American Horror Story (2011–…): Season 6, Episode 5 - Chapter 5 - full transcript
The Butcher and her mob arrive at the house, with intent on killing Matt and Shelby, who are saved by an unlikely ally. The origins of the house are revealed.
(growling, faint)
(snarling)
ANNOUNCER: The Strain,
all new Sundays at 10:00 on FX.
ANNOUNCER: FX presents
American Horror Story.
We have a deal with The Butcher,
and she's gonna get you back.
There was no way out.
SHELBY: Oh, my God.
They're coming.
What do we do?
Of all the horrors I'd seen...
this one affected me...
to the core.
MATT: I gave up.
There was no way out.
I just tried to soak up every
last second I had left.
There are very few homes in United States
that have a history as interesting
as the big Shaker mansion
built in 1792
by Edward Philippe Mott,
at 900 Sappony Road.
As Daphne du Maurier
has famously written,
"Who can either affirm or deny...
that the houses that sheltered
us as children, adults,
and our predecessors, too,
have not embedded in their walls...
the imprint of what was then,
the suffering, the joy?"
I cannot speak to the joy
at the house at Sappony,
but there certainly was plenty
of suffering.
Lot five:
Portrait of a Nobleman, 1789,
by John Alden Peale.
AUCTIONEER:
Sir!
Sir! We are in the middle
of taking bids.
Well, stop.
Everyone go home!
I am buying the whole lot.
I won't be outbid so you're
all wasting your time.
(gavel bangs)
Even amongst the rich of the day,
he was envied for his great wealth.
Family money, of course.
DORIS: Edward had what would
probably be diagnosed now
as severe social anxiety.
He hated being around people.
So he went as far away
as he could from the parties
and the excitement of Philadelphia.
He found a plot of land deep in
the North Carolina woods
on Roanoke River's edge
and bought it from the state.
Then he sent Shakers down
to build a retreat,
an escape where he and his
beloved artwork could be alone.
Welcome home, sir.
(sighs) ?More paintings?
The house is coming along.
How goes the underground work?
They dig day and night.
It's slow work,
because of all the trees.
Deep roots in these woods.
It must be done.
The artworks in this house
are worth more
than every tobacco farm in
the state put together.
If kidnappers come for them,
we need to be able to
facilitate their escape.
(crash)
(man screams)
(groans)
(inhuman howling)
There were numerous incidents
during the building of the house.
Odd stories.
(echoed shriek)
Mischief, mostly.
(taps)
(clears throat)
Put these in the main parlor.
The Peale goes over the mantel.
Wait! Come back.
DORIS: He left his wife and
young heir back in Philadelphia
to be down at his Carolina castle
with his lover and his art.
He positioned each one carefully,
often rotating them
from room to room.
Bring the Gainsborough in here
and put her opposite the new Peale.
He needs someone to talk to
when we aren't here.
(heavy breathing)
(sighs)
They judge us.
I can see the way they look.
I should get rid of
all of them except for you.
Then I would be working all day
instead of playing
with this.
?(deep breath)
(moans)
The art never judges.
I envy it.
Life in two dimensions.
Frozen in forever beauty.
To watch the world go by
unencumbered by the gossip
and the pain...
of three-dimensional men.
I love them, you know?
The paintings.
Even more than I love you.
Stop talking and make love to me.
Fine.
But first let's rouge
each other's nipples.
DORIS: Edward wasn't there
two days before
things started getting
extremely weird.
(metallic bang)
(panicked breathing)
No. No.
(screams)
(anguished cry)
Which one?
Which one of you destroyed my Peale?!
Speak up!
Goddamn you!
Speak up!
(crying)
Speak up! Speak up!
GIRL: Mr. Mott!
I swear... I saw a big
white woman and a young man
in the yard by the woods
a few minutes before you screamed.
Lies!
Lies! Lies! Lies! Lies!
(door creeks)
You will stay there until the
murderer confesses his crime.
(whimpering)
(gunshot)
(screams)
There are your thief's rations!
You can fight over them!
(whimpering)
Close it up!
Do not judge me.
Need I remind you that you are
a servant as well?
Do not think your velvet tongue
and purple cockhead are enough
to make you any more than that.
Do not find yourself in my sight
for the rest of the night!
Or blood will spill!
(gasps)
What we know of the rest
of that night,
and the apparent end of Edward
Mott, was told by Guiness.
(screech)
EDWARD: Ugh!
(screams)
(tearing)
(screams)
(distant chanting)
(gasps)
(metallic scraping)
(chanting in Old English)
(yells)
Unhand me, you fools!
Who are you?!
This is my land! Mine!
You are trespassing!
THOMASIN:
This land is mine.
This land will always be mine,
and I shall consecrate my holy
right to it with thy blood!
No!
No!
No!
No!
(slicing sound)
(groans)
(gasping and choking)
(screaming)
At some point during all
of this apparent mayhem,
Guiness rode away
on one of the horses.
But no body or evidence of
a giant fire was ever found.
Guiness ended up in jail,
accused of murdering his master
and hiding the body.
He neglected to tell anyone
about the servants
in the root cellar, though.
The house remained in the Mott trust
for over a century,
but it was said that
madness always ran in the family.
The line ended in scandal
when the last Mott died
in South Florida in 1952.
At that point the house was
bought and sold a few times,
but no one ever stayed for long.
PRODUCER:
Do you believe it was haunted?
Do I? I'm an historian.
It would make my life a lot
easier if the dead came back.
All I can say at this point is
that no one will convince me
to stay in that house overnight,
certainly not at a full moon.
* AMERICAN HORROR STORY *
Season 06 Episode 05
"CHAPTER:05"
Precisely Synchronized by srjanapala
_
_
_
Matt.
THOMASIN:
Deliver yourselves
unto me,
and I shall grant you
a merciful death.
MATT: It was... surreal.
This wasn't just
weird sounds in the woods
or knives left in the ceiling.
This was a mob,
and they were coming for us.
It didn't matter
if they were alive or dead,
or what they were, I just knew
that we had to get out of there.
AMBROSE: Usurpers!
Your time is nigh.
The Blood Moon is upon us.
We must honor our covenant
with the ancient gods
and consecrate this land once again.
You were given opportunity
to cede this territory.
As you did not,
your end shall be
a merciless reckoning.
Oh, God.
- What do we do?
- ?Take my keys.
I'll go out first and lead them away.
Oh, no.
You take Flora and go
straight to the truck.
Matt, please.
Please, we have to stay together.
Listen to me,
You have to get Flora out of here.
- Okay. Okay.
- I need you both safe.
All right, now, once you
go through the front door,
go straight to the truck.
No matter what happens, don't stop.
- Okay. Yes.
- ?Promise?
Uncle Matt, I'm scared.
I know, honey.
I need you to be brave
just for a little while longer, okay?
Okay.
- Okay.
- ?(panting): Okay.
Okay.
Come on.
SHELBY: Look at me.
Hold on to me as tight as you can.
- Do you understand?
- ?Mm-hmm.
Do not let go.
(screaming)
(screaming)
(echoing): Flora!
You could feel the house...
coming alive around you.
(panting)
SHELBY:
Flora?
Flora!
Flora!
Oh, shit.
Matt!
Flora?
Flora!
(Flora sobbing)
Look at me.
Are you okay?
Are you hurt?
(skittering)
(loud thumps)
(gun cocks)
(inhuman howling)
Come on, come on.
(grunts)
Come On.
MATT:
It's like we'd been led there.
I didn't understand at first.
Elias...
Elias said that past victims of
The Butcher were afraid of her.
Later on I realized
that she used that fear
to make them do what she
wanted. They corralled us.
AMBROSE: Usurpers! Like animals
for an easy slaughter.
(Shelby panting, door slams)
(chopping door in distance)
What now?
We're trapped.
EDWARD: Perhaps I may be
of some assistance.
No, no, no!
No, no, no!
No need for violence!
My intent is not to harm you.
In fact it is to save you.
If you let me,
I can help you escape this house.
(pounding on door in distance)
Yes.
Yes.
That's right, in we go.
SHELBY: He told us his name.
Edward Philippe Mott.
And that he was the original owner.
As many questions as that raised,
we-we didn't have time
for any more details.
MATT:
Where are you taking us?
EDWARD: Safety.
MATT: Where do these tunnels lead?
I thought the hillbillies built them.
I built them.
You're not...
You're not alive.
No, The Butcher killed me.
I will keep her from killing you.
No more, no less.
Is that why you appeared?
To save us?
No.
You're my bane.
My ruin.
We're no threat to you.
All that I was is no more.
Everything precious turned to dust.
I have but one last sliver of grace.
My solitude, such as it is.
I can hardly suffer three more souls.
SHELBY:
We must've walked a mile
in the dank and dark.
In some places the walls were moving,
infested with insects.
It smelled like a grave.
FLORA:
I'm cold.
Well, better cold than the heat
from The Butcher's flames.
MATT:
Will this take us to the road?
EDWARD:
There are no roads where I go.
SHELBY:
If we're not going to the road,
then where the hell
are you taking us?
We can't go aimlessly into the woods.
We'll die of exposure.
(grunts)
This is as far as
I care to take you.
The living cling to life above all,
but the trophy misprized
is to die... in peace.
(blows)
Come on, let's go.
Some animals are afraid of the light.
Their instinct is
to stay hidden from it
because... darkness means safety
and protection from predators.
We should have known
that in that forest,
we were nothing more than prey.
I see a light.
(distance grunting and squeling)
Pigs.
(pigs snorting and screeching
in distance)
(screaming)
In the darkness, we didn't
recognize where we were.
But it was that same house
where we'd seen those feral boys
suckling the pig.
And we weren't alone.
(both gasp)
(man groaning)
Oh, Oh, help me, help me.
Oh, no, no, no, no.
No, honey, don't look,
don't look, don't look.
Don't look.
- ?Elias?
What have you done to him?
You got it wrong.
We found him full of holes.
Arrows stuck out of him
like a porcupine.
Mama worked her magic
to keep him alive.
Mama worked her magic.
Why didn't you take him
to a hospital?
He weren't no use to nobody but us.
No use to nobody.
See for yourself.
(sniffles)
- ?No, no...
(Elias moaning)
No more, No more...
(groaning)
Elias?
It's me, Matt Miller.
Hi, Matt.
(chuckles)
They're all crazy.
You have to get out of here.
Get out before she comes.
Look at me in pieces.
Mama took my leg.
(crying): Mama took my leg.
(Elias moaning)
Kill me... kill me.
Kill me!
(shudders)
(sniffles)
(door creaks open)
Y'all must be famished.
I got fresh jerky
from the smokehouse.
ELIAS:
No, don't eat it.
Don't eat it.
Hush it.
Please don't hurt him.
Another word and you bring
that hammer down on his teeth.
(Elias moans)
Help yourself, now.
No, thanks.
Take it, child.
It's delicious.
(Flora grunts)
She's not hungry.
Don't act all biggety.
You're no better than us.
I offer food
to welcome you to my home.
It's not poison.
Shit!
Rancid!
I like my meat sweet.
I spent hours curing this!
(both gasp)
It's his fault.
He's bad meat.
Bad meat!
He's spoilt.
No reason to keep it alive.
(screams)
(crying)
(gasps)
You should've never
bought that house.
Come here with your big money.
Outbid Ishmael at the auction.
You can have it.
Move in tomorrow.
We'll sign the deed
over to you right now.
We don't want to live there.
We got places all over out here.
We wanted to keep it empty
for The Butcher.
She don't like no company.
My kin made a deal with her
over 200 years ago.
So long as she can
consecrate the land
with fresh blood every year,
she'll leave us alone.
Some years
when the pickings are slim,
we help provide the sacrifice.
In turn, nobody steps
foot in the forest
and disturbs our crop.
That cannabis grow tall
in this Carolina soil.
Why are you telling us this?
Why not?
You ain't never gonna tell nobody.
No.
We won't.
I swear it.
No, sir.
You won't say a peep.
Not a peep.
ISHMAEL: I ain't forgot
you led the police here
and took away our babies.
My babies.
My babies!
We gonna get the boys
back, I promise.
Please, please just let us go.
We will go back to California
and no one will ever see us again.
No, they won't, sweet meat.
The Polks have always been
as good as their word.
We have a deal with The Butcher,
and she's gonna get you back.
As much as I wanted
to get away from the Polks...
there was only one place
worse than where I was.
And that was our house.
It was Shelby.
She called the cops,
telling them that
I had something to do
with my husband's death.
That's why they were holding me
and questioning me
over and over again.
I knew what they were doing.
I was a cop.
They only had 48 hours
before they had to charge me.
48 wasted hours,
when I could've been
out there looking for Flora.
Let's go over this again.
Your sister-in-law told us
you left around
a quarter after 10:00 p.m.
15 minutes
after your ex-husband.
Now, you didn't come back
until about four hours later.
What were you doing?
How many times do you want me
to tell you the same story?
You took your daughter from school
without permission.
You knew
your ex-husband was gonna
turn you in for kidnapping.
Is that why you killed him?
These are facts, Lee.
I went out that night
to look for my daughter,
which is what we both
should be doing right now.
Come on, look at how you found Mason!
Do you honestly think
that I could lift a grown man
into that wooden thing?
Not by yourself.
I had nothing to do
with Mason's death.
So you either charge me or let me go.
They tried for every minute
of that 48 hours to catch me
in an inconsistency.
But there was no lie to catch.
Because like Mark Twain said,
"If you tell the truth,
you don't have
to remember anything."
When I turned on my phone,
I had, like,
20 texts from Matt.
I couldn't make sense
of them at the time.
They were all pretty frantic.
There was only one message
that mattered.
My baby was safe.
(heavy rattling)
Every time that truck bounced,
I was sure that gun would go off.
I just needed a moment.
Just... one.
Slow down, peckerhead!
(Shelby shouting)
(both screaming)
(grunting)
Cain!
(gasping)
MATT:
I knew I had to make a move.
Come on, come on.
Come on, girl.
Come on, Flora.
We were gonna die if The Butcher
got her hands on us again.
(indistinct shouting)
I figured I'd rather us
take our chances
in the woods than be
slaughtered like pigs.
Get down.
Get down, get down, get down.
(panting)
(Shelby gasps)
(shushing)
(crickets chirping)
(phone buzzing)
(Shelby shushing)
(gasps)
(gun cocks)
(gasping)
Whatever was going down, it was bad.
Matt wouldn't just ignore my call.
Especially if he had Flora.
Officer!
I need a ride.
(shouts)
(truck creaks)
Put the girl in the truck.
No child should have to see this.
(Ishmael grunts)
- ?No, no!
Pl...
You fashion yourself a hero,
don't you?
Real brave and such.
You come onto my land.
Take my babies.
Kill my son!
If she didn't want you so bad,
I'd bash your skull in right now!
And I tell you what.
(footsteps)
You ain't running again!
SHELBY: No! No!
Please don't hurt him!
Please, I beg you!
I beg you!
I beg you.
MATT: Do whatever
you want to me.
I won't run again.
Oh, no, you won't!
(screaming)
Shelby.
(screaming continues)
I've never felt more useless.
I don't really
remember much after that.
(Shelby groaning)
(shushing)
Matt.
Look at me.
You have to save her.
You have to save Flora.
(shushing)
You have to save...
(shushing)
Promise me you'll save her.
(whimpers)
Promise me you'll save her.
(shushes)
(sobbing)
(sighing)
I gave up.
There was no way out.
I just tried to soak up
every last second
I had left with Shelby 'cause I knew,
when that truck stopped...
it was all over.
(brakes squeak)
There were still so many... things
I wanted to do with my life.
Be a mother.
Grow old with Matt.
Open up my own yoga studio.
And I always thought that...
I'd have all the time in the world.
But our time was up.
(Shelby gasping, grunting)
Thou hath lost a son tonight.
'Tis a mother's burden
to suffer the birth of her babe,
but all agony pales
when placed in measure
with the cold death of a child.
Back in the truck, boys.
(Shelby whimpers)
No!
No, no, no, no!
No, no, no...
(crying, pleading continues)
No!
You promised she would be last.
Now she goeth first.
(Flora screams)
(Matt, Shelby screaming)
Flora!
(screaming)
It was...
inhuman.
I mean, sh...
she was just a little girl.
They were monsters.
Call for backup.
Wait. No, wait.
Wait, wait!
(Flora screaming)
Shit!
This land belongs to the colony,
and the colony to the land.
We consecrate our holy right
with blood!
(whimpering)
No!
SHELBY:
It was one of her own.
I don't understand why he did it,
but he stopped her.
I shall not stand by and watch thou
shed another drop
of innocent blood!
Go on, now, make your grand escape.
I can't move, I can't move.
(Flora screaming)
Get in!
(gasping)
MATT: Flora!
Flora!
MATT: Go, go!
Lee, go, go, go!
(tyres screeching)
It was a miracle.
After all we'd been through, I...
I still can't explain
half the crazy things we saw.
We were lucky to be alive.
Those months were like...
a terrifying nightmare.
When I close my eyes,
I can still see...
the fire and... Elias screaming.
That... insane family.
I'm just grateful
that I will never have to see
that god-awful place again.
We only had enough cash
on hand for a motel room
and some takeout.
OK, alright baby.
LEE: Let's get you
all cleaned up.
SHELBY: We stayed in the
cheapest place we could find
until my sister could
wire us enough money
for a flight back to L.A.
We'd be... homeless when we got there,
but that night...
we were the richest family on Earth.
(TV channels changing)
Ooh, me next.
(sighs) You sure that's a good idea,
with your cast and all?
I am filthy, I smell terrible.
Try and stop me.
We're okay, baby.
We're okay.
- Flora?
- ?Hmm?
Did you save a slice
for your Uncle Matt?
I don't know, Uncle Matt,
I was pretty hungry.
(all chuckle)
SHELBY: To this day
I still have that dream.
I've tried... yoga,
meditation, hypnotherapy even.
We escaped with our lives that night,
but... I never completely got over it.
I'm not sure I ever will.
Precisely Synchronized by srjanapala
(snarling)
ANNOUNCER: The Strain,
all new Sundays at 10:00 on FX.
ANNOUNCER: FX presents
American Horror Story.
We have a deal with The Butcher,
and she's gonna get you back.
There was no way out.
SHELBY: Oh, my God.
They're coming.
What do we do?
Of all the horrors I'd seen...
this one affected me...
to the core.
MATT: I gave up.
There was no way out.
I just tried to soak up every
last second I had left.
There are very few homes in United States
that have a history as interesting
as the big Shaker mansion
built in 1792
by Edward Philippe Mott,
at 900 Sappony Road.
As Daphne du Maurier
has famously written,
"Who can either affirm or deny...
that the houses that sheltered
us as children, adults,
and our predecessors, too,
have not embedded in their walls...
the imprint of what was then,
the suffering, the joy?"
I cannot speak to the joy
at the house at Sappony,
but there certainly was plenty
of suffering.
Lot five:
Portrait of a Nobleman, 1789,
by John Alden Peale.
AUCTIONEER:
Sir!
Sir! We are in the middle
of taking bids.
Well, stop.
Everyone go home!
I am buying the whole lot.
I won't be outbid so you're
all wasting your time.
(gavel bangs)
Even amongst the rich of the day,
he was envied for his great wealth.
Family money, of course.
DORIS: Edward had what would
probably be diagnosed now
as severe social anxiety.
He hated being around people.
So he went as far away
as he could from the parties
and the excitement of Philadelphia.
He found a plot of land deep in
the North Carolina woods
on Roanoke River's edge
and bought it from the state.
Then he sent Shakers down
to build a retreat,
an escape where he and his
beloved artwork could be alone.
Welcome home, sir.
(sighs) ?More paintings?
The house is coming along.
How goes the underground work?
They dig day and night.
It's slow work,
because of all the trees.
Deep roots in these woods.
It must be done.
The artworks in this house
are worth more
than every tobacco farm in
the state put together.
If kidnappers come for them,
we need to be able to
facilitate their escape.
(crash)
(man screams)
(groans)
(inhuman howling)
There were numerous incidents
during the building of the house.
Odd stories.
(echoed shriek)
Mischief, mostly.
(taps)
(clears throat)
Put these in the main parlor.
The Peale goes over the mantel.
Wait! Come back.
DORIS: He left his wife and
young heir back in Philadelphia
to be down at his Carolina castle
with his lover and his art.
He positioned each one carefully,
often rotating them
from room to room.
Bring the Gainsborough in here
and put her opposite the new Peale.
He needs someone to talk to
when we aren't here.
(heavy breathing)
(sighs)
They judge us.
I can see the way they look.
I should get rid of
all of them except for you.
Then I would be working all day
instead of playing
with this.
?(deep breath)
(moans)
The art never judges.
I envy it.
Life in two dimensions.
Frozen in forever beauty.
To watch the world go by
unencumbered by the gossip
and the pain...
of three-dimensional men.
I love them, you know?
The paintings.
Even more than I love you.
Stop talking and make love to me.
Fine.
But first let's rouge
each other's nipples.
DORIS: Edward wasn't there
two days before
things started getting
extremely weird.
(metallic bang)
(panicked breathing)
No. No.
(screams)
(anguished cry)
Which one?
Which one of you destroyed my Peale?!
Speak up!
Goddamn you!
Speak up!
(crying)
Speak up! Speak up!
GIRL: Mr. Mott!
I swear... I saw a big
white woman and a young man
in the yard by the woods
a few minutes before you screamed.
Lies!
Lies! Lies! Lies! Lies!
(door creeks)
You will stay there until the
murderer confesses his crime.
(whimpering)
(gunshot)
(screams)
There are your thief's rations!
You can fight over them!
(whimpering)
Close it up!
Do not judge me.
Need I remind you that you are
a servant as well?
Do not think your velvet tongue
and purple cockhead are enough
to make you any more than that.
Do not find yourself in my sight
for the rest of the night!
Or blood will spill!
(gasps)
What we know of the rest
of that night,
and the apparent end of Edward
Mott, was told by Guiness.
(screech)
EDWARD: Ugh!
(screams)
(tearing)
(screams)
(distant chanting)
(gasps)
(metallic scraping)
(chanting in Old English)
(yells)
Unhand me, you fools!
Who are you?!
This is my land! Mine!
You are trespassing!
THOMASIN:
This land is mine.
This land will always be mine,
and I shall consecrate my holy
right to it with thy blood!
No!
No!
No!
No!
(slicing sound)
(groans)
(gasping and choking)
(screaming)
At some point during all
of this apparent mayhem,
Guiness rode away
on one of the horses.
But no body or evidence of
a giant fire was ever found.
Guiness ended up in jail,
accused of murdering his master
and hiding the body.
He neglected to tell anyone
about the servants
in the root cellar, though.
The house remained in the Mott trust
for over a century,
but it was said that
madness always ran in the family.
The line ended in scandal
when the last Mott died
in South Florida in 1952.
At that point the house was
bought and sold a few times,
but no one ever stayed for long.
PRODUCER:
Do you believe it was haunted?
Do I? I'm an historian.
It would make my life a lot
easier if the dead came back.
All I can say at this point is
that no one will convince me
to stay in that house overnight,
certainly not at a full moon.
* AMERICAN HORROR STORY *
Season 06 Episode 05
"CHAPTER:05"
Precisely Synchronized by srjanapala
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_
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Matt.
THOMASIN:
Deliver yourselves
unto me,
and I shall grant you
a merciful death.
MATT: It was... surreal.
This wasn't just
weird sounds in the woods
or knives left in the ceiling.
This was a mob,
and they were coming for us.
It didn't matter
if they were alive or dead,
or what they were, I just knew
that we had to get out of there.
AMBROSE: Usurpers!
Your time is nigh.
The Blood Moon is upon us.
We must honor our covenant
with the ancient gods
and consecrate this land once again.
You were given opportunity
to cede this territory.
As you did not,
your end shall be
a merciless reckoning.
Oh, God.
- What do we do?
- ?Take my keys.
I'll go out first and lead them away.
Oh, no.
You take Flora and go
straight to the truck.
Matt, please.
Please, we have to stay together.
Listen to me,
You have to get Flora out of here.
- Okay. Okay.
- I need you both safe.
All right, now, once you
go through the front door,
go straight to the truck.
No matter what happens, don't stop.
- Okay. Yes.
- ?Promise?
Uncle Matt, I'm scared.
I know, honey.
I need you to be brave
just for a little while longer, okay?
Okay.
- Okay.
- ?(panting): Okay.
Okay.
Come on.
SHELBY: Look at me.
Hold on to me as tight as you can.
- Do you understand?
- ?Mm-hmm.
Do not let go.
(screaming)
(screaming)
(echoing): Flora!
You could feel the house...
coming alive around you.
(panting)
SHELBY:
Flora?
Flora!
Flora!
Oh, shit.
Matt!
Flora?
Flora!
(Flora sobbing)
Look at me.
Are you okay?
Are you hurt?
(skittering)
(loud thumps)
(gun cocks)
(inhuman howling)
Come on, come on.
(grunts)
Come On.
MATT:
It's like we'd been led there.
I didn't understand at first.
Elias...
Elias said that past victims of
The Butcher were afraid of her.
Later on I realized
that she used that fear
to make them do what she
wanted. They corralled us.
AMBROSE: Usurpers! Like animals
for an easy slaughter.
(Shelby panting, door slams)
(chopping door in distance)
What now?
We're trapped.
EDWARD: Perhaps I may be
of some assistance.
No, no, no!
No, no, no!
No need for violence!
My intent is not to harm you.
In fact it is to save you.
If you let me,
I can help you escape this house.
(pounding on door in distance)
Yes.
Yes.
That's right, in we go.
SHELBY: He told us his name.
Edward Philippe Mott.
And that he was the original owner.
As many questions as that raised,
we-we didn't have time
for any more details.
MATT:
Where are you taking us?
EDWARD: Safety.
MATT: Where do these tunnels lead?
I thought the hillbillies built them.
I built them.
You're not...
You're not alive.
No, The Butcher killed me.
I will keep her from killing you.
No more, no less.
Is that why you appeared?
To save us?
No.
You're my bane.
My ruin.
We're no threat to you.
All that I was is no more.
Everything precious turned to dust.
I have but one last sliver of grace.
My solitude, such as it is.
I can hardly suffer three more souls.
SHELBY:
We must've walked a mile
in the dank and dark.
In some places the walls were moving,
infested with insects.
It smelled like a grave.
FLORA:
I'm cold.
Well, better cold than the heat
from The Butcher's flames.
MATT:
Will this take us to the road?
EDWARD:
There are no roads where I go.
SHELBY:
If we're not going to the road,
then where the hell
are you taking us?
We can't go aimlessly into the woods.
We'll die of exposure.
(grunts)
This is as far as
I care to take you.
The living cling to life above all,
but the trophy misprized
is to die... in peace.
(blows)
Come on, let's go.
Some animals are afraid of the light.
Their instinct is
to stay hidden from it
because... darkness means safety
and protection from predators.
We should have known
that in that forest,
we were nothing more than prey.
I see a light.
(distance grunting and squeling)
Pigs.
(pigs snorting and screeching
in distance)
(screaming)
In the darkness, we didn't
recognize where we were.
But it was that same house
where we'd seen those feral boys
suckling the pig.
And we weren't alone.
(both gasp)
(man groaning)
Oh, Oh, help me, help me.
Oh, no, no, no, no.
No, honey, don't look,
don't look, don't look.
Don't look.
- ?Elias?
What have you done to him?
You got it wrong.
We found him full of holes.
Arrows stuck out of him
like a porcupine.
Mama worked her magic
to keep him alive.
Mama worked her magic.
Why didn't you take him
to a hospital?
He weren't no use to nobody but us.
No use to nobody.
See for yourself.
(sniffles)
- ?No, no...
(Elias moaning)
No more, No more...
(groaning)
Elias?
It's me, Matt Miller.
Hi, Matt.
(chuckles)
They're all crazy.
You have to get out of here.
Get out before she comes.
Look at me in pieces.
Mama took my leg.
(crying): Mama took my leg.
(Elias moaning)
Kill me... kill me.
Kill me!
(shudders)
(sniffles)
(door creaks open)
Y'all must be famished.
I got fresh jerky
from the smokehouse.
ELIAS:
No, don't eat it.
Don't eat it.
Hush it.
Please don't hurt him.
Another word and you bring
that hammer down on his teeth.
(Elias moans)
Help yourself, now.
No, thanks.
Take it, child.
It's delicious.
(Flora grunts)
She's not hungry.
Don't act all biggety.
You're no better than us.
I offer food
to welcome you to my home.
It's not poison.
Shit!
Rancid!
I like my meat sweet.
I spent hours curing this!
(both gasp)
It's his fault.
He's bad meat.
Bad meat!
He's spoilt.
No reason to keep it alive.
(screams)
(crying)
(gasps)
You should've never
bought that house.
Come here with your big money.
Outbid Ishmael at the auction.
You can have it.
Move in tomorrow.
We'll sign the deed
over to you right now.
We don't want to live there.
We got places all over out here.
We wanted to keep it empty
for The Butcher.
She don't like no company.
My kin made a deal with her
over 200 years ago.
So long as she can
consecrate the land
with fresh blood every year,
she'll leave us alone.
Some years
when the pickings are slim,
we help provide the sacrifice.
In turn, nobody steps
foot in the forest
and disturbs our crop.
That cannabis grow tall
in this Carolina soil.
Why are you telling us this?
Why not?
You ain't never gonna tell nobody.
No.
We won't.
I swear it.
No, sir.
You won't say a peep.
Not a peep.
ISHMAEL: I ain't forgot
you led the police here
and took away our babies.
My babies.
My babies!
We gonna get the boys
back, I promise.
Please, please just let us go.
We will go back to California
and no one will ever see us again.
No, they won't, sweet meat.
The Polks have always been
as good as their word.
We have a deal with The Butcher,
and she's gonna get you back.
As much as I wanted
to get away from the Polks...
there was only one place
worse than where I was.
And that was our house.
It was Shelby.
She called the cops,
telling them that
I had something to do
with my husband's death.
That's why they were holding me
and questioning me
over and over again.
I knew what they were doing.
I was a cop.
They only had 48 hours
before they had to charge me.
48 wasted hours,
when I could've been
out there looking for Flora.
Let's go over this again.
Your sister-in-law told us
you left around
a quarter after 10:00 p.m.
15 minutes
after your ex-husband.
Now, you didn't come back
until about four hours later.
What were you doing?
How many times do you want me
to tell you the same story?
You took your daughter from school
without permission.
You knew
your ex-husband was gonna
turn you in for kidnapping.
Is that why you killed him?
These are facts, Lee.
I went out that night
to look for my daughter,
which is what we both
should be doing right now.
Come on, look at how you found Mason!
Do you honestly think
that I could lift a grown man
into that wooden thing?
Not by yourself.
I had nothing to do
with Mason's death.
So you either charge me or let me go.
They tried for every minute
of that 48 hours to catch me
in an inconsistency.
But there was no lie to catch.
Because like Mark Twain said,
"If you tell the truth,
you don't have
to remember anything."
When I turned on my phone,
I had, like,
20 texts from Matt.
I couldn't make sense
of them at the time.
They were all pretty frantic.
There was only one message
that mattered.
My baby was safe.
(heavy rattling)
Every time that truck bounced,
I was sure that gun would go off.
I just needed a moment.
Just... one.
Slow down, peckerhead!
(Shelby shouting)
(both screaming)
(grunting)
Cain!
(gasping)
MATT:
I knew I had to make a move.
Come on, come on.
Come on, girl.
Come on, Flora.
We were gonna die if The Butcher
got her hands on us again.
(indistinct shouting)
I figured I'd rather us
take our chances
in the woods than be
slaughtered like pigs.
Get down.
Get down, get down, get down.
(panting)
(Shelby gasps)
(shushing)
(crickets chirping)
(phone buzzing)
(Shelby shushing)
(gasps)
(gun cocks)
(gasping)
Whatever was going down, it was bad.
Matt wouldn't just ignore my call.
Especially if he had Flora.
Officer!
I need a ride.
(shouts)
(truck creaks)
Put the girl in the truck.
No child should have to see this.
(Ishmael grunts)
- ?No, no!
Pl...
You fashion yourself a hero,
don't you?
Real brave and such.
You come onto my land.
Take my babies.
Kill my son!
If she didn't want you so bad,
I'd bash your skull in right now!
And I tell you what.
(footsteps)
You ain't running again!
SHELBY: No! No!
Please don't hurt him!
Please, I beg you!
I beg you!
I beg you.
MATT: Do whatever
you want to me.
I won't run again.
Oh, no, you won't!
(screaming)
Shelby.
(screaming continues)
I've never felt more useless.
I don't really
remember much after that.
(Shelby groaning)
(shushing)
Matt.
Look at me.
You have to save her.
You have to save Flora.
(shushing)
You have to save...
(shushing)
Promise me you'll save her.
(whimpers)
Promise me you'll save her.
(shushes)
(sobbing)
(sighing)
I gave up.
There was no way out.
I just tried to soak up
every last second
I had left with Shelby 'cause I knew,
when that truck stopped...
it was all over.
(brakes squeak)
There were still so many... things
I wanted to do with my life.
Be a mother.
Grow old with Matt.
Open up my own yoga studio.
And I always thought that...
I'd have all the time in the world.
But our time was up.
(Shelby gasping, grunting)
Thou hath lost a son tonight.
'Tis a mother's burden
to suffer the birth of her babe,
but all agony pales
when placed in measure
with the cold death of a child.
Back in the truck, boys.
(Shelby whimpers)
No!
No, no, no, no!
No, no, no...
(crying, pleading continues)
No!
You promised she would be last.
Now she goeth first.
(Flora screams)
(Matt, Shelby screaming)
Flora!
(screaming)
It was...
inhuman.
I mean, sh...
she was just a little girl.
They were monsters.
Call for backup.
Wait. No, wait.
Wait, wait!
(Flora screaming)
Shit!
This land belongs to the colony,
and the colony to the land.
We consecrate our holy right
with blood!
(whimpering)
No!
SHELBY:
It was one of her own.
I don't understand why he did it,
but he stopped her.
I shall not stand by and watch thou
shed another drop
of innocent blood!
Go on, now, make your grand escape.
I can't move, I can't move.
(Flora screaming)
Get in!
(gasping)
MATT: Flora!
Flora!
MATT: Go, go!
Lee, go, go, go!
(tyres screeching)
It was a miracle.
After all we'd been through, I...
I still can't explain
half the crazy things we saw.
We were lucky to be alive.
Those months were like...
a terrifying nightmare.
When I close my eyes,
I can still see...
the fire and... Elias screaming.
That... insane family.
I'm just grateful
that I will never have to see
that god-awful place again.
We only had enough cash
on hand for a motel room
and some takeout.
OK, alright baby.
LEE: Let's get you
all cleaned up.
SHELBY: We stayed in the
cheapest place we could find
until my sister could
wire us enough money
for a flight back to L.A.
We'd be... homeless when we got there,
but that night...
we were the richest family on Earth.
(TV channels changing)
Ooh, me next.
(sighs) You sure that's a good idea,
with your cast and all?
I am filthy, I smell terrible.
Try and stop me.
We're okay, baby.
We're okay.
- Flora?
- ?Hmm?
Did you save a slice
for your Uncle Matt?
I don't know, Uncle Matt,
I was pretty hungry.
(all chuckle)
SHELBY: To this day
I still have that dream.
I've tried... yoga,
meditation, hypnotherapy even.
We escaped with our lives that night,
but... I never completely got over it.
I'm not sure I ever will.
Precisely Synchronized by srjanapala