Inn of the Damned (1975) - full transcript

(dramatic music)

(intense music)

- Most adorable, my dear.

- The other ones went
down by the stagecoach.

- She's got her traveling case with her.

I mean, you weren't serious about her

coming with us, were you?

I mean after all, we got
a lot of work, don't we?

- The two things I take
everywhere I go, my friend,

this and, well, company.

Always sensible to take
home comforts with you.



But then, you wouldn't know about that.

- It's a long way to the
Wayside House, isn't it?

I thought maybe all she'd
get for that was a trip.

- She's along for the ride,
as so are you, Mr. Quill.

Now you may showing me where
these gold samples are,

but you're not paying.

My money, my mine.

I'll have her stay at that...

Oh, good evening.

I'll have her stay at the overnight place,

what do you say they're calling?

- Well, uh--

- Oh my dear, I'm so
sorry to keep you waiting.

A few minor details to attend to.



- Still plenty of time.

- All aboard!

First up, Straulle House.

It lays interest.

- Going to add on tonight, eh?

Even a couple from the Straulle place.

- Straulle House.

(whistles)

Come on, get up, get up!

Barney, Barney, get up!

(dramatic music)

Go on, get up!

(dramatic music)

Come on!

Get up.

- The only thing that
worries me, Mr. Quill,

is having to ride horses to the mine.

- Now don't you fret now, Mr. Cummings.

I'll get get hold of a
nice quiet horse for you.

Those hills around there are too steep

to go climbing afoot.

- Oh, I checked the mining
office about that closure.

- Check?

What is there to check?

Everyone knows the place was closed

because of the plague.

Oh there's gold there, all right,

don't you worry about it.

You know I showed you it.

Here, you take another look.

- Ah, small pennies.

I'm interesting in bigger stakes.

If your man has discovered
a run, I'll know.

- The Germans up there
tried to get hold of it.

We had to fight them off.

Oh, there's gold there all right,

don't you worry.

- Well, it wouldn't be the first time

I've chased nothing.

(dramatic music)

- Come on, come on, get up!

(whistles)

(dramatic music)

Whoa, whoa, whoa!

- Everyone out!

Aye!

- Watch it!

(horse whinnies)

(mysterious music)

(chuckling)

- Oh, Marty!

(lighthearted music)

- Up we go.

Thank you.

Oh!

Sit up, darling.

That's a good girl.

(lighthearted music)

- Bye bye lady!

(dramatic music)

(clock chiming)

(mysterious music)

(screaming)

- Help!

(yelling)

(dramatic music)

(mysterious music)

(clock chiming)

(mysterious music)

(bird squawking)

- Your tongue has gone
this morning, Biscayne?

You nervous?

You have change of mind?

- Not me.

Nothing I do now makes any difference.

I've got a big price on my head now.

I've even got my pictures
in the police bulletin.

Oh, I'd seen on the windows.

They make me look younger, they do.

- Ah, you're too full of yourself.

- There's an American after me.

A professional killer, he is!

Twice he's got close
enough for me to sight him.

The last time I had my
hands on some woman of his.

Imagine that.

Some dark, tall tart
with those great big--

- We are not interested.

- Staying clear of the law is one thing,

but it ain't justice when they bring in

some foreign, no-good-at
to do their dirty work.

- As long as he does not follow you here,

and you do as you are told,

I do not care about the law.

- Nobody follows me anywhere.

Not here, not anywhere.

Don't you worry.

I can look after meself.

- Oh, we've saved you from
being arrested, Biscayne,

and hung.

For eight years we have protected you.

- I know that, you don't have to

keep on telling me about it.

- Oh, but we do.

Eight years is a long time to
keep silent about a murder.

A murder that you committed here.

Right there, you killed him.

And we saw you do it.

- I'll have to go before
the sun gets too high.

It's a long walk to the Grimstead's.

- No, you leave that be.

I will attend to that.

He was a rich man, very rich.

But that whore--

- I didn't bring her, he
picked her up in Melbourne.

- You don't bring the likes
of that girl here again, ever!

There's nothing for you at Grimstead's.

You go back to Bildara tomorrow night.

- No!

It was risky enough getting on that coach

with Cummings as it was.

Safe places are hard to find nowadays.

- You are safe here, as long as--

- We'll see what happens.

It ain't easy to move about now.

The truth is, I can
handle with the Americans

on me ass.

You'll want to keep
your eyes open for him,

he's a mean one.

- I thought you said
he wouldn't follow you.

- Oh, don't worry, he's not after me now.

I've probably seen the last of him.

(door creaks)

Don't he never say nothing?

- You know he has a bad throat.

- Well, maybe I'll see
you next month, aye?

- Yeah.

You remember our agreement.

(birds chirping)

- I'll take the side
of the house, Georgie.

Then the shearing sheds and the stables.

I saw some men down in the pastures

with the sheep as we came by.

We go in there in the pond there,

and nobody will see us.

- I'd rather wait 'til dark.

I'm not going in that place in daylight.

- Nobody said anything about going inside,

we'll look around outside!

See what you can find!

There's a small room there in the back,

you can pick out for yourself some booze.

(horse whinnies)

That horse would fetch gold.

Forget the money.

Gold.

And lots of it.

Probably runs like the wind.

- I don't have your nerve, Biscayne,

seeming, well, you
know, you'd do anything,

but I'm not like that.

- You sodding bastard!

I should've left you
to rot at the crossing.

Tell you what, Parr,

I don't need you.

So you can stuff off!

But if I ever see your carcass again,

I'll cut you up in little pieces.

You ain't no guts to tatter.

- Right.

But let's wait 'til after dark.

- We go now!

So move your ass!

(groaning)

- Simmons!

I say Simmons, come here!

You too, Hogg.

Both of you!

(whimsical music)

(chuckling)

(groaning)

(horn blowing)

I say!

(yelling)

- Go on, get going!

Go, go, go!

Come on!

- Come back here!

(gun fires)

(whimsical music)

- Oh, shit!

(whimsical music)

(dog barking)

(horse whinnies)

- Bet you ain't seen anything
like this before, Georgie!

(laughing)

- You're mad.

Grimstead will have a whole
bunch of riders out after us.

(laughing)

- You got a mate there for life,

you'll make a nice couple.

(laughing)

Oh, I could flog off this bit of meat

to Old Man Phillips at the logging camp.

He knows how to keep his mouth shut.

He's got gold too.

(dog barks)

(horse whinnies)

- [Georgie] Troopers?

Where'd they come from?

- [Biscayne] Troopers?

Nah.

Well, maybe one.

Jeez, that Palomino!

That's Kincaid.

- Kincaid?

Who's Kincaid?

- Shut up!

(dog barks)

- Well, it's that horse of yours.

They'll see it running,

I told you we should've
waited 'til after dark!

- Shut up, you old fool!

He's shot more men,
than you've had dinners!

- The American?

Oh Christ, I'm getting
the hell out of here.

(dog barks)

- He gets his throat cut.

- No!

(dog whimpers)

- If he barks, they'll be onto us!

- No, I'll keep him quiet.

I'll keep him under the trees, see,

and you lead the troopers away, yeah?

Yes?

- It's your neck.

I'll lead them away.

And I'll see you at the
waterfall in the morning,

at midday.

You bring Kincaid with ya,

and I'll have your guts
before they fight me, Parr.

(horse whinnies)

(dramatic music)

(horse whinnies)

- Stop or I'll fire!

(gun fires)

- Don't shoot, he's mine!

(suspenseful music)

(horse whinnies)

(loud splash)

- Now I got ya, you bloody trooper!

(suspenseful music)

- You bastard, Biscayne!

(suspenseful music)

- Where the hell did he go?

- Around that fence, Cal.

Let's go and catch him.

- Like hell I won't!

(suspenseful music)

I'm gonna get you, Biscayne!

I know you're there!

I can smell ya!

(horse neighs)

(horse whinnies)

- Uh, uh...

Hello, everybody.

Come on!

(whimsical music)

(drunken singing)

- Parr?

- Moore.

I should've known it would be you.

- That's some watchdog.

- [Cal] He's not yours, is he, Parr?

- Oh, Jesus!

- Belongs to a boy at the Grimstead place.

It's not nice to steal a little boy's dog.

- No sir, well you see, he followed me.

I think he might've been
from the Grimstead's.

- We know where he came from, Parr.

What we want to know is, where's Biscayne?

- Who?

- Biscayne, Parr.

Your traveling companion.

- Well, I mean I know all
about my traveling companion...

(groaning)

- You're a bad liar, Parr.

Now I'm gonna ask you
one question, one time,

and I want you to tell me the truth.

Where is Biscayne?

(suspenseful music)

So you don't know much
about it then, do you?

- No, I pass by the house maybe, oh,

three times a month,

but I wouldn't go in there, no sir.

- Well, if there's
anything going on there,

we'll sure check it out,

especially if it involves Biscayne.

- Well, the couple that run
the place, the Straulles,

they'll be wary of the law.

- Right.

Well, thanks a lot for
your help, Mr. Melford.

Take you up on that
invitation some other time.

- Give my best to Trooper Moore.

- Right.
- Good luck.

Giddy up!

(suspenseful music)

- Looked like Paul Melford.

- Yeah.

I showed him the picture
of Cummings, nothing.

- Well, maybe they
didn't stay at the house.

Maybe that wasn't Biscayne
with him in the coach.

- You sure are full of maybes

for somebody who picked up
the information in Bildara.

- Yeah, okay, then they
did stay at the house.

We know where Biscayne is,

but what about Cummings?

No one's seen him since that coach ride.

- I wouldn't go near
that place if I were you.

- What do you know about it?

- Oh, just Biscayne, he stayed there

a couple of days and--

- What, with Cummings?

- Well, you know what I mean,

he was just saying he
mentioned something about

a mad woman or something.

- Probably his mother.

- No, I'm serious.

That place is not to be trusted.

- Now, you listen to me.

We're going down there now

and to get your mate.

- He's not my mate!

- And if you run off,
I'll blow a hole in you

big enough for a dingo to jump through.

- I'm no fool!

- You just sit there and shut up, Parr.

- I'll stay here, you go back then.

- You had better, Parr.

Come on.

- Dirty mongrel.

(spits)

(speaks in foreign language)

- No, no, no, no, no, no.

Shh.

(lighthearted music)

(singing)

(laughing)

Shh.

(singing)

(cackling)

(ominous music)

- Heidi!

(speaking in foreign language)

- You're going to be a good boy, ya?

(speaking in foreign language)

- Ya.

(chuckling)

- You go play with Heidi.

- Heidi!

(lighthearted music)

- Heidi!

Take care of Hansel.

And no fighting, no!

(chuckling)

- [Heidi] I'm bigger than
you, you can't catch me!

(haunting lighthearted music)

No, you can't!

- [Hans] Yes, I can!

- [Heidi] You can't catch me!

- [Hans] Yes, I can!

- [Heidi] No you can't!

- [Hans] Yes, I can!

- [Heidi] I'm bigger than you.

You can't catch me.

- [Hans] Yes, I can!

- [Heidi] No, you can't!

- [Hans] Yes, I can!

(haunting lighthearted music)

- [Heidi] I'll race
you down to the forest!

- Wait for me!

Wait for me!

Heidi?

Heidi?

Heidi, wait for me!

You wait for me!

(lighthearted music)

- Leave me alone, help, help!

(lighthearted music)

- Heidi!

(lighthearted music)

Heidi!

(ominous music)

(grunting)

Let me go, let me go!

(cackling)

- No, no, no, no, no,
nobody come into this house!

No, no, no!

- It's only a dream!
- No, no!

- It's only a dream!
- Nobody in this house!

- Look at me, I am here.

I am here!

It's only a dream.

- Oh, oh, oh, oh!

- I promise you, I promise you!

Nobody will come into this house.

No, no.

(horse trotting)

(whip snaps)

- [Man] Get out!
(horse whinnies)

- Whoa!

- [Man] You can't come here!

(whip snaps)

- Get out of it, Straulle!

What the hell are you...

That's enough now!

That's enough!

(horse whinnies)

I'll blow your damn head off!

(dramatic music)

Get on!

(whip snaps)

- You'll stay away!

- Biscayne's not just
gonna let us take him

because he's cornered, Cal.

He doesn't carry a gun, but that knife.

I doubt whether I'd shoot him

unless my life depended on it.

- Yeah, well let me tell you something,

your life does depend on it.

You ain't dealing with some old drunk

down in Settler's Flats, or a Parr,

or some little boy who slapped his momma.

So you just be sure you got
that pistol of yours loaded

and be ready to blow
that bastard's head off

if we see him.

I thought you say we could
hear those falls from here.

- The breeze usually carries
the sound down this far.

It's just up ahead, about two miles.

- Well, at least he won't hear us.

- Well, like Parr said, Cal.

Biscayne doesn't hang around.

Wherever he is, he's on foot.

Mr. Grimstead's horse,
courtesy of Biscayne.

- We got him now!

(water running)

(dramatic music)

(water running)

(mysterious music)

- Well, we got him, Cal.

It's been a long haul for all of us.

I only hope he's worth it.

You can relax now.

- We should've let the bastard drown.

It would've saved
everybody a lot of trouble.

- Yeah, maybe.

But it's up to the Colonel now.

Oh, Parr.

You're gonna have to
share the walking honors

with your mate Biscayne
back to Settler's Flats.

- If he comes anywhere
near me, I'll have him.

Shoot at me, I'll have him.

You'd sell anyone out!

- Look, I didn't sell out!

You did!

- You sodding creep, I'll have ya!

I'll kill ya!

(laughing)

- You ain't gonna kill anybody, Biscayne.

Your chances of even leaving here

are fleeting by the minute.

- You got lucky, Kincaid.

If it wasn't for that stinking bastard,

you'd not caught me, not now, not never!

- They're already selling
tickets to watch you drop.

If it weren't for him,

I'd peel the skin off you right now,

just like you did that
little girl in Rothstown.

But I am gonna put this
rope around your neck

and walk you into the ground.

- Stay back.

- Biscayne!

- Don't move, don't move!

- Drop it, Biscayne, you
haven't got a chance!

- Stand still.

- And when you stop walking,

I'll drag you.

Give me that gun.

- Don't move!

- This is your last chance, Biscayne.

Drop that gun!

There's no way out of here.

(groaning)

- See what I mean about shooting first?

You better try it again, Biscayne.

(dramatic music)

There's one in there.

Maybe you'll get lucky.

That's right, go ahead, turn around,

see if you can work it out.

I might just blow the
back of your head off

while you're doing it, though.

(dramatic music)

- Throw that gun down,
Biscayne, he'll kill you!

Throw that gun down!

- Remember Marcia?

The little dance hall girl?

An alcoholic.

Remember how you cut her up?

And the Chinese girl,
and how many others, huh?

I want you to think
about them now, Biscayne.

How does it feel to know
that a piece of hot lead

is gonna rip into your guts

and blow them all over the ground, huh?

Are your hands shaking a little?

Any time you think you're ready,

just turn around.

- Biscayne, throw that gun down!

- He'll kill you!

(dramatic music)

- Ah!

(dramatic music)

(guns firing)

- You sure you don't want me to come back

to the station with you, Cal?

- It's my deal, I'll handle it.

- It was just an offer.

- Why don't you check that house?

See what you can find out.

Maybe pick up another medal.

(dog barks)

- I wouldn't turn back
if I were you, Parr.

- Come on.

Come on.

- Well, I'll check the inn.

It's only four o'clock,
I'll be okay for time.

I'll see you tomorrow, okay?

- Right.

(lighthearted music)

- [Moore] You've had only
four people stay here

in the past two weeks, ma'am?

- I told you, business has been bad.

Once all the coaches used to stop here,

but now it is the steam ship, the trains.

- [Moore] These names, ma'am.

Mitchell, Pierre, Warren.

Real names, would you think?

- I do not ask questions, mister...

- Moore, ma'am.

Trooper Moore.

We are particularly
interested in a Mr. Cummings,

an Englishman.

Former assay man, well
dressed, well spoken.

He was to pass by here.

- No.

I do not remember such a man.

- My information, ma'am, from
the coach depo in Bildara

was that he left there to come here.

To this inn.

Cummings always carried an umbrella.

Seems he spent many years in the Orient,

a habit of his.

He never went anywhere
without his umbrella.

I would like to speak
to your husband, ma'am.

Where did you say he was working?

Perhaps I can ride there.

- No.

It's a long ride, and very dangerous.

- I ride well, ma'am.

- My husband will be back in the morning.

You stay here.

- No thanks, ma'am.

I'll head on out to the Melford Homestead.

- At night time?

There's bad swamplands.

- Well, the Melford property's not far.

- You stay here tonight, and
see my husband in the morning.

Yeah?

- You're persuasive, ma'am.

I could deal with a rest.

- And some food, and some more wine?

- Yes, I will have another
drink, ma'am, thank you.

But not too much.

- And your horse.

- I'll see to him later, ma'am.

(dramatic music)

(dog barking)

(sheep bleating)

(lighthearted music)

(dog whimpering)

(lighthearted music)

- A-ha!

Get our hats, Thomas, me lad.

(horse whinnies)

- God, what happened?

It's not Frank, is it?

We've got men out looking for you.

- No, it's not Frank.

It's Biscayne.

- Evening, George.

You wait out here.

You can have your usual room, same bunk.

- Wait 'til the Colonel hears about this.

I tell you what, Mr. Kincaid.

You'll get a medal for this.

- Your cannon, Kincaid.

It makes a mess.

I hope you got a good
story for the Colonel.

He'll want more to confirm
everything, you know.

Word for word.

(dog barking)

- Whoa!

- And where's my man Moore?

Lonesome?

- He's out playing policeman.

- Evening, all.

Heard you were back in town, Mr. Kincaid.

Oh, what poor, unfortunate soul

are we to take care of here?

- A common criminal, Gabriel.

A pauper's grave, no next of kin.

- No next of kin?

Who's gonna pay!

Who's gonna take care of the service?

- Service?

Just dump him on a trash heap

and let the flies eat him up.

- Talk to the Colonel, or the coroner.

- Hey!

Ain't you got nothing better to do?

- That's all right, Malone, leave him be.

- I warned you before, young Carrick.

Stay off the streets at night.

Judge Morty will have your height

if he hears you're back.

Playing your games.

- Is he really dead, mister?

He's not just a slave, is he?

- I don't know, I can't wake him.

(whispering)

- Hey, everyone!

There's a real honest to
goodness dead body here!

(dog barking)

A real live dead body!

Mr. Kincaid's got a body, come quickly!

- Oh, there, he's gone
to fetch the Colonel.

Sure is one hell of a catch.

- Oh!

I think I'll go home.

(lighthearted music)

- Mm.

(laughing)

We nearly both almost
lost our heads, Colonel.

- You're an insolent animal, Kincaid.

And out of your depth!

And you won't be killing
anyone for quite some time.

Your story about Biscayne's capture

and attempted escape is full of holes.

Malone, the holster.

- I told you the Colonel
likes a nice full report,

if you're not too tired to make another.

Peaches?

- Yeah.

- Bastard.

- This report's unacceptable
by any standards, Kincaid.

It's a load of rubbish!

Not one word will I or
the Commissioner accept.

- What the Colonel is saying is,

until Trooper Moore gets
back with a full report

on Biscayne's attempted escape,

you're without your cannon.

And while we're talking about Biscayne,

there's always the possibility that--

- Biscayne's body.

Where'd you put it?

Frightened you won't collect the bounty?

And he's still handcuffed I hear,

so he won't run away again?

(lighthearted music)

Heaven's no!

- Oh!

- Hey, wait, wait, wait, wait a minute.

He's a little stiff,
but he won't hurt you.

- This is a respectable hotel!

We'd never allow corpses in here.

- Go back to your desk.

Look after your live customers.

- But he said it was a drunk friend.

Carried him in on his shoulder, he did.

She...

That came in later.

This is my hotel!

Everyone out!

Everybody!

Or I call the police.

- Piss off, Arnold, will ya?

And the police won't find
a body in your hotel.

(speaks in foreign language)

- You're a sick bastard, Kincaid.

But this time, you've gone too far.

I'll get the top brass in Melbourne,

and I'll have you out of here,

out of this county,

on your backside, on
the first tramp steamer

to San Francisco.

You're going back to where you came from.

A lot dirtier, a lot sicker.

Bring that corpse, Malone.

- Bristow, bring the body.

(chuckling)

- Oh, and Bristow, would you
put the door back please?

I don't want Peaches here to catch a cold.

(lighthearted music)

(lightning strikes)

(clock chimes)

(ominous music)

(thunder rumbles)

- We cannot wait any
longer, it is almost light.

He is asleep.

- I need more fertilizer.

You have no idea how much lime it takes.

- Yeah, yeah, Lazar.

I know all about that.

- Come on, come on!

Yeah, yeah, yeah!

(rain pouring)

- For goodness sake, you stupid idiot!

Can't you make this horse move?

- The horse came out, so calm--

- Oh, sit down!

- I'm sorry, ma'am!

- But yelling your head
off isn't gonna help

the poor horses--

- Will you be quiet?

- [Man] Will you both be quiet!

- You dare to talk to me like that?

Just you wait 'til we get
back to the homestead!

- I'm sorry, ma'am, but
you're scaring the horse.

- You'll go straight
back to the sheep farm!

(horse whinnies)

- Hide him!

Hide him!

- Those.

- Yeah, yeah.

(thunder rumbles)

(knocking)

- [Lazar] I'll hide him in
here, nobody will find him.

You go down to the door.

Be careful.

(knocking)

(horse whinnies)

(knocking)

- We'd like to stay here
until the storm comes down.

I thought it had finished,

I certainly didn't
expect another downpour.

(rain pouring)

You're to be with your horse, Alfred.

I'll call you when you're wanted.

- My husband will take care of the horse.

- Beverley.

What are you doing?

- I'm soaked to the skin,

I'd like to get out of my dress.

- Don't worry, my dear.

You can use one of the rooms upstairs.

Come, I show you the way.

- Alfred, you can go on to the farm.

- You know what the horse
is like in the rain, ma'am.

- You're wet as it is.

And ask Mrs. Bennett to
bring some clothes for us.

- It's scared of the thunder, ma'am.

- You can't get any wetter, Alfred.

You'll be there and back in a few hours.

Mrs. Bennett is expecting
us well before lunch.

You go now, understand?

I'll get out of these wet clothes too.

Oh, and a bath, otherwise
we might catch a chill.

And naturally we'll pay you

for your hospitality and services.

- Could I have my bath first?

- I will have to heat the water.

- Would you let me know
was soon as it's ready?

- It's all right, Beverley.

I'm sure it's a big bath.

- Oh, it's big enough.

- Alfred, don't you
ever do as you're told?

(thunder rumbles)

(mysterious music)

(horse whinnies)

(suspenseful music)

(groaning)

(dramatic music)

(groaning)

- Die!

Die!

Why don't you die?

(heart beating)

(dramatic music)

(yelling)

- It's got seven miles.

At least seven miles to go.

He'll catch a chill
out there in that rain.

Shouldn't have sent him.

- If I didn't know you better,

I'd think that you and Alfred...

He's just a common farm boy, isn't he?

- It's pouring out there.

- You'll catch more than a chill

just standing there like that.

The old man might see you.

- There's no one out there.

(mysterious music)

Wish we hadn't stopped here.

- Come here.

At least we can keep warm.

I'll keep you warm.

Well, you can't just sit there like that.

Beverley, I won't ask you again.

A little bitch, just like your mother.

No wonder your father threw her out.

Come on, Beverley.

Come over here.

Beverley.

(dramatic music)

(knocking)

(dramatic music)

(knocking)

- Your bath is ready, ma'am.

(dramatic music)

Lazar!

- I will take care of the trooper's horse.

The buggy horse goes down to the Flats.

Will you able to take care of them?

- When they drink, they will sleep.

- How long was it since we
had a bath together, dear?

Remember the first time?

Andrew was away at the auction, remember?

The water's not too hot, is it?

You'll probably boil where it gets to you.

And look at your hair, it's a mess.

I suppose I'd be able to get a brush,

I suppose the old woman does have one.

And as soon as Alfred comes,

we'll be able to get
ourselves dry and dressed.

- You dry yourself first.

You're just wasting time.

We could leave now, the rain stopped.

I don't want to stay in this place.

And that room upstairs it's--

- Just relax, there's nothing you can do

until Alfred gets back anyway.

- Maybe Mrs. Bennett is with Alfred.

Oh, please leave me alone.

I can't you doing this all the time.

You're hurting me.

Please let--

I'll dry myself off first.

- You don't mind, Beverley,
you know you don't mind.

There's nothing else for you is there?

What else have you got?

You little slut.

Good for one thing, just one thing.

You and your mother.

- You touch me again, and
I'll tell him everything.

And then we'll see who gets thrown out.

He's my father!

You make me sick!

- You, you?

I make you sick?

Who the hell do you think you are?

You stupid little trollop!

- Yes, hit me.

Go on, hit me.

Leave a mark.

And then I'll be able
to tell him, all of it.

And I remember too.

Every detail.

If you think I enjoyed one...

God, I hate you!

All this time I've been more
worried about hurting him!

(dramatic music)

(mysterious music)

(gun firing)

(horse whinnies)

(mysterious music)

- Afternoon, ma'am.

I'm looking for a friend
of mine, a trooper,

Trooper Moore.

- You are a trooper?

I have not seen you before.

We have not seen any troopers
here for a long time.

- He planned to stop
by here late yesterday.

- No, we have no visitors last night.

- Well, I'm sure he came by here, ma'am.

Well, maybe your husband saw him.

- No.

He would've told me.

- Could I talk to him?

- No.

- [Cal] Your husband, I mean.

- No, he is not here.

A horse got loose last night,

and he's gone to find him.

- Well, he oughta take a look down

on the river flats at
the end of the valley,

I saw a few horses there.

- No, I don't think he went that far.

- Your husband carrying a gun, ma'am?

- No, no, no gun, no.

No, he just looking for the horse.

- Well, is there any farm
closer than the Melford's?

- No, there's some German
people on Pascal Hill,

and the Grimsteads on
the slope beyond them.

- Yeah, I know the Grimsteads.

- What is it?

- Oh, nothing, just a wombat
ran right across there.

Well, if you see my friend,

tell him I went over to Melford's.

It's the first place just
past the swamp, isn't it?

- Yeah, it is a big
house, with a gray roof.

- Right.

Thank you, ma'am.

I may just call back again.

- Lazar!

Lazar!

(dramatic music)

In the morning, my husband
will get you a sulky

and drive you to your friend's farm.

I am sorry, but we do not have
a horse and carriage here.

- I just don't know
what could've happened.

My husband will be so worried.

Poor Mrs. Bennett.

- She did not eat much.

She's tired, Nifah.

- Oh, these boys are so unreliable.

He's being sent straight back
to that sheep farm after this.

Maybe he didn't even get to the Bennett's.

- Oh, I'm sure they understand the storm.

They will expect you tomorrow.

You rest well now.

I will call you in the morning.

(ominous music)

Ah!

We have had a lady guest before,

but never two such beautiful ladies, huh?

(laughing)

And from a very rich family too.

(chuckling)

(offbeat piano music)

(laughing)

They got caught in the storm.

Got very, very wet.

But here, they are warm and comfortable.

Yeah.

- We're ready, my dear.

- That jewelry is exquisite.

Perhaps you will tell them about it,

Mrs. Millington, yeah?

(dramatic music)

(knocking)

- I'm sorry to disturb you at this hour,

but I'm looking for two women.

My wife and daughter, and a lad.

- This time is so late.

- Well, they must've passed this way,

you might've heard them.

This morning, probably.

In a buggy.

It's the only road they could've taken.

The lad was driving.

- In a buggy.

And a boy...

Yeah, yeah, there was a boy, yeah.

- He was here?

The boy, Alfred?

But what about my wife?

And Beverley, my daughter.

- And it was raining very heavily.

He just asked which road
led down to the river.

- He was by himself?

That's not like Alfred.

Did he say what happened?

- No.

- The boy's usually so reliable.

Well, they must've sheltered somewhere.

Maybe they're hurt.

I'm going back to the Bennett's

to organize a search party.

Could your husband search
the river road upstream?

It would be a big help.

- No, no.

He is old and sick.

I wish we could help, but...

- I'll have to contact
the troopers at Aubust.

Something terrible must've happened.

Get up, Billy.

Come on, Billy, get up, get up there!

- We must hurry.

(mysterious music)

(dogs barking)

(dramatic music)

- Bring them here!

Back this way, Harry.

(suspenseful music)

(horse whinnies)

Ah, Mr. Kincaid.

What can we do for you?

- Have you seen Frank Moore?

- No.

Was he heading out this way?

- There's been no sign of him

since the afternoon I spoke to you.

He's not here, I checked
over at the Wayside House.

- Wayside House?

(sheep bleats)

(mysterious music)

- And I'm sorry I cannot
help you, Trooper.

You seem so sure that
your friend was here.

I'll show you the list.

Business has been bad.

The steam ships...

I wish he had been here,

we have so few visitors at these times.

Could I offer you some refreshment?

- No.

I'm sorry to have troubled you, ma'am.

My apologies.

(lighthearted music)

It's been a pleasure to meet you, sir.

- Mr. Straulle.

(lighthearted music)

(dramatic music)

- Lazar!

Take care!

Lazar!

There are two riders on the road.

Wait until dark for that.

- I told you, that trooper
will bring trouble.

I need to finish here.

(dramatic music)

How many men will he bring with him?

- None.

He works alone.

- Alone he will be no problem.

- Let him come.

The fool!

They are all fools!

Why can't they leave us alone?

But no, they come.

But we know what we have to do, Nifah.

I wonder how long before, before...

Come away from there!

It is him, he has come back
to look for his friend.

(horse whinnies)

(knocking)

Oh, Trooper, you have come back, come in.

You forgot something?

- No, I just got so tired, I
thought I'd spend the night.

- Ah, good, good.

See to the Trooper's horse.

We have a guest for tonight.

Can I offer you a drink?

- No, no thank you.

- Your friend, did you find him?

- No, but I think he's
probably back at the station.

- Ah, good, good.

- I'd like to settle in, get some sleep.

- Yeah, I show you the room.

(ominous music)

Come, I've got the best one.

This is our best room.

I'm sure you'll rest well here.

You sure I cannot get you a drink?

- No thank you, ma'am.

- There is another lamp over there.

And here is your key.

I put it in the door.

So, you rest well, goodnight.

(mysterious music)

He has not gone to bed yet.

He is waiting, and watching.

- Sooner or later, he must sleep.

(dramatic music)

(knocks)

(mysterious music)

- No, no.

I go and see.

(mysterious music)

(clock chimes)

(mysterious music)

(knocking)

(clock chimes)

We are almost ready.

This one will be very interesting to you,

because he is an American,

and he is very clever,

but not so clever as us, Nifah.

No.

And he has a friend who is still up there,

but he has not seen him yet.

(drowned out speaking)

And the other...

(laughing)

We shall see who is the most clever, yeah.

(mysterious music)

- [Lazar] Caroline!

(mysterious music)

- Ah!

Lazar, Lazar!

- Make another sound,
I'll kill you right now.

Stay right there.

(dramatic music)

(gun fires)

(suspenseful music)

(grunting)

(gun fires)

- Someone's outside.

Lock the door!

Lock the door!

(mysterious music)

(grunting)

(gun fires)

- Hey, Peter!

You come with me.

(dramatic music)

- [Peter] My door's
barricaded, Mr. Melford.

I'll try the other side.

(dramatic music)

(knocking)

- Right, stand back.

(guns firing)

keep away from the windows!

(dramatic music)

(gun firing)

Kincaid?

You all right?

Kincaid!

(mysterious music)

Straulle?

I've got men all around this place!

Straulle, can you hear me?

We're coming in.

(suspenseful music)

Straulle!

Mrs. Straulle!

(gun firing)

- No, no!

No!

No!

No, no!

- You all right?

- That bloody woman nearly
blew my shoulder off.

- Here, you take her.

Let's have a look.

I don't think it's too bad,

I'll get something to stop the bleeding.

- Who else is down there?

- I didn't see anyone.

- There must be somebody else down there,

I heard her talking to someone.

- Wasn't it the old man, Straulle?

- No, no, it was somebody else.

The way she was talking, it was different,

I know it was somebody else.

- Maybe we better take a look.

Tom, bring my shotgun and a lantern,

I want to take a look
in the room downstairs.

- No!

You don't go in that room.

Nobody goes in tha troom.

You are locked out.

Everybody is locked out!

No, leave us alone!

Nobody goes in that room!

No, no!

Run forever, run, run!

Run.

No, God, do not let them catch you!

Do not let them catch you!

No, run forever!

Run, run, run!

(sobbing)

- You better do something
about that shoulder,

or you're gonna pass out.

- It's all right.

It stopped bleeding.

You see, I was up there.

And I know those voices

were not coming from this room.

What's in there, do you know?

(mysterious music)

(gun fires)

(cackling)

- Hey, Doc.

Have a look at this one.

- Killed.

Butchered would be more appropriate.

They were playing in the bush somewhere,

and an escaped convict,
a madman, of course.

Such beautiful children.

But that happened 12 or 14 years ago,

soon after I arrived here.

- I remember that.

The Colonel handled it.

The man's name was Marriott.

Mad Mick.

- It was one of most
shocking crimes known.

This killer, the convict, Marriott.

He fled to the beach and was cornered

on the rocks by the troopers,

and the next day he threw
himself into the ocean.

Then three days later, his
body was washed ashore.

- How's the shoulder?

You're looking better.

- It's all right, it stopped bleeding.

- Mr. Heller's been telling
us about the children,

how they were killed.

- These portraits, are they the same

as you painted them?

- Yeah, just the same.

They've obviously been well cared for.

Even the framework has been polished,

very carefully too.

- Incredible, like nothing
I've ever heard of.

- I painted the portraits at the request

of Mr. Straulle.

Business for them was
very hectic in those days.

The moment I heard the
children being killed, I...

(dramatic music)

- How could they really believe

those pictures were children?

- Well, it seems that--

- Dr. Karsten over there's
not a bad judge of character.

He's been talking to the
Straulles for over an hour.

He thinks they really did believe

that those paintings were their children.

Oh, for God's sake.

Mrs. Bennett, get those
children out of here!

- Angela!

Angela, dear, now I want
you to go in the cart.

Down to the river flat,

but don't you wander away.

(speaking in foreign language)

Now come on dear, in the cart.

Quickly.

(speaking in foreign language)

(lighthearted music)

(sobbing)

- Mama!

- No!

(sobbing)

(speaking in foreign language)

No!

- My Caroline.

(speaking in foreign language)

- All five coaches a
day in and out of here.

Since, well, I guess the
world passed them by.

- Not everybody passed them by.

- That's an incredible
story of the old lands.

- Ah, can you believe what they say now?

- Apparently Straulle was some of a

boat builder and architect back in Austria

before he came out here.

He built those stone
stables out the back there.

And the wheel and the
winch are easily explained.

God knows we'd have enough
shipwrecks along this coast.

(mysterious music)

(loud crash)

(lighthearted music)