The Magicians (2015–…): Season 1, Episode 9 - The Writing Room - full transcript

Quentin, Alice, Eliot and Penny travel to England to Plover's estate in search of a missing magic button, but what they find is a hauntingly terrifying vision of the author's true self. ...


- Previously on
"The Magicians"...
- It is the beast, isn't it?
And he's from Fillory,
which is real.
- You want to know
what the beast wants?
He wants control of Fillory and
all the doors that lead there.
I gave you a book about it.
- Stuff they're saying I did,
I don't remember.
- Were you blacked out
when we met?
- We need something
or someone to lean on
that is bigger than ourselves.
- What was that?
- Did it work?
- It was more energy
than I've ever felt.
- Still the same, determined,
little Jane Chatwin.
[stool clatters,
blood splashes]
[dramatic music]
- [grunts]
- Eliza is dead.
She's the only one who could
actually give me answers.
- There are no answers,
because we have no idea
what's going to happen next.
- Dear Q.,
I don't need to tell you
how pissed at you I am.
Probably got the message
around the time
I incepted
the shit out of you.
I don't understand
why we fell apart
after being friends forever.
Anyway,
I'm sorry for my part.
I never meant
to really hurt you.
I put it down.
I got help.
I know you're not
supposed to say
the other person fuááed up too,
but you fuááed up too,
and it broke us,
and I hate you for that,
because I really miss us,
Q.
I'm working on forgiving you.
Jules.
- J., got your letter.
I guess we're both still mad.
But I'm glad you're okay.
I really am.
Take care of yourself.
[keyboard clicking]
[solemn music]
- It's not black and white,
Julia.
- It's all I thought about
all day when I was in there,
and it's all that I think about
now that I'm out.
- Well, there's this sometimes
very handy thing called penance.
- What, like 50 magic lashes?
- [chuckles]
That spell you used to get
inside your friend's mind,
do you remember it?
That's a perfect example
of something that can be used
to help instead of hurt.
If you're not afraid
to do the work--
- I'm not.
- Okay.
- Q.?
You can't sleep?
- I just, uh...
Eliza gave me the answer,
apparently,
and I lost it.
"Fillory and Further,
Book Six."
And it was important,
and it just vanished.
- So did you look for it?
- Yeah, of course.
Everywhere. I...
[sighs]
Fillory is always deciding
when to let the Chatwins go
and deciding
when to kick them out,
because Ember and Umber--
- Right,
the twin gods of Fillory.
They get mean and
take everything away, I know.
- Essentially, yeah.
They have their reasons.
But that's what happened
to the manuscript.
For some reason,
I didn't deserve it.
- It's a manuscript, not a
referendum on your character.
- No. I--
[sighs]
In the books--
- So you lost it.
What do you do
when you lose something?
[eerie music]
♪ ♪
- So you had it
the whole time.
- I don't know what you're
yapping about, as usual.
- "Book Six."
The day we met, you said
you had nothing to do with it.
- Like I said,
it wasn't me.
[scoffs]
Want to get that thing
out of my face?
Ugh, fine.
I took the stupid thing.
I was bored.
It was there.
Now it's gone.
- Gone?
What do you mean, it's gone?
- I mean I read it.
I spilled my beer on it.
I tossed it in the trash,
and then I went
and got another beer.
- Unbelievable.
That's unbelievable.
Wait.
You said you read it.
Do you--do you remember it?
- Ish.
- This is important.
Okay, I need you--
- I need to punch you
in the throat
if you tell me
what I need to do.
- The Beast is trying
to pick us both off.
You've got the scars
to prove it.
I don't understand why
we can't just be basic allies.
- [laughs]
- You can't possibly
want to be a dick
more than you want to live.
I--
[sighs and inhales]
What did Plover say in the book?
Come on.
- First of all,
what's-his-name didn't write it.
- Plover.
Christopher Plover.
- The girl did.
Jane Chatwin.
- Wrote "Book Six"?
Holy shit.
- Yeah, she started off
by saying
that the other books are wrong
and she wanted to go back
and clarify some shit.
- Wrong in what way?
- Um, this--this was
the summer that the mom died,
and they were hanging out
in Plover's mansion,
eating crumpets.
♪ ♪
Right. Um...
Jane and Martin
opened a closet,
and they went to Fillory.
No. Martin didn't go.
Fillory kept forgetting him.
- Forgetting him?
- Yeah.
Martin was crying
like a little bitch
about Fillory
not wanting him anymore,
and Jane said hang tight
and she'll find some way
that Martin can go back
to Fillory anytime he wanted.
Yeah, and there were,
like, creatures or something.
- Questing Creature--
if you catch one,
they're forced
to grant you a wish.
There's seven of them.
There's a dog, a rabbit--
- Stop!
I'm literally becoming less cool
with every word you speak.
- So I assume she had
her enchanted bow
so that she could
actually get one.
- Uh...
[chuckles]
Yes, right. Yes.
[chuckles]
- Stop, or I'll shoot.
- Hello, human child.
- It was a dog.
- I need a key
to unlock the door to Fillory.
I caught you, dog.
- No, wait.
Not a dog.
It was a pig.
- By decree
of Ember and Umber,
you must give me what I ask.
- Wrong. No.
What was it?
Back up.
- Ah, for fuáá sake.
- Hello, human child.
- I caught you.
Give me what I ask.
- Did it work?
- As you wish,
so shall it be.
[light instrumental music]
♪ ♪
- Wait.
So the button is the key?
- Well, this all makes sense.
- It does?
- In the last book,
Martin--
he's obsessed with finding
the lost button.
He's tearing
Plover's house apart.
The message boards are insane,
um, with different theories,
because the books--they just say
that the button's magic.
They don't--they don't--
nothing specific about it.
Oh, this is huge.
- Why is this huge?
- Because it could still
be there at Plover's house.
Martin never found it.
We could--
- Whoa, you are talking
about a direct ticket
to The fuááing Beast.
- Better than him
having one to us.
Look, this is in a manuscript
that you're probably
the only person
to have ever read.
There's a chance
the button's still there.
[eerie music]
I'm going,
and like it or not,
Penny, you should come.
♪ ♪
- I'm coming too.
- Okay.
So what's the quickest way
to England?
Ooh, Penny, do you--
Dick.
[eerie music]
♪ ♪
- Great.
I'll--I'll pack.
- I'm sure we can
find a direct flight.
- To where?
- Uh...
Scurry along, Ronald.
- Raymond.
- Raymond.
Have a great day.
[relaxed music playing]
♪ ♪
- Uh...
So you seem good.
- Could use a top-up.
[clears throat]
So where are you
flying off to, exactly?
♪ ♪
- Uh, England.
- Oh, you don't need a plane.
Margo and I made a door directly
to our favorite pub.
You can get to where
you need to go from there.
I'll show you
if you take me.
Margo's still in Ibiza.
Ronald gives terrible head.
It's not his fault.
TMJ.
♪ ♪
I'm bored.
- You don't even know what--
- I'll catch up.
[man singing indistinctly]
[swallows]
- How are you today, Keira?
I brought a friend.
I've been working on
that thing we talked about.
Julia's here to help.
You want to lock the door?
- Yeah.
- Keira, I want you to think
of somewhere that you love.
We're going to create that place
together in your mind.
- She can hear us,
right?
[eerie music]
- Julia's gonna meet you there.
She's experienced
in mental projection.
- I wouldn't call it
a specialty.
- If anything goes pear-shaped,
I'll pull you right back.
♪ ♪
[dramatic music]
♪ ♪
[speaking Greek]
♪ ♪
[both speaking Greek]
♪ ♪
- [gasping]
[panting]
Richard?
Keira?
Hello?
Richard, I'm stuck!
Someone get me out of here!
We screwed up.
[gasping and panting]
[eerie music]
[gasping]
Someone saw "Kill Bill."
[exhales sharply]
[banging]
Keira, Keira,
if you don't want me in here,
then just let me go.
♪ ♪
I know shit Uma didn't know...
♪ ♪
Like how to become
impervious to fire,
so I will walk
right out of here.
♪ ♪
[fire crackling]
♪ ♪
[whooshing]
[panting]
[birds chirping]
- Are you Richard's friend?
- What the hell was that?
- Needed to see
if you were any good
before I let you near me.
- What is it with Magicians
and tests?
- Here.
You need a pen.
Did Richard tell you
who I am?
- Just that you're
extremely smart.
[eerie music]
I can barely comprehend this.
- Can you tell
it doesn't work?
There was an answer.
I could feel it.
I couldn't get there.
Then my body turned on me.
♪ ♪
- How long have you--
- Year.
But I still have this.
So I sat
and did the rest of it.
- You finished this
in your mind?
- I talk. You write.
And when you go back out,
remember what you wrote.
- Yeah, yeah.
Um...
[clears throat]
Fire at will.
♪ ♪
- Okay.
So we start pretty simply.
The framework
from Popper 45.
- Okay.
- This estate has been
in the Plover family
for five generations.
Christopher Plover, already
a prolific and respected author,
was looking for inspiration
for his new book
when Jane Martin
and Rupert Chatwin
moved in next door.
- Not exactly.
- Excuse me?
Question from the back.
- No, not a question,
more of a correction.
The kids got there first,
Jane and Martin,
and then Rupert got injured.
- Ah, we have ourselves
an expert.
[chuckles] Now--
- And Plover's previous work,
uh, he--well, he only got
rejections for it.
It just didn't really
show the depth
of the "Fillory and Further"
series.
- Stay closer.
I'm not sure I can
do this tour without you.
[light orchestral music]
Now we have some pictures
of the Plover family.
♪ ♪
Plover's sister Prudence
cared for him until
his untimely death in 1952.
Stay with the group,
please.
Not all rooms
are for public viewing.
♪ ♪
Prudence said Christopher
so understood children
because of his own
tragic childhood.
He aided many families
in the area
and paid for the education
of his housekeeper's children,
George and Beatrix.
Not only did he write
for the Chatwins,
but he took them in briefly
when their mother died.
Legend has it Jane
walked through a closet
in this very house
to get to Fillory.
Follow me to the writing room.
♪ ♪
[camera shutter clicks]
♪ ♪
This is where Fillory
was born,
where Plover told tales
to Jane and Martin.
As Plover wrote,
"There is no substitute
for a childhood
of adventure,
warmth, and love."
- You will never
be a man.
All right,
let's find this button
and get out of here.
[glass shattering]
- Shall we proceed,
criminal element?
[foreboding music]
♪ ♪
- This is where he wrote it,
right here.
This desk saved my life.
So I liked the books
when I was a kid,
and my friend Julia and I,
we'd pretend to be
Jane and Martin and...
So I was 16 the first time
I was hospitalized.
I just--I couldn't get
out of bed, like, at all.
- I didn't know that.
- My brain breaks sometimes.
And my dad brought me the books,
and I read them,
and I felt enough
like me to at least
try to get back
in the game, you know?
- Do you still feel
like that?
Broken brain?
- I feel like...
I don't feel
that it really fixes.
It just works better now
in its own screwed up way.
Hey, would you break up
with me if I told you
that I've never been happier
in my entire life?
- Guys, stop lovebirding
and look.
[eerie music]
♪ ♪
[door creaking]
♪ ♪
Boring, boring...
Completely boring.
- Hey, this could be something.
♪ ♪
- It's a letter
from Prudence, his sister,
to their lawyer.
Plover died
of a heart attack in 1952,
but this is all about
how he's missing, not dead.
She wants a death
certificate issued.
Whoa.
Holy shit.
They lied.
- Why would she lie if the--
- Rumors about Plover.
He--there are these kids
that were missing--
kids that knew Plover,
and in his absence,
people were talking,
and the longer that
they stayed vanished,
the more people started
connecting them in a bad way.
- No, I bet it's more
complicated than that, right?
Well, because--because
Fillory is actually real.
- Exactly,
and Plover was crushed
that the Chatwins
were missing,
because he knew exactly
where they went.
- I love a good cover-up.
- And the books
were already getting famous,
so maybe it was easier
just to say he died, I guess.
- So what happened to him?
- I got a theory.
McCabe, Livingston,
Ali, Popper.
- Oh, my God.
- He was studying magic.
- Yeah.
I guess that never made it
to the message boards.
But check this out.
Kaminsky, Umar,
Aurora.
- I've never even
heard of those.
- Of course, you haven't.
You're not a traveler.
It's the entire 101.
- Plover was a traveler?
- Or he wanted to be.
I mean, you go one inch wrong,
you're torn to shreds.
- This is amazing.
What if--
- Try this.
Plover's an idiot,
like you,
who wanted to go
to Fillory, like you,
so he tries a spell
and gets blown up.
- Or it worked.
- Fantastic to idiots.
You want some?
It never empties.
[clicking]
[foreboding music]
♪ ♪
[clicking]
♪ ♪
[tapping and squeak]
[echoing children's laughter]
♪ ♪
- [echoing]
Trapped here. Help us.
- [echoing] Trapped here.
Help us.
- Alice--
- Shh.
Don't you hear that?
[ominous musical flourish]
- What in God's name
are you doing?
You set off the alarms. You have
to get out of here this instant.
- Okay. Look.
Is this something that
can be fixed with money?
- But you're not listening.
- Are you mad,
or are you scared?
- You shouldn't be here
at night, so please--
- What really happened
to Plover?
- I don't know what
you're talking about.
- Yes, you do.
Ugh, he's so panicked,
I can't make sense
of anything he's thinking.
- Okay.
Enough of this.
- [gasps]
- I'm a super villain.
Now talk.
- Okay.
But then we need to go.
- Plover--what was
the real deal?
- He was involved
in some dark things.
There's a book.
It's hidden in the writing room.
- Yeah.
I think we found it.
- Prudence--she didn't
want anyone to know
the unnatural things
that her brother--
[electricity buzzing]
Oh, no!
- Oh, my God.
- Where did they go?
[rattling and banging]
[ominous music]
♪ ♪
- Whoa.
♪ ♪
- Okay, then.
Let's get the fu** out of here.
All in favor?
♪ ♪
Shit, shit, shit, shit, shit
Penny.
Alice and Eliot.
- Fuáá me.
- So where did Richard
find you?
Brakebills?
- Rehab.
- Really?
- Yeah.
I, uh...didn't go
to school for this.
- You sound bitter.
- You caught that.
- [chuckles]
You know, I didn't
go to school either.
- [scoffs]
Come on.
- Well, I went to MIT,
but I didn't study
a lick of magic in school.
- This is brilliant.
- Magic is science.
Hard to crack on your own,
but far from impossible,
if you have the natural bent.
- Yeah.
You know, sometimes,
I wonder if I do...
have it naturally.
What if it's all
just one big party trick
that never adds up
to anything?
- So?
What if it doesn't?
You know what I think
about when I'm in here?
This one day in this park
with my girlfriend.
We sat here in the rain
doing this dumb little spell
over and over,
making a rainbow
that lasted ten seconds.
- Sounds lovely.
- It was.
Best day of my life.
What's yours?
Here.
While you and Richard
are juicing me up, show me.
[gentle music]
♪ ♪
- [chuckles]
I was ten
with my friend Quentin.
No one bothered us under here.
It was like we were invisible.
We'd read "Fillory" books
for hours.
- I loved those.
♪ ♪
- One day, we made this
like we were
gonna go visit.
- [chuckles]
- We were playing,
but it felt real.
♪ ♪
- See this.
Chase this.
♪ ♪
It's the secret
to how to be you.
- [chuckles]
- Okay. Back to the park.
Let's finish this puppy.
- Alice?
[panting]
Eliot?
Alice!
- Chill, man.
They can handle themselves.
[footsteps tapping]
Shh, shh!
What the hell was that?
[echoing children's laughter]
- This house is haunted
as balls, is what that is.
- [echoing]
Come in here, please.
- Okay...
[eerie music]
- Hello?
Anyone or anything?
♪ ♪
[ball lightly thudding]
♪ ♪
[distorted ringing and whirring]
[tinkling music]
Okay, Jesus, we get it.
There are ghosts in here.
[electricity buzzes]
- I tag you.
You're it.
[tinkling music continues]
[eerie music]
♪ ♪
- What just happened?
- I tag you.
You're it.
♪ ♪
- Do we go with this?
- What other option
do we have?
♪ ♪
- [groans]
♪ ♪
Okay, this is a little kinky,
even for me.
- Would you care
for refreshment?
- Oh, um, okay, sure.
Sounds divine.
Mmm. Okay.
Thank you.
We must get these things
off our hands.
Do you know Popper 29 yet?
- No magic in the house.
Be good, or she'll take you
to the quiet place.
♪ ♪
- We'll be good.
Right, Eliot?
- Mm, yeah,
you're the boss, kid.
[electricity buzzes]
- She's coming.
[footsteps tapping,
door creaking]
[electricity buzzes]
[dishes rattle]
[foreboding music]
♪ ♪
- Stop doing that.
[rope creaks]
♪ ♪
- My brother is too soft,
caring for you when he
needs peace to work.
He has no idea
how naughty you truly are.
Now drink your tea.
♪ ♪
- [clears throat]
- Drink it.
♪ ♪
- [slurps]
[eerie music]
♪ ♪
- No.
I'm over here.
♪ ♪
[giggles]
♪ ♪
- Holy shit,
that's Christopher Plover.
♪ ♪
Is it just me,
or does it feel like
we're being shown something,
like how it was?
- Yeah, the time slip.
- You say that like,
"Yeah, a sunrise."
- Sunderland talks
about it all the time.
She has a PhD in hauntings.
Her favorite thing
about a haunted house is,
you get these ghost movies
of the past running on a loop.
You see shit like it was.
- I didn't know any of that.
- Of course not.
You're an idiot.
[footsteps tapping]
- Oh, my God,
it's her.
- It's a tiny chick
in a beret.
- Slow down, Jane.
- That's Jane and Martin
from the books.
- Nerdgasm.
- This makes sense.
Plover took them in,
and they spent their days
playing with
the housekeeper's kids.
Martin--he was, like,
really sick that summer--
- Martin, hurry!
[light instrumental music]
- Janey, wait for me.
Wait, no.
I'm coming with you.
♪ ♪
Why won't you take me?
Ember, Umber, why won't you
let me in anymore?
[sighs]
[door rattles closed]
I try to be good.
- Martin,
are you all right?
Where's Jane?
- Fillory.
What's wrong with me?
- [sighs]
Nothing.
Some things
just aren't fair.
We can't make sense of them.
Let's have tea, hmm?
Come on.
Us left-behinds
ought to stick together.
♪ ♪
[electricity
buzzing and cracking]
- She's coming.
We need to hide.
- Quentin?
- [inhales and sighs]
- Okay, I'm getting
the fuáá out of here.
- What did I tell
you children
about disturbing
Mr. Plover?
[liquid dripping]
[chains clanking]
[foreboding music]
♪ ♪
- [sighs]
Great.
- No talking
in the quiet place.
- Lady, I don't know
who you think I am, but--
- Insolent is what you are.
I've told you
I'll sew it shut.
♪ ♪
- [whispers] Alice.
[frantic string music]
[speaking Arabic]
[grunts]
♪ ♪
Hey, hey, we need to hustle.
Mrs. Danvers could come back.
- Oh, my God.
Do you know what this is?
- A vaguely whimsical
horror show?
- She did this.
She really did this to
the children--Plover's sister.
She tied them up
and drugged them
so that they wouldn't
disturb his work.
- Okay, well, maybe ghost girl
can tell us where the button is.
Hey, Beatrix?
[tapping]
Beatrix, hey.
- [gasps]
My tummy feels bad.
[choking and gasping]
- Beatrix, it's okay.
[coughing]
How can we help her?
- I don't think we can.
- [choking]
[liquid splattering]
[panting and gasping]
- [gasps]
- Well, I guess we know
how she died.
- Oh, my God.
Oh, my God.
- It's okay.
It's over.
It's been over
for a long time.
- No, no, no, no.
Not for her.
She just keeps reliving it
over and over.
We have to--
- We have to go.
We have to go.
- It's not the same.
- Yeah, I know.
I'm sorry.
Here, have another.
- Hmm.
- Let's spoil our dinner,
hmm?
Oh, shall we work
a little?
I think that might be nice.
Do you think that
might be nice?
[light piano music]
- Martin, Mr. Plover,
I'm back.
I was in Fillory.
Martin, I brought you
what you asked for.
You must have a look.
- We'll be right back, sir.
She's dragging mud
all over the floor.
[eerie music]
- Stop that.
You're pinching me.
- You've got it?
- Yes.
Let's go show Mr. Plover.
- No, please.
Let's not.
For me.
- The button's a key.
♪ ♪
- I know you're here.
I know you're spying on us.
George, come out.
♪ ♪
Take this.
It's a game, George.
How well can you
hide the button?
[light instrumental music]
♪ ♪
- All right.
Well, I--I won't forget
any of it, so...
- I know you won't.
Can I give you a little
advice in return?
- Yeah.
- Forget that school.
The world never did help
a smart girl.
Why would it?
We scare the shit
out of the world.
If the world goes after you,
take it as a compliment.
- You know, I could come back.
We could--we could do more.
- This was really the big one.
- No, I know.
I just--I just--you know,
I'm sure you have more things--
- I do need
one other thing.
- Yeah, sure.
Anything.
- Kill me.
- That's--that's crazy.
- I'm allowed to be done.
- No. I can't.
- Well, I need you to.
- [gasps]
You knew.
You knew, and you did--
No, I did not
sign up for this.
- Then what?
Pleasantries?
- No, how about
not killing anyone?
- What do you think redemption
looks like, Julia?
Being nice?
Donating shoes to Africa?
You think that really burns
the tumors off your soul?
- What if she's wrong?
You know, what if a Magician
finds a cure tomorrow?
What if there really is a hell
and this takes me there?
- You're already in hell.
So is she.
- What am I
supposed to do?
- Whichever's hardest.
- [exhales]
- Oh, thank you.
- Drink up, Jane,
and eat.
You must be famished.
[violin music]
♪ ♪
- Jane, don't you
want to join us?
♪ ♪
- Oh, she's tired.
That's all right.
You go ahead, Martin,
like last time.
- I don't know
if I want to.
- Remember when I took
you and your sister
to town for cinema?
Bought her that dress
she wanted.
- Yes.
We're grateful.
- When I was a boy,
I didn't have anyone
who thought about me.
I saw it wouldn't happen
to any child I cared about.
I care about you,
Martin.
Come on, in front
of the camera.
Give me a smile.
Mm.
[camera shutter clicks]
Oh, I have the best news.
I am so close
to figuring it all out.
Wild magic,
too strong to do
with human hands.
I'd have to grow
another finger.
[chuckles]
Can you imagine?
Of course, there's
spellwork for that too,
if I can master it.
All right, you can go ahead
and take that off now.
[camera shutter clicks]
Trousers too, darling.
All of it.
[camera shutter clicks]
I think the solution
to all our problems
lies in Fillory.
I need to go there
with you.
- But--
- I know.
It's been for you kids.
But I think we could
find a way to go.
[camera shutter clicks]
We could be together.
You're a lovely boy,
Martin.
Now turn around.
- They play like that
all the time.
A whole pile
of naughty pictures
hidden in the dictionary.
[footsteps tapping]
Oh, no.
The mean lady.
[gasping]
- Little spy!
- I didn't see anything!
I swear.
- May God punish you.
My brother is a good man.
- [grunts] No.
- You all hound him.
It's your fault.
- Stop.
Leave him alone.
[harrowing music]
- [sighs] Hmm.
To the quiet place,
for the best.
[foreboding music]
♪ ♪
[electricity
buzzing and crackling]
[footsteps tapping]
- We should go back in there.
- Shh!
I'm trying to think,
and I'm out of cigarettes.
This is dire.
- Oh, my God.
You're okay.
- We're great.
We're both great, actually.
- Where's Penny?
- Knowing him,
Disneyland by now.
What if he got to Fillory?
What did he do
to Martin?
- What are you
talking about?
[foreboding music]
- I saw something
in there--
who Plover really was,
what he was doing
to Martin Chatwin.
- What...was he doing?
♪ ♪
- [whispers] Oh, God.
- The poor kid,
he was just trying
to get a button
to Fillory,
you know, so he could escape
this monster, who, by the way,
generations of idiots like me
have been worshiping
like a literary god...
♪ ♪
who was...learning magic
to get stronger, to travel,
who was wanting to grow
extra fingers for spells.
- Grow fingers?
Like--
- What if The Beast
wasn't from Fillory?
What if he went there
because he had access
via these kids who he liked
to tell stories to
when he wasn't drugging
and raping them?
- Jesus.
Well, I still have
the capacity to be surprised.
We thought you ditched us.
- What happened to you?
- Man, I traveled into
a fu** tree about a mile off,
getting away from that
crazy Prudence's dungeon.
- Not so precise
with the travel, huh?
- Shut up.
- Wait, what do you mean,
dungeon?
- I mean some
dirt-floor basement
bitch calls the quiet place,
'cause that's not
fu** psychotic.
There's a storm cellar
around the back.
- That's where she took
the housekeeper's kid.
He's got the button
in his pocket.
Let's go.
- Whoa.
That's a great idea if you want
Prudence to grab us immediately.
- Dislike.
- Okay.
I know what to do about her.
Give me a ten-minute head start,
and then head to the cellar.
[eerie music]
♪ ♪
[foreboding music]
- What are you doing
out of the playroom?
- This is going well.
- Where the hell's Quentin?
- He's coming.
- You're all going
to the quiet place.
- Hey, Prudence!
I heard the nastiest rumor
about your brother.
Okay, fine, but there are
about 48 more of those
that I just hid
all over the house.
I'm gonna make sure
everyone knows exactly
what Christopher Plover did.
- No.
- Okay.
Well, that bought us
about ten minutes.
Let's go dig up
a dead body.
- It's done.
Richard and I,
we--
- So this is what
that's like.
- Do you want me to stay?
- So you're found
meditating in my room
next to my overdosed corpse?
- Yeah, well, when you
put it like that...
♪ ♪
- [chuckles]
♪ ♪
Bye, Julia.
♪ ♪
Have a good life.
♪ ♪
- [gasps]
[sobbing]
- We'd better go.
- [sobbing]
- Quentin.
[tense music]
♪ ♪
We have to go back.
- Come on.
- We have to go back, Quentin.
- And do what, exactly?
- Help those children.
You can't seriously be thinking
of leaving them there.
- They were there
before we were born.
- Trapped.
This is exactly
the kind of thing
that we should be able to fix.
There are ways
to clear a haunted house.
- The house, yes.
It doesn't help
with the ghosts.
- There are rituals
in every civilization.
- To prevent this,
not reverse it.
- We have to help them.
There has to be something.
Those kids--
they did nothing.
That is so unfair.
- You don't say.
- You're not helping.
- I'm the only one
helping.
[scoffs]
Life ain't fair.
Why in the high, holy fu*á
should death be any different?
Thinking that you can
change anything--
it's such an act
of monumental ego.
I mean, who the fu*á
do you think you really are?
I mean, you're just some
arrogant, little twat.
So suck it up.
- Shut the fu** up.
Vix,
if we're gonna go,
we got to go.
- [whispers] Okay.
- Come on.
[melancholy music]
♪ ♪
- Thanks, but I'm okay.
- No, you're not.
- Okay, I'm not.
♪ ♪
Are you okay?
♪ ♪
- No.
[murmurs]
I've been freaked about The
Beast since that day, you know?
I've been worried
about myself,
and now that we know
who he is, what he is,
what he did to those kids,
Martin, I just...
I want to kill him, you know?
I want to--I want to step
through the nearest clock,
and I want to wring his neck.
- Okay.
Let's see this button.
[eerie music]
- It looks
so ordinary.
- No, I feel something
coming off of it...
hard.
♪ ♪
You guys really
don't feel that?
- Maybe you should put it away.
- Hey, don't talk to me
like I'm you.
Mayakovsky
trained me himself.
I stay put until
I want to go, period.
♪ ♪
- Told him not to do that.
[suspenseful music]