ask.
I still feel bad about leaving you alone in the pub.
Don't feel bad about what you did Robert.
You can get on with your work now.
(OMINOUS MUSIC)
(BELLS CHIMING)
(METAL CLINKING)
(THUNDER RUMBLING)
(HAUNTING ORGAN MUSIC)
(EERIE MUSIC)
(DRAMATIC MUSICAL TONE)
(EERIE MUSIC)
(TELEPHONE RINGING)
RECORDING: You're through to Professor Hugo Edwards,
Head of Research, Antiquities and Artefacts.
Just leave a message and I'll get back to you
as soon as I can.
Hugo.
Are you there?
It's me.
Listen, you're going to think I've taken leave
of my senses...
(CRACKLING, DISTORTED VOICE)
I'm coming back today.
I'll call you again later.
Please be there when I do, okay.
I'm going back to the house now to get my things.
I've got to get out of here right now.
There's a train in a couple of hours.
(FOREBODING MUSIC)
Isabelle.
I wonder if I can have your opinion
on something I've been making.
If you have a moment.
It's in the kitchen.
Won't take a minute.
I've been working on a warm presse.
Thank you.
(OMINOUS MUSIC)
Tastes good.
I know you think you saw something last night.
You seem quite agitated about it.
This drink will help soothe those nerves.
It's a combination.
Apple, opiate honey, camphor,
exotic syrup, black seeds.
I can give you the recipe if you like.
I saw her.
I know you're hiding something.
We're all just little souls carrying about a corpse.
(TENSE MUSIC)
(ISABELLE GASPING)
Karl.
Let me go please.
I won't say anything.
I just can't be tied up.
No, that's not gonna happen.
You see, you know too much.
What do you mean?
Do you mean that girl I've seen?
Yes.
The Dark Lady of the house.
Besides, from the moment you stepped into this house
you were never going to leave it.
If you don't let me go,
you'll never get money for the cauldron.
Money!
It wasn't about money, it was always about the cauldron.
The Dark Lady needs it.
Her father, the necromancer, used it to raise her
from the dead, to restore her failing flesh.
Since that imbecile Stearne put it beyond use
all those centuries ago, she has become a shadow
of her former self.
But now, and in no small part thanks to you,
she can be resurrected.
Once restored, she will pass on her gift
to her faithful retainers.
Gift?
Immortality.
You see, compared with that,
any amount of money is insignificant.
I'll do whatever you want.
Please let me go.
Please.
Yes, you will do whatever I want.
But you won't be getting out of here.
You see, there's one more thing I want from you.
(SOBBING) Karl come back!
Karl!
(GASPING)
(TENSE MUSIC)
(SCREAMING)
(ISABELLE GASPING)
(EERIE MUSIC)
(GASPING)
Scarlet.
Scarlet help me.
Scarlet!
(SOBBING)
Karl.
Let me out please.
No, not yet.
I still need your assistance with one last task.
Scarlet!
Scarlet.
Help me please.
My daughter is certainly not going to help you.
The Dark Lady tried to pass on the gift to her
but presently her powers are weak.
Scarlet is not yet an immortal,
but with your help she will be so.
(ISABELLE SOBBING)
(ISABELLE MOANING)
(ISABELLE SCREAMING)
(ISABELLE MOANING)
I was delighted to learn from Veronica here
that you were saving yourself for marriage.
Virgin blood is one of the most important elements
in the necromancer's art.
Essential for the restoration of the Dark Lady.
(ISABELLE SCREAMING)
(EERIE MUSIC)
Your devotion will soon be rewarded.
(TENSE MUSIC)
(ISABELLE GRUNTING)
Hold her down.
(HOODED FIGURE GRUNTING)
(VICTORIA SCREAMING)
(EVELYN GROANING)
(EERIE MUSIC)
(ISABELLE GASPING)
What are you?
No, you can't be.
How did you get here?
How did you get out?
Daddy.
Oh.
(SOBBING)
No.
Daddy!
What did she do to you?
(TOM COUGHING)
Shut up.
TOM: Help me.
Shut up.
(TOM GROANING) (KNIFE SLASHING)
(SCARLET SOBBING)
(OMINOUS MUSIC)
(SOBBING)
Is this what you're looking for?
(SCARLET LAUGHING)
Well you better come and get it. (LAUGHING)
That's right.
Run.
(TENSE MUSIC)
(SCARLET LAUGHING)
Run little bird.
I'm coming to find you.
I can hear you.
I can hear you breathing.
Where are you?
(BODY BREATHING GRATINGLY) (DRAMATIC MUSIC)
Run Isabelle!
Get away!
Alright Isabelle.
Open the door.
What you did is okay, I understand.
We can do what we want now.
We can be together.
It feels good to be like this.
You'll like it.
(ISABELLE GASPING)
I just want to taste you again.
Just a little bite please.
It won't hurt.
I promise.
Open the door you bitch.
You murdered my father.
(DARK LADY SHRIEKING)
(SUSPENSEFUL MUSIC)
(ISABELLE SHRIEKING)
(TENSE, DRAMATIC MUSIC)
(HAUNTING PIANO MUSIC)
Don't!
(DARK LADY SHRIEKING)
(TENSE MUSIC)
(DARK LADY SHRIEKING)
(HAUNTING ORGAN MELODY)
(HAUNTING PIANO MELODY)
Subtitles by explosiveskull www.OpenSubtitles.org
♪ The stars that shine for you
♪ My dear little bird
♪ There'll come a time when you'll feel alone ♪
♪ The rivers of blood you've left behind ♪
♪ Sink to the earth
♪ Well every mistake
♪ Allows you a day
♪ Will haunt you