House of Seven Corpses, The (1974)

[bunniefuu]

[SCREAM]

[SCREAM]

[GASPING]

[SPEAKING FOREIGN LANGUAGE]

Come here.

Come here.

Come here.

[SPEAKING FOREIGN LANGUAGE]

[SPEAKING FOREIGN LANUGAGE]

I conjure thee, oh evil
and cursed serpent,

To appear at my wish and
pleasure, in this place.

And within this circle.

[SPEAKING FOREIGN LANGUAGE]

Die, die!

You are dead!

Buried!

Never to return!

[WHEEZING]

Oh no.

No.

No.

No.

No.

No!

No!

[WHEEZING]

No, please.

No!

MAN [OFFSCREEN]: That's
not how it happened.

Who said that?

Cut.

Cut it, I said.

What the hell are
you doing up there?

You just blew my whole scene.

What about me?

My scene, blew.

I'm terribly sorry.

But it's just not the way
Mrs. Beal committed suicide.

I know how she
committed suicide,

So don't try to tell me
how to sh**t my picture.

I suggest you stay
with the truth.

The story of the Beal family
is more bizarre than anything

You can dream up.

Tell me about it.

I'll be happy to.

Now that Mr. Price, huh?

What's his first name, Vincent?

No.

Edgar.

MAN [OFFSCREEN]:
Roll those cables.

MAN [OFFSCREEN]: Do
you need this 10K now?

Wrap it up, Tom.

GAYLE [OFFSCREEN]:
Eric, where do we go?

ANNE [OFFSCREEN]:
Where are our rooms?

On the third floor.

The third floor it is.

Oh.

[SPEAKING FRENCH]

Price, you just k*lled
this whole scene for me.

You insulted my intelligence
and embarrassed me

In front of the cast and crew.

Now none of that's gonna
happen again, is that clear?

My apologies, Mr. Hartman.

But I only acted in
interested of the truth.

An assumption, apparently,
that does not interest you.

Everything about the
Beals interests me.

But I don't discuss my
films with caretakers.

Oh.

Why's he so mean
to the old man?

Gotta keep the
devil in his place.

David, be serious.

I am, I am.

Perhaps these portraits could
help you select your story

Points a little more accurately.

For instance, Johnathan
Anthony Beal, founding father,

The first Beal to
live in this house.

The first one to die in here.

He fell off this balcony, right
here where we're standing.

Fell?

Or was pushed?

Who knows?

The only one here when it
happened was his housekeeper.

Just like you
and Mrs. Beal, Hm?

Suzanne, drowned
in her own bath.

Here we have Theodore.

Shot to death.

Another suicide?

He was shot five times.

In the back.

Determined b*stard, wasn't he?

Allison.

I know, I know.

Allison Beal died by hanging.

Yes.

From the dorm, up there.

Don't ask me how she got there.

Here.

Charles.

Stabbed to death, wasn't he?

By his own wife.

Russell, my first employer.

Bludgeoned to death.

Yeah.

With a candle holder.

How did you know that?

I'm the one that found this
mansion for you, remember?

What about those two?

This one will be a portrait
of the late Mrs. Beal.

The other was placed
there by her request.

Are there any
Beals still alive?

Not that I know of.

And here are your rooms.

This way, please.

Hey, I really like this room.

Yeah.

Has a nice feel to it.

Not exactly the
Beverly Hilton, is it?

This was Suzanne's bedroom.

Oh, yes.

The one who drowned.

As a matter of fact, yes.

This way.

The back stairs.

Another staircase?

For the servants'
ghosts, I have no doubt.

No.

Just for the servants.

The bathroom.

Oh.

What a fantastic shower.

Ah.

Madame [INAUDIBLE].

Does it work?

Very well.

Running water.

How chic.

Find a shot, Eric?

Maybe.

Might work.

Charming.

No lights.

There haven't been any
lights in this house

Since Mrs. Beal passed away.

We've got generators
for the film.

No end to this kid's knowledge.

And when we're
not filming, how do

We find our rooms in the dark?

By candlelight.

If there's a bed in
it, she'll find it.

David, look at this.

Gayle.

As you can see, this is...
Was the master bedroom.

I know, I know.

Built by the original owner.

Will there be anything else?

No, Mr. Price.

I think you've done
enough for one day.

Mr. Price.

Thank you for your tour.

I can understand why the
old lady committed suicide

With that vampire around.

Well, Annie, you're safe.

You're wearing your cross.

Gayle, you have
your wooden stake?

Well, well, well.

Look what I've found.

The proverbial hidden door.

Well open it, open it.

What are you waiting
for, a stunt check?

Hm.

This is the room we
shot the scene in.

Yeah, I know.

That must be the
secret entrance.

What's that, Eric?

The old evil eye.

I'm using it in the film.

That's supposed to be bad luck.

Oh, come on.

You don't believe that stuff.

No.

I guess not.

[SCREECH]

I felt that cat's eyes on
me all through the scene.

Imagine it.

Have a cat.

[MEOW]

Oh!

Leon!

How dare you hit my cat!

Look, he scratched me.

I wish he'd bitten you.

If he did I'd break his neck.

You touch my cat again
and I'll break your neck.

Stop it.

Enough.

I've had enough, too.

I'm going to bed.

May Morpheus take you swiftly
to his arms, dear lady.

And should he fail, I am
always at your service.

That'll be the day.

David.

What do you see?

These books.

"The Art of Witchcraft."
"The Black Mass."

"Tibetan Book of the Dead."

Thauma... Thauma... na... tha...

Thaumaturgy.

Black magic.

"Tibetan Book of the Dead."

Just another one of
those how-to books.

Hey, dig this.

Prince of Charmin, Majesty
of Phlegethon, Belial, Elis,

Azazel, bleed my soul, Apollyon,
Lord of Amenti, possess me.

I seek your kingdom.

Let me see this.

You think we can use it, Eric.

Well.

It may be garbage, but
it's better garbage

Than what the writer gave us.

Here.

See if you can find some
lines for the chant in it.

Oh, yeah.

I'll be happy to.

Why are you so interested?

I love this kind of stuff.

Like fairy tales, huh?

Sure.

Fairy tales can come true.

MAN [OFFSCREEN]: I
only got 400 feet.

I hope that's enough.

MAN [OFFSCREEN]: Charlie,
you gotta run in focus.

Don't forget.

MAN [OFFSCREEN]: I
need a cup of coffee.

MAN [OFFSCREEN]:
How about a beer?

MAN [OFFSCREEN]:
Any kind of level.

MAN [OFFSCREEN]:
What about the book?

Who's got the book?

MAN [OFFSCREEN]: I got it.

MAN [OFFSCREEN]: Someone
run me some power.

MAN [OFFSCREEN]:
Where are the candles?

Uh-uh.

You forgot one of
the laugh lines.

Crow's feet.

Laugh lines, you clod.

Now cover it up.

I'm just a poor make
up man, not a magician.

That joke went out
With high-button shoes.

So did you, lady.

Oh, you...

Save it.

Save your passion
for the camera.

Let's have a little restraint.

Scenes always go better
when they're under control.

Anything for your, darling.

Ron, get a little of
this red off her cheeks,

And fix her eyes.

She looks like a wh*re.

MAN [OFFSCREEN]: Do you want
the drapes open or closed?

Anything, for you, darling.

MAN [OFFSCREEN]:
Joe, don't forget

To rack focus when
you're through with that.

MAN [OFFSCREEN]: OK, pinch
the doors on that junior.

No, a little more.

[PEOPLE TALKING]

MAN [OFFSCREEN]: I got no power.

MAN [OFFSCREEN]: Put
the plug in, you dummy.

MAN [OFFSCREEN]: No,
the one in the corner.

MAN [OFFSCREEN]: Give me a
double on that bayb, will ya?

Eric.

Eric, I found some
great lines in the book.

You want to check it
over before we start?

All right.

OK, use that one.

Danny, that's fine.

Bring the girls in.

Come on, girls.

Now get that cable
out of the way.

It's in the shot.

[INAUDIBLE], in your
high priestess voice.

Anne, get down on your knees.

Now you're supposed to
be going into a trance.

All right.

All right, then.

Let's try one.

Roll it.

Speed.

Mark it.



Action.

[SPEAKING FOREIGN LANUGAGE]

Cut it.

Cut it.

Cut.

I said you were
supposed to be going

Into a trance, not an orgasm.

I'm sorry.

Let's try it again, with
a little more restraint

This time.

That's today's secret word.

Restraint.

All right, let's go.

Ron, a little hot
on that [INAUDIBLE].

Little more.

Little more.

That's got it.

OK.

All right, roll.

Rolling.

And mark it.

Roll camera.

Slate it.



Action.

[SPEAKING FOREIGN LANGUAGE]

Lords of death,
witness me in this...

Maria.

In God's name.

What are you doing?

Charles, you fool.

You should not have come!

Jesus, Maria.

I demand...

I say silence!

His Satanic majesty
summons this man.

Slay him.

Slay him... Maria,
what are you saying?

Maria.

Maria, for God's sake... no... no.

Maria, no... agh!

Cut.

That's good for me.

Very good for you, too.

Fine, that was good.

OK, let's move in for
close-ups of the stabbing.

Do I have to get rigged?

You'll get rigged.

[LAUGHTER]

MAN [OFFSCREEN]: Come on, Ron.

You can do it.

Show us how you rig it.

Action.

[MOANING]

[SCREAM]

Cut.

You're bleeding like a trooper.

All right, let's get
this corpse cleaned up

And ready for the next scene.

You were great.

Thanks.

How's it feel to k*ll somebody?

I don't like it.

Yeah, you'll get used to it.

Now, for the fifth time,
you are running down

The hall and down the
stairs into camera.

You are running, not strolling
or walking, but running.

And see if you can do
it without falling.

All right, all right.

Save your sarcasm for Anna.

She's still impressionable.

Stand by to roll.

You ready?

I'm ready.

I'm ready.

Mark it.



Take five.

Action.

Drop dead.

Cut.

You see what you can do
when you have talent?

That was good for me.

Danny?

[INAUDIBLE].

Print it and wrap.

A good day's work.

Good day's work.

At Metro that would
have been a week's work.

Honey, you go on up.

I'll join you in a minute.

OK.

Danny, there's a lot of
good moonlight outside.

Let's go sh**t some of it.

Don't you ever sleep?

Would you sleep if
it were your money?

No way.

Well get on your horse and
let's grab some atmosphere.

OK.

You [INAUDIBLE] that
film, I'll eat your aorta

To the multitudes
assembled at my feet,

I regretfully bid fond
adieu, to go and seek

Sleep, gentle sleep that knits
up the ravelled sleeve of care.

Pfft.

Gentles, the chance
you wonder at this show.

Then wonder on.

To the truth make
all things plain.

This man... mm.

This man...

[MUMBLING]

I gotta get out
of this mausoleum.

David.

Hm?

Hey.

Brushing hair's boring.

Honey, you should read
some of this stuff.

It's incredible.

I don't want to read it.

Listen to this.

To human blood, I give my
soul, oh master of the dark.

David, please.

That makes me uncomfortable.

Ah, come on, honey.

Everybody else thinks
it's phony, why don't you?

Why don't you ask Mr. Price?

What?

What are you talking about?

He's in the graveyard.

David, come here.

Look.

What's he doing?

Stopping at headstones,
as though he's

Looking for something.

Easy, honey.

Easy.

I can't help it.

This place... it
gives my the willies.

Annie.

You're imagining things.

I'm not imagining it.

I feel it.

I feel something's gonna happen.

Something terrible.

I'm sorry, David.

I'm just scared.

But just look at him.

OK, so he's a creep.

Maybe... maybe looking at
headstones is his thing.

Come on.

We got our own thing.

David.

My darling, don't you see?

I can bring you pleasures you've
only dreamed of until now.

You needn't fear.

You needn't fear.

Touch me.

Feel the power you can share.

[MEOW]

[MEOW]

Who is it?

Anyone there?

Is anyone there?

Cleon.

Damn.

Cleon?

Cleon?

Cleon?

Cleon?

Kitty, kitty.

Kitty, kitty.

Kitty.

[WHISPERING]

Cleon?

Kitty?

Kitty, kitty, kitty, kitty.

Cleon?

[GASP]

Christopher!

Do not be alarmed, [INAUDIBLE].

It is I, your Prince Charming.

You're drunk.

Perhaps.

But most assuredly not enough
to forget how to treat a lady

Like yourself.

Look out for the
lamp, I'll drop it.

Now, can we pass like
nips in the slight...

I mean, ships in the...

Let me go!

No.

We must seize this moment.

Let me go!

Ah!

Don't you ever touch
me, you drunken bum.

Mr. Millan.

Tonight is your business.

Tomorrow morning is
mine, at 8:00 Am,

If you haven't
already been told.

Eric, I'm so glad you came.

I'll bet you are.

What do you mean by that crack?

You don't think
for one minute I...

Ladies and gentlemen,
I bid you good evening.

As he exits, laughing.

If you didn't come by, that
maniac would have r*ped me.

You're sure dressed for it.

Well, I was looking for Cleonn.

He got out of my room.

He's down here someplace.

He's a big kitty now.

He can take care of himself.

Eric, please.

Listen, baby.

We're gonna be sh**ting
early in the morning.

And you've got to
get some sleep.

Or there'll be bags
under our bags.

And there isn't enough makeup
in the world to cover that up.

You still want me to
be beautiful, don't you?

I always want you
to be beautiful.

Was I beautiful in the
first movie you put me in?

Breathtaking.

Do you still think
I'm beautiful?

To me, you'll
always be beautiful.

Thank you, darling.

Come on.

I'll take you to your room.

[INAUDIBLE].

Wait a minute.

What about Cleon?

Oh, Fritz the cat!

Eric.

Eric, we can look for
him in the morning.

Eric!

David, please.

Don't leave me alone.

I'm too nervous.

Don't worry, Annie.

I'll only be gone a second.

I just want to check
something out with Eric.

Check what?

Oh.

Eric, we, uh... well, we...

Well, what is it?

Eric, David's
trying to tell you

That we saw Mr. Price
in the graveyard.

Yeah, I know.

You know?

You saw it too?

Saw it?

I directed it.

What?

I was filming some
of the graveyard stuff

When old princely Price arrived.

I asked him if he'd move
through the tombstones for one

Of the shots, and
surprisingly enough he agreed.

Do you mean you staged it?

That's right.

What about when he
went into the grave?

What?

He lifted a tombstone
and disappeared.

Did you stage that, too?

No.

Goodnight.

Come on.

MAN [OFFSCREEN]: [INAUDIBLE]
I need a [INAUDIBLE].

MAN [OFFSCREEN]: You got it.

[PEOPLE TALKING]

MAN [OFFSCREEN]: [INAUDIBLE],
give me half an hour.

MAN [OFFSCREEN]: You
got it, you got it.

MAN [OFFSCREEN]: How about
a couple of sand bags?

Eric, it's the sixth take.

Can I please put on my
double wardrobe now?

Double wardrobe, on my budget?

You've got to be kidding.

But I'm soaked.

We've been out here for hours.

We'd be inside if you'd
get the damn scene right.

All you have to do is
walk away from camera

As if you're in a hurry.

You don't care about the rain.

That's what you think.

Because you're going
to meet your lover.

Now if you can manage to convey
that and walk at the same time,

We'll all go inside.

Slate it.

Take seven.

Let's make one.

Hit the rain!

Mark it.



Roll it.

Action.

Can't you walk any faster?

Now go to the left.

[SCREAM]

What's she doing now?

Hey.

That's for real!

Cut the rain!

[CRYING]

One of you b*stards did this.

One of you!

That's all I need.

Another day's work shot.

Why would anyone do
anything that awful?

Eric.

Look at that.

Where do you think
that came from?

Piece of a headstone.

Price.

Yep.

Price!

Price!

[RUSTLING]

If you're looking for the
silver, it's in the main house.

Mr. Price.

This is the last time you'll
interfere with my filming.

Are you mad?

I haven't been
near your filming.

Stop playing games.

Why did you k*ll that cat?

What?

Sometime last night
half of Ms. Dorian's cat

Was neatly deposited
on the lawn.

You're accusing me
of this vulgarity?

Part of a headstone
was found nearby.

I took it to be
your calling card.

Headstone?

Was there a name?

No.

You're sure?

No name on the headstone?

None.

I didn't expect you'd sign it.

You're insane.

Am I?

What are you doing with
that chisel, baking a cake?

Obviously you'll
give me no peace

Until you've ransacked
my entire house.

Close the door.

Your own private
elevator, huh, Price?

Bet it's wear and
tear on the old back.

Don't scoff at things
you know nothing about.

What's there to know about
headstones, except death?

That's only part of it.

The other part is
graves, Mr. Hartman.

Graves.

Now what are you talking about?

There are eight graves in the
Beal family plot, Mr. Hartman.

Only seven headstones.

So make another one.

I would, but I haven't
been able to find out

Whose grave it is.

Now that is one
momentous problem.

This way.

Nice place you have here.

Your family room?

Strange things have
happened here, Mr. Hartman.

Unimaginable things.

That's why I'm making
my picture here, Price.

Other than that, I
don't give a damn.

Mr. Hartman.

Mrs. Beal was experimenting
with the occult when she died,

And her death was no ordinary
suicide, I assure you.

What you're doing here... the
subject matter of your film...

Whatever... I believe you to
be in great danger yourself.

Price, I've made
a lot of films.

Mostly about witchcraft.

And you and I... we both know
that it's all a lot of crap.

Perhaps.

Perhaps not.

But there are
signs, Mr. Hartman.

I've seen them.

This cat that was k*lled...

What is it, Price?

The devil?

Did the devil k*ll the cat?

Or maybe a ghost, or a vampire?

Or what about you?

I should have
realized it would do

No good to try to talk to you.

I'm we both
understand each other.

Since you found
your own way in,

I'm sure you can manage
to find your own way out.

I'll do that.

Good day, sir.

And you stay off my set.

What is this?

What the hell's going on here?

What is this, a tea break?

No actress, no
lights, no sh**t.

What?

Madame has played her
final farewell performance.

Where is she?

In her room, packing.

Finish setting up in here.

We'll sh**t in 10 minutes.

There's no need
for a scene, Eric.

I just can't take
this place anymore.

This house, this movie.

I just can't stand
it another minute.

I'm going back to Hollywood
if I have to hitchhike.

OK, baby.

I understand.

In the meantime, what am I
supposed to do with my movie?

Well, get a new ending.

Do it on a set.

I don't care, Eric.

I just want to go home.

Do it on a set?

Baby, we gotta finish
this picture tonight.

Here.

Do you know what it would cost
me to move into the studio

And build a set?

I got to bring this
in for a price.

Oh, money, money.

Is that all you can think about?

What about me?

I tell you, I feel threatened.

And I can't stand
it another minute.

Same old ego
still working, huh?

I, I, I. Everything for Gayle,
the hell with everyone else.

Oh, Eric, you don't have...

Listen, baby.

What you're pulling
might have worked

In the studios 10 years ago,
but not here, and not now.

And sure as hell
not on my picture!

Eric, you're hurting me.

OK.

Go on, leave.

But you're walking all right.

And when you get
there you're going

To find out just how tough it is
for a middle-aged beauty queen

To get a job in the
acting profession.

Or even in the profession
I first found you in.

I'll expect you on
the set in 10 minutes.

In your wardrobe.

You forget, Sister.

You have taken vows.

Vows to the devil.

I'll go to the priest.

Beg for forgiveness.

There is no forgiveness.

They will burn you at
the stake for your sins.

Then we'll run.

They'll hunt you
like an animal.

Running away is not an answer.

It's my answer.

Don't you see, Maria?

I love him.

That means nothing.

Angela, I forbid it.

You will ruin everything
that I've worked for.

I absolutely forbid it.

There's nothing
you can do about it.

We're going to leave.

Today.

And I say you are not.

Rita, what are you doing?

My god, Maria.

I'm your sister.

Maria, you've gone crazy.

What's...

[SCREAM]

Rollover, come on.

All right, get her on the floor.

Look out for the knife, now.

Good, good.

All right, David.

Come on in.

Maria...

Maria, Angela!

Cut!

Good for me.

How was it for you?

MAN [OFFSCREEN]: Good here.

Print it.

Ron, set up for the stabbing.

Where is it?

OK, put it on.

Come on, let's go.

Gayle, stay under him
when you stab him.

I want to see plenty
of blood on you.

All right, come on.

Get on your marks.

All right, girls.

Never mind your hair.

You're supposed to be in a
fight, not a beauty contest.

Come on, Ron.

Get out of there.

Come on.

That's fine, let's go.

Places.

Right where you
are, right there.

Camera ready?

Ready.

OK, roll camera.

Rolling.

[INAUDIBLE]

And slate.

Fall into it, that's right.

Action.

Come on.

OK.

Stop it, do you hear me?

Stop it!

Maria, Angela!

Maria!

My god!

Maria!

Roger!

Now you have no
reason to leave.

Ever.

[CRYING]

Oh my god.

Cut it.

That's good for me.

How was it for camera?

Beauty.

OK for sound?

MAN [OFFSCREEN]: OK for sound.

Print it.

God, you look awful.

For a dead man, I
don't feel too bad.

Don't get it on me, OK?

That was good.

Very good.

Thank you.

Set up for the last shot.

We'll sh**t in an
hour and a half.

An hour and a half?

You mean I have an hour and
a half to change my clothes,

Redo my wardrobe, and be ready?

You heard the man.

Ah!

Ha.

You know, that's just
what the movies need.

Another pretty face.

How do I look?

Great.

You look awful.

Let's make a movie.

Now you know what you'll
look like when you're dead.

I look rather
handsome, actually.

Honey.

Honey.

David.

Zip me up.

Open

Just what is so
interesting about that book?

I don't know.

Why do you keep reading it?

I think we can
use it in the film.

We already have.

I think we can use it again.

Anne, I've got it.

Listen to this.

David, it's not good for
you to read things like that.

[SPEAKING FOREIGN LANGUAGE]

The dead rise and come to me.

[SPEAKING FOREIGN LANGUAGE]

The dead rise and come to me.

Stop it.

Stop it!

What's the matter?

That.

That book.

That awful book.

Honey, it was written


Well, it sounds like it
was just written yesterday.

It's so... official, so real.

I don't like it.

It's just so...

Scary.

Yes.

I know.

It's scary as hell.

And that's why we should
use it in the film.

Why?

Authenticity.

It'll give the picture a
feeling of authenticity.

[WHISPER]

Get all the lights.

Get the actors down here.

Let's make a movie.

Gayle, hold the book up.

I haven't got the book.

Where's the book?

I got it.

Sorry, Eric.

OK, OK.

Now.

Hold it up, Gayle.

I want to zoom in on it.

How do you want me to read it?

The way we rehearsed it.

Chris.

Chris?

Oh, where the hell is Chris?

You called?

Yeah, yeah.

Look, when you come
up, come up slowly.

And don't stop once
we start rolling, OK?

Gotcha.

Eric?

Yeah.

How do you want me to die?

What?

Well, I've never died before.

And I don't know how to.

We've been through
all this before.

But we didn't rehearse
the actual dying.

You back away, he grabs you,
and hits you with a candelabra.

You just fall down and be dead.

OK.

Trust me.

Dying is easy.

Living's hard.

Let's try one.

Fix their hoods.

Chris, will you
hold this a minute?

Come on, come on.

Hurry it up.

OK.

Camera read?

Ready.

Roll it.

Rolling.

Slate it.



Action.

[SPEAKING FOREIGN LANGUAGE]

Cut.

Somebody like the damn candles.

Come on, come on.

Hurry up.

Get them lit.

All right, let's go again.

Camera ready?

Ready.

Standby.

Roll camera.

Rolling.

Slate it.



Action.

[SPEAKING FOREIGN LANGUAGE]

[RUMBLING]

[SPEAKING FOREIGN LANGUAGE]

Cut.

Eric, this book is very old.

It's just not that
easy to follow.

It's the same damn
line read three times.

What's so difficult?

I'm sorry.

OK.

Let's go again.

Please.

Camera ready?

Camera's ready.

Roll camera.

Slate it.



Take three.

Action.

[SPEAKING FOREIGN LANGUAGE]

[SPEAKING FOREIGN LANGUAGE]

[SPEAKING FOREIGN LANGUAGE]

[SPEAKING FOREIGN LANGUAGE]

[SPEAKING FOREIGN LANGUAGE]

Come, my darling.

I have been awaiting your
return from the dead.

You see, my sister?

You see the power?

Yes, my love.

[WHISPER]

Yes.

Rise.

[WHISPER]

Rise.

Rise.

Let go of me.

I command you.

Maria.

Let go of me!

[SHOUTING]

Angela.

Angela, help me!

Angela, help me!

Ah!

Maria!

Maria!

Noo...

[WHEEZING]

Change your pace.

Don't change, now.

Straight ahead.

Now go to the left.

Keep going.

Don't change your pace.

That's it.

Go on.

Good.

Keep going.

Cut.

Print it.

That was great.

I don't know how it was for
you, but it was great for me.

You all right, baby?

See, baby?

I told you dying was easy.

Yeah, it was fun.

Eric.

Do you think we
could do that again?

You are funny.

You oughta play comedy.

Where'd you get hurt?

Oh, stop it.

Did you see all of it?

Everything.

How was it?

You're a very groovy corpse.

But messy.

Blech.

Beautiful, baby.

Just beautiful.

Beautiful!

Look at me.

I am, and you are beautiful.

Now get yourself cleaned up.

I'll see you first
thing in the morning.

The morning?

Yeah.

When we leave.

Eric.

Eric, can't we leave tonight?

I still have some
exterior stuff to sh**t.

Well, is that gonna
take the whole night?

Half.

Well, what about
the other half?

Who knows?

We gonna get some graveyard
stuff tonight, Eric?

Yeah.

Dave and I'll handle it.

You stay here and
pack up the equipment.

Come on, David.

Let's go.

Ron, would you help
Anne get cleaned up.

How do you take this stuff off?

[INAUDIBLE].

And so to sleep,
perchance to dream.

Beyond the hands that dispatched


Ron, that goes in the truck.

You know, Eric was right.

About what?

There's no end to
this kid's knowledge.

OK, I'll take it
to the truck myself.

No, that's OK, Tom.

I'll get it.

Ron, I'd sort of like a smoke.

Let me do it.

[WHEEZING]

What?

Oh... [SCREAM]

[THUD]

Hey, Tom.

Yeah?

Bring me that wire over there.

What's the matter?

What's the matter?

I don't want to get
too much light on this,

So keep your camera high.

OK.

What lens do you want?

I'll tell you
when we get there.

Eric?

Eric, is that you?

Eric?

Eric?

[WHISPERING] Eric, is that you?

Eric, is that you?

[WHEEZING]

[SCREAM]

Eric!

Gayle?

Somebody scream?

That's a stupid question.

Probably found the other half
of her dear departed kitty-cat.

Condolences are in order.

Gayle?

[g*nshots]

[SCREAM]

[GASP]

[SCREAM]

Where the hell have you been?

All right, hitch a lamp.

I'm gonna pan slowly over
the tombstone, to the right.

I said slowly.

Put a light on his face.

Price.

m*rder*d.

But who would...

Look, Eric.

This grave is empty.

What the hell did
you do that for?

What's the matter with you?

Nothing.

I just wanted you to
see the grave, that's...

Ugh...

What the hell is the
matter with you, David!

What the hell is the
matter with you, David?

Have you gone
crazy or something?

David... Beal.





Oh, God.

My God.

David!

[MOANING]

Tommy?

Danny?

Oh, no!

Danny.

Oh, God.

Ron!

Ron!

Oh my God.

Tom!

Tommy!

Ron!

Tom!

Tommy!

[SCREAM]

Jesus!

Oh, no.

My film.

My film!

My film.

[INAUDIBLE]

My film.

What did I do?

Jesus Christ.

[WHEEZING]

[MUSIC PLAYING]