The House That Would Not Die (1970) - full transcript

Isn't it beautiful, Sara?

C'mon. I can't wait to see it inside.

Ruth, it's beautiful!

It's fantastic. When was it built?

Oh, late 1700, early 1800, I think.

Oh.

Oh, there's a terrible draft over here.

This house isn't as well built as it looks.

Aw.

Aw, what a shame.

Probably the work of the appraiser.



Cousin Hattie must have spun in her grave.

Oh, what beautiful floors!

Heat works. We won't freeze.

Oh, Sara, come and look
at this beautiful table!

Oh, Ruth, the kitchen.

Oh, Ruth.

I'm going to go upstairs.

Oh, Sara, here.

Take these with you.

Ruth! I found my room!

I recognized it like I've
been in it before. Come look!

Come look!

I started to knock but the
door just swung open.

I'm Pat McDougal, you're nearest neighbor.



I saw your car parked outside and
stopped to bid you a neighborly welcome.

Oh, well please come in..

I'm Ruth Bennett

We just arrived.

- We||, welcome.
- Thank you.

I uh...

teach anthropology at the university.

Oh, well then you'll want
to meet my niece, Sara.

She's enrolled for the next semester.

We'll be glad to have her.

Ruth...

Oh, this is my niece, Sara Dunning.

Sara, this is Professor
McDougal, our neighbor.

Hello.

I love this place.

Yes, it is lovely.

I assume you inherited it.

These old places are
seldom put up for sale.

Well, it really was quite a surprise.

Hattie Cambell was my cousin, but
I didn't know her very well.

I visited her here once
when I was a young girl and I...

Well, I guess she just took a shine to me.

I've always had a strange sort
of affinity for this place.

You knew Hattie?

Only the nar do.

I often tried to invite myself in, but
she was adept at discouraging visitors.

Still, I knew it would look like this.

I must have dreamed about it.

You both must come and see the kitchen.

Would you like to see the kitchen?

Yes.

We belong here.

I just know we do.

Oh, how lovely!

And electricity!

With all this antiquity,
I didn't expect it.

Look at that pewter collection.

Oh, it is handsome.

Plenty of cupboard space.
They sure are empty.

Then it's lucky you're having
dinner at my house tonight.

Oh.

Are we?

- Oh, no.
- Oh, yes. I insist.

It's too late for you to
drive back with supplies.

Besides, some of the more interesting
local people will be there tonight.

I think it would be a good
idea for you to know them.

That's very kind of you.

You know we have very cold autumns here.

See.

There's quite a draft. I'll check
these doors and windows for you

otherwise you'll never get the house warm.

- Oh, no you...
- I'LL see you at seven?

And I think I know a young man for you.

To save you from boredom.

You weren't kidding about Sara, the young
man, and the boredom bit, were you?

I think they've forgotten we're here.

Stan's...

Stan's all right

He's a thorn in my academic side.

But the bright students always are.

You say "good morning" to him
and he give you an argument.

- But, you like him don't you?
- Oh yeah.

From a safe distance across that gap.

Looks like he decided
to take charge of Sara.

He may just succeed.

I think this is what Sara
has been looking for.

Why she left home and came here with me.

Which leaves us with an
inescapable paradox, right?

Right?

Oh, I'm sorry.

They look so right together, don't they?

Ruth and Pat.

He seems much nicer.

- Nicer?
- Here in his own house.

Well, maybe I am hyper-critical.

Ruth's had enough trouble with the wrong
man. She needs the right one for a change.

Why did you leave home?

Oh, I didn't.

I'm on leave from the Department of

Agriculture,
Washington D.C. executive secretary.

I'll stay a while and then...

decide whether to go back
or look for work here.

No encumbrances, then?

Not now.

I think I know who that is.

Come on. Give me moral support.

Pat!

I knew you wouldn't mind.

Tom, Ann, how are you?

- Hello, Henry.
- Hello there, dear.

Rachel, dear, how are
things at the axillary?

Oh, Delia, it's so good to see you.

Things are fine. Why don't
you come around some time?

Maybe I will.

You're Ruth Bennett.

The Campbell House.

When Pat told me you'd
been invited tonight,

I just couldn't resist
coming to meet you.

Oh, Pat, this is an improvement.

Yes, I understand Cousin
Hattie wasn't too friendly.

I, um...

don't mean your cousin, dear.

But, you are going to be friendly,
aren't you? Oh, I do hope so.

Ruth, this is my Aunt Delia who
thinks she needs no introduction.

And her friend, Sylvia Wall.

Forgive me for crashing
your party, but you know

I've been longing to see
the Campbell House.

Would you tell me all about it?

Am I really going to see the inside?

Why did you bring her along?

She insisted. What could I do?

Oh, Sylvia does the most wonderful seances.

And she's writing a book
about our local haunts.

Do you know I've never been to a seance?

- There's your opportunity.
- It'll be fun, Ruth.

Maybe Ruth doesn't want to have a seance.

Oh, yes, I do.

It's just that...

Well, the house has been closed
for such a long time that...

Well, all right.

But, would you give me a week or
so, you know, to sort of clean up?

Of course we will.

And we'll all come, won't we?
All six of us.

I'm not sure I can make it.

Why, Pat!

I think you're afraid.

No.

But, in my line of work you do
pick up knowledge of these things.

Witchcraft, black magic, spiritism.

And the mischief they can
work on the susceptible mind.

It's hardly parlor entertainment.

Now, who said anything about entertainment?

We're very serious.

We'll be there, dear.

He will, too.

This house is like an iceberg.
Almost finished?

Just finished.

Our faithful chaperones.

Oh?

Ruth, wait to you see what we
found in this old junk shop.

Hi, Pat.

Let's put it over here
over the mantle piece.

Voila.

Isn't it perfect for this house?

Handsome looking fellow, isn't he? I
think Sara fell in love with him.

- Oh.
- Pat?

Isn't he beautiful?

Well?

Pat?

What's the matter?

I don't know.

I'm a little dizzy.

It's nothing.

Oh, go wash up. I'll get you a drink.

It's a house warming present.

From us.

Thank you, both of you. It's perfect.

Now let's get ready for dinner.

Andy!

Come home!

Help me!

Help!

Help!

Please!

Help!

Help!

Please!

Andy!

Come home!

Ruth!

Ruth!

Sara!

It's all right. I'm here.

What happened?

The painting.

Did you drop it?

No.

I was out in the kitchen.

I came down for some milk.

I heard a sound, I ran in
here and there it was.

- But, how could you...
- I don't know.

Oh, Ruth, it's ruined.

Oh, maybe not.

Maybe I can have it repaired. I'll
take it in to town tomorrow and see.

Ruth?

It was so weird.

Speaking of weird things...

Did you hear someone out
in the garden calling?

Calling for someone or...

a pet, maybe.

- Ca||ed "Andy".
- Just now?

Who'd be way out here looking for
a pet in the middle of the night?

I guess I just dreamed it.

Maybe we shouldn't have a
seance in this house after all.

Come in. You're way early.

We thought we could help out.

Well, now that you're here, I
did forget the wood supply.

Stan, would you mind.
The wood is out there.

Pleasure.

Now the kitchen.

Oh, what a lovely surprise.

- Do you have an opener?
- Uh huh.

Does Madam Sylvia approve
of spirits before a seance?

I do, as a necessity.

- Could I have two glasses?
- Mmhmm.

Sample?

Tastes good.

You look good.

Oh, I tried.

Hard.

You smell good.

Pat! No!

I, uh, I need some matches
for the fireplace.

I'll get them for you.

What's wrong?

Nothing. I just dropped a glass.

Please light the fire.

Ruth, I'm sorry.

I don't know what happened.

That's all right, Pat.

Don't worry about it.

Sylvia.

Why didn't we invite the ghost to dinner?

Well now, don't be flip, Pat.

There should always be a skeptic.
Now let's all sit down together.

Will you turn the light out, Mr. Whitman?

Then come back and complete the circle.

Is there something against
spirits working in the light?

Pat.

Spirits take strength from the dark.

Perhaps the natural law of their world.

We need air to breathe, don't we?

Now.

Let's join hands.

And be silent.

I shall try to summon my guide.

Are you there?

She can't come to us.

Something...

Something's blocking her way.

Do you feel the chill in the room?

Turn on the lights!

Are you all right?

Yes.

It's ruined.

He's dead.

He's dead.

Sara?

No.

No, not dead.

Sara?

Not...

Please.

Help me.

Help me.

- Oh, Sara, darling.
- Please help me.

You're dreaming. Wake up.

No!

Sara!

No, Sara! No!

Sara!

No!

No!

Sara!

Sara!

Sara.

Sara.

Oh, Sara.

Look.

And this morning it was as
if nothing had taken place.

She didn't show a sign of
remembering anything at all.

The painting, the seance,
her attack on me, nothing.

She's never done anything like this before?

Oh, no, no. At least not before the seance.
It started then something happened then.

That wasn't Sara up in
the hallway last night.

Now, wait.

You're describing a classic
incident of schizophrenia.

Yes, the seance may have had
something to do with it.

But only as a psychological trigger
for a condition that already existed.

Oh, yes, but there are other things.

Such as?

Well, the wind, the sound, these bruises.

Pat.

How do I explain being attacked by my
young niece who fought like a madman?

Ruth, I don't know.

But if she is schizophrenic...

that could explain her strange behavior.

And her attack on you.

But I can't believe that.

No.

No, she's always been so well-adjusted.
So have I.

We've had a very special affection for
each other since the day she was born.

Well, don't that affection blind
you to what's really happening.

Maybe Sara needs professional
help right away.

Let her stay to dinner.
I'd like to talk to her.

Oh, yes of course, if you think it would...

Oh, that must be Sara.

Gets dark early.

Oh, is it cold out there.

Stan, Pat.

It's so nice to be here.

Where it's warm.

I don't know what I like best about sherry.
The color or the taste.

Maybe both?

Yes.

Wow, you did it again, Ruth.

Another delicious dinner.

Thank you, Pat. You're always so compli...

Help...

me.

Please.

Help...

- Sara.
- me.

Not...

Sara.

Sara.

- It's happening again.
- I need help

- Who are you? What's your name?
- Help.

Help me, please!

Of course we'll help. What
do you want us to do?

Help.

Put her on the couch.

I'm all right.

So tired.

Ruth, believe me. We've got to
get her to someone right away.

Last night she attacked you. Tonight...

I know one of the head men at St.
Elizabeth's. I can call him right now.

- St. Elizabeth?
- It's a psychiatric clinic.

Which is exactly what she
does not need right now.

Look, I didn't want to
tell you this before.

But I saw...

I actually saw another face
over Sara's at the seance.

You saw it, too, didn't you?

Well, did you?

I... I... I thought I saw...

something.

Sara doesn't have the history of a schizo.

This started at the seance.

I think she's possessed.

Possessed? The only thing
she's possessed by is a

second personality that's
trying to take over.

And where did that personality
suddenly come from?

Her own mind, where it's always been.

Dormant until now.

Man, it's got another voice, another face.

You put her in the clinic
right now and you're

going to do her permanent
psychic damage.

Do you want me to call St. Elizabeth's?

Hey!

You look like guilty conspirators.

You gave us quite a shock.

You all right?

OK. Ruth.

We'll put it off for a couple of days.

Here. I guess you could use this.

No, thank you.

I never touch spiritas beverages.

You all look so strange.

I don't know why I said it.

It was only a silly joke.

It's no joke.

It's all tied up in this house.

Something violent happened here.
Something tragic.

Otherwise why would this
spirit be earth-bound?

So many people lived here.

And died.

But mostly Campbells.

And it must have been a
young girl like Sara.

And she isn't going to leave Sara
until she gets what she wants.

Now, what we've got to do is find
out who she was and what happened to her.

We say these things so matter of factly.

Is all this really happening?

There may be more happening
than you're aware of.

The other night before the
seance when he kissed you.

Well, you and Pat weren't
alone in this room.

There was...

something.

It passed over Pat. I saw it in his face.

He's a good guy. He wouldn't have
treated you that way, you know.

I know.

I know.

All right. Where do we start?

The attic is crammed full of diaries,
papers, but I wouldn't know where to begin.

Why don't we check out the Hall of Records?

Birth, death certificates.
We might find something.

I guess we should've started in the house.

As I said, that attic is jammed
to the rafters with junk, and I...

Oh, by the way, what time are we
supposed to meet Sara and Pat?

They should be in the square by now.

- Hi.
- Any luck?

No. All records prior to 1795
were destroyed by a fire.

Where's Sara? Didn't she
get a ride with you?

One of her classmates
said she'd drop her off.

Well, then she must be at the house.

It'll be dark soon. I
said I'd be home early.

I'll get the car.

Now, look you two, don't worry...

I don't want her in that
house alone after dark

I don't care how silly you think it is.

I'll drive you there no matter
how silly I think it is.

Please hurry.

All right, but we can't make it before
nightfall. It's almost an hour's drive.

There aren't any lights
on in the house at all.

Maybe she stopped off somewhere.

- Andy!
- Shh.

Listen.

Come home!

Happy!

Did you hear that?

Come home!

It's bolted on the inside!

Try the side door.

I can't turn it.

Let me try.

Pat, hurry!

Sara?

Don't touch her.

Are you all right?

How did this get on the floor?

What happened?

I...

I...

I...

don't know.

It came through the...

It's all right, Sara, it's all right.

We're getting out of this house.

- I'LL get rid of it, I'll sell it, I...
- No!

I can't leave.

I won't.

It'll never be over if I go.

- But, Sara, all that's happened...
- No!

No, you go if you want to.

I can't leave.

I can't explain it, but I know I mustn't.

Ruth, don't worry.

- I'LL stay here the night.
- I'LL stay, too.

Thank you.

Happy!

A mystical fear might be
enabled by the unknown.

How can you define the explanation of
self-hypnosis or any of that logically.

It was a mystical phenomenon.

Will you just listen?

When people are under strain
like all of us have been...

there must be logical
explanations for what

may appear to be your
"mystical phenomenon".

Be honest, can't you? You heard that
voice out there. You heard it. Admit it.

I thought I heard it, but the wind
was blowing and we were all excited.

Oh, boy, you have a wide open
mind with the proof right there.

Would you two be quiet? You'll wake Sara.

Ruth, I'm sorry.

- I'll be in Sara's room if you need me.
- Thank you, Pat.

Ruth, would you mind if I
get a start in the attic?

All right.

Goodnight.

What happened? What was that?

You won't believe it.

Did either of you close the cellar door?

No.

The damnedest thing just happened.

I left this book on the table.
I was on my way to bed.

When suddenly I couldn't move.

I could not move.

The cellar door opened.

Suddenly the house was filled with wind.

There was a loud crash. When I turned
around this book was in the fire burning.

Oh, come on, Stan.

I tell you something is trying to stop us.

Every time we get close, something happens.
Some strange manifestation takes place.

Look at this book.

It's a diary of the year 1780.

Who wrote it?

I couldn't tell. It was too faded,
but the address is a local one.

Well, I don't care what's
in there or any place else.

We are leaving this house right now!

Stan, take Sara upstairs to my room.
You and I will sleep in the den.

Okay.

I hope you'll find it comfortable here.

Oh, we will.

We will.

I like the sound of that.

Pat, after class tomorrow...

would you go back to the house with me?

I'd like to really go through that attic.

Ruth, I don't think you and Sara
should go back to that house.

Oh, please, Pat, please.

All right.

Stan?

I'm scared.

Why?

Do you...

think I'm crazy?

Of course not.

It has nothing to do with you.

Look.

It's all tied up with that house.

I'm glad you stayed.

Sara.

I know you like me

And I...

But everything's happening so...

So strange.

Do you understand?

Of course.

Just remember something.

Whatever happens I'll always be right here.

I'm glad.

Goodnight.

Goodnight.

Oh my goodness.

Where do we start?

Old attics are all alike.

Fascinating junk shops.

Well, there must be something
around here to give us a clue.

That isn't it.

Find anything?

Nothing.

- Oh, Ruth, come here.
- Hmm?

Look.

An old writing desk.

Oh.

But it's locked.

Oh, try and open it
because these things are

usually jammed with
papers and diaries and...

- all sorts of things.
- Mmhmm.

- There.
- Oh, good.

Try here.

Nothing.

Sometimes they have secret compartments.

They usually have a catch. If I
could find it, it'll be easy.

Here, here.

Oh.

Oh.

Oh!

Here, this is something.

Looks like an old scroll. This could
be the key we're looking for.

It says that the...

house has been remodeled several times. Oh!

Here's something that
Hattie has underlined.

At which point in late 17...

80...

she seems to have simply vanished.

- Who did?
- We||, wait, wait, let me go back.

I, no, um...

The writing is faded.

Martha Campbell, age 23, wife of General

Douglas Campbell died in child birth.

The child, a daughter, lived and cared
for her father and all his needs...

until she was 20.

At which point, in late 1780, she
seems to have simply vanished.

And that's when old
Campbell became a recluse.

Uh...

Oh, yeah, down here Hattie states that...

old Campbell came to be known as...

crazy because he would stand in
the garden alone at night...

calling for his daughter's return.

Wait a minute.

- What was that voice calling?
- What was the daughter's name?

Well, it isn't listed.

Hattie seems to have left
it out, wouldn't you know.

We can look it up in the Bible.

Oh, Stan, be careful of
those pages, they're very...

I will. I'll be very careful.

Here it is.

Yes, here's the General.

His wife Martha.

There's another name underneath
that's been inked out.

Well, that's why Hattie left it out.
It's marked out.

Stricken out.

Her father must have disinherited her.

I wonder what she did.

Well, I don't suppose we'll
ever know without her name.

- Pat, do you have a knife or something?
- Yeah.

A...

Amanda.

Amanda.

Amanda.

Amanda?

Mandy.

Andy.

Aman...

Ammy.

Am my, come home.

Something happened, she vanished, and the
old man wanted her back. He still does.

Now, what we've gotta do is
find out what happened.

Ammy.

Help.

Ammy.

Please help.

Please.

Help. Ammy.

How? How can we help you?

To return to your father?

No!

No.

Hate.

Hate.

Hate.

Hate! Hate!

- Sara!
- Hate! Hate!

- Hate! Hate!
- Stop!

This thing. This...

This Ammy.

She seems to be able to reach her anywhere.
I, I thought she'd be safe here.

I'm afraid you're right.

Well, it's going to be stopped.
It's got to be.

How?

Exorcism.

We've got to get rid of her.

I'm going to ask Sylvia
Wall for another seance.

Let us sit as we were before.

Let's join hands.

This time, as we should have done before,
we ask protection from the other side.

We call upon you...

all loving spirits come here
and be with us tonight.

We call upon you all loving spirits..

be with us here tonight.

No.

No, help me.

Help me!

We call upon you...

all loving...

spirits to be with us here.

Amanda!

Keep holding hands!

Don't! Don't break the circle!

Keep holding hands!

Lead me.

Lead me.

It touched me.

Something evil. Overpowering.

I'm sorry, but I can't stay here.
I can't be of any use to you.

Oh, please. Take my word for it.

This is a terrible place.

Get out.

I beg of you.

Get out of this house.

Will you be all right? Can you drive?

Yes, thank you.

Well, let me see you to your car.

Thank you.

I'm sure that cellar door was closed
securely. No wind could've blown it open.

Well, something did.

What is it? What are you talking about?

The cellar.

Well, I'll come over in the morning
and have a look down there.

- No. No, Pat, not you. Please don't.
- Why?

I don't know. I can't explain
it, but please don't.

She's right, Pat.

But I can come back.

Tomorrow afternoon.

Well, if you want to come along.

All right.

Well, let's go.

This cellar seems to be pretty new.

Well, the house was
remodeled several times.

When you came down here before...

did you see anything...

strange?

No, but of course I wasn't
looking for anything strange.

That is, nothing specific.

Wait a minute.

These stone walls must be the
foundation for the original house.

So, why timber back here?

The foundations...

the stone foundations have to go on
all the way under the living room.

It looks as if the rest of the
cellar has been sealed off.

I wonder why?

Ruth, would you clear off
those shelves for me?

All right.

Hold this for me, would you?

What are you going to do?

I'm going to try to break
through this wall.

With that?

I can but try.

I can't wait to show Ruth what we found.

They should be home by now.

Do you think they discovered
anything in the cellar?

Well, I doubt it.

Nothing as important as
what we came up with.

Ruth! Come and take a look.

Grab that flashlight.

Look at that. There's an old doorway.

I'm not having much luck with this wood.
It's almost petrified.

Oh, Stan, why don't you quit?
It's getting so late.

Yeah, besides I need better
equipment than this.

C'mon, let's go.

Here.

Hello, groundhogs.

Any discoveries?

- Pat, what are you doing here?
- Where's Sara?

She's out in the car. We
stopped by my place first, but

when you weren't there we
decided this wouldn't keep.

What wouldn't keep?

Sara and I spent the afternoon going
through stacks of old newspapers.

Maybe our friend, Ammy, was guiding us.

It could've taken weeks to find this.

It's from a public notice placed by General
Douglas Campbell November 3, 1780.

It's addressed to his
beloved daughter, Amanda.

And it implored her to return to her home
and the love of her grieving father.

She had eloped with one Anthony Doyle,
captain of the Army of Independence,...

who has long worked to seduce her not
only from her loving duty to her father,

but from her faith.

Seduce her from her father?

Hmhmm.

And from her faith.

It must have been the end of
the world for the old man.

C'mon, let's get back to Sara.

You find anything?

Yeah, an old doorway that's boarded over.

I'm going to find some tools.

We've got to get her out of here.

I'll get her out of the back door.

Father?

No, Father.

Don't hurt him.

Ruth, get her out through the kitchen.

Pat?

Pat?

It's me, Stan.

Pat?

Pat, you're hurting me.

Pat?

Listen to me.

You've been taken over.

But just listen to me.

Stan!

Stan, we're all locked in.

Keep her away from him!

Pat! No! Pat...

Pat, Pat darling..

You've been possessed by the
general all along, Pat.

I first saw it when you and
Ruth were in the kitchen.

What we have to do now is find
out what happened in that house.

What really happened.

Perhaps we saw what happened. Tonight.

It looked as if the general...

not you, Pat, but the general
tried to kill someone.

Pat.

Hypnotize me.

Make Ammy come.

I have a feeling. I know that it's right.

I'm not afraid, not of her.

I feel a sadness.

- A sympathy for her.
- No.

- I want to help.
- No, no, Pat.

Please, don't.

This sympathy. It could be a
surrender to a final possession.

What we want...

is down in that cellar, behind that wall.

Oh, I can't bear the thought of any
of us going back into that house.

Ruth, we've got to.

Look, maybe if we go back
first thing in the morning...

Sara?

Shh.

Anthony found out.

Found out what?

Father?

Traitor.

Plotted with British.

Anthony found that out...

- and told the general he knew.
- Yes.

Not...

The night we were to leave.

The night you eloped?

Told him.

Told him.

Terrible.

Terrible.

Terrible.

No.

Not dead.

Not dead.

Not dead.

I'm going back first thing in the morning.

You can't do it alone. I'll go with you.

- You can't go back.
- Ruth, I must.

Besides, it'll be broad daylight.

I'm going. I want to go. I must.

If the answer is there in the cellar...

Whatever hast to be settled must be
settled between the general and Ammy.

I know it.

I feel it.

If you want this to end, I must
be there so Ammy can speak.

Ruth.

Look, just keep this handy. It's mace.

If the general tries to take over Pat again
spray it in his eyes. It won't hurt him.

It will stop him.

How's it going?

Oh, so so.

Thank you.

We've broken through.

Let's go.

C'mon, give me a hand.

What's that in the corner?

It's just the root of a tree.

Human.

Please take it away.

It's Doyle's watch.

The general must have killed him that night.
Murdered him with that poker.

And buried him here.

Pat?

Ruth! Quick! Get the mace!

Sara, go to the door.

Now, we've got no use, Father,
now that thy crimes are known.

Thy has lingered here too
long to protect thy black secret.

As have I.

To make it known it is over.

Go.

Find whatever poor rest though
can and leave me in peace!

Go!

Go!

Pat?

What happened?

It's all right, Pat. It's all right.

I feel at peace now.

Ammy eloped with Anthony Doyle.

The notice in the newspaper said.

But that was a lie.

How can you elope with a dead man?

Ammy's comb.

From the grave.

She must've tried to defend Doyle...

and the old man killed them both.

And all because he couldn't bear the
thought of her loving someone else.

After 200 years, Ammy's
been waiting for Sara

just so somebody could
find out the truth.

Well, we've done what Ammy wanted.

Let's leave them in peace.

Forgive me, Am my.

Forgive me.

Dear, God...

please forgive me.