- 2 days ago
David Norliss (Roy Thinnes) is a reporter hard at work on a book that he hopes will debunk many supposedly supernatural and occult phenomena as hoaxes. In the process, he meets Ellen Cort (Angie Dickinson), a well-to-do widow who insists that her dead husband has come back to haunt her as a zombie. No one has believed her story, and David is no different until, after more investigation, he learns the horrible truth. Once a doubter, he decides to help Ellen prove her story is real.
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00:00:00Transcribed by ESO, translated by —
00:02:00Good morning, Mr. Evans.
00:02:25Good morning, Mr. Evans.
00:02:55But I, uh, I can't write it.
00:03:01I'm afraid to write it.
00:03:03You're not making sense.
00:03:05We gave you a sizable advance to write a book debunking supernatural, which was your idea, not ours.
00:03:11But now you tell me a year later you haven't even started it.
00:03:14I'm into the book, but, uh, it's on, on tapes, a series of tapes.
00:03:30When you hear them, you'll understand.
00:03:31What will I understand?
00:03:33How far I've gone.
00:03:36How dangerous this whole thing is.
00:03:41It sounds like I have to talk to you.
00:03:46David, you sound very strange.
00:03:50Uh, you all right?
00:03:53David, are you all right?
00:03:57Yeah.
00:03:57Okay.
00:03:58Okay.
00:03:59Okay, well, what about the Carnelian room for lunch tomorrow?
00:04:02It's no good.
00:04:03I have to see you now.
00:04:06Monday, Dave.
00:04:06You know what?
00:04:07Monday's all right.
00:04:08Why not tomorrow?
00:04:13Tomorrow might be too late.
00:04:14Do you wish to order now, sir?
00:04:40No, just bring me a phone.
00:04:44You know what?
00:05:11that was a week ago he never showed for lunch never phoned to explain why and I haven't been
00:05:39able to contact him since you should be used to eccentric writers by now and in my opinion
00:05:46David Norris is just a bit more eccentric than most and I'll never get over this view there is
00:05:52something wrong I wish you'd check this thing out find out where he is Sanford I'm his lawyer not
00:05:58his nursemaid all right I'll look into it I still say you're making too much of a broken lunch date
00:06:09Sanford Sanford I was hoping I'd see yeah glad I ran into you yeah you got time to catch the
00:06:19cable with me where are you going I'm going up to the club all right fine we'll have a drink good
00:06:23yeah I uh I'm terribly worried I tried to phone you earlier well I was in a publisher committee
00:06:30tied up the whole bloody afternoon Sanford I'm sorry I didn't take you very seriously in the
00:06:35meeting the other day well I just thought you were making much too much of it I hope you have
00:06:40something what'd you find out nobody knows where David is nobody's seen him he's just gone
00:06:47are you sure we checked every possible source everything conceivable it seems incredible
00:06:53so
00:06:57so
00:07:02so
00:07:06so
00:07:12so
00:07:14David?
00:07:44David?
00:07:53David?
00:07:59David?
00:08:05David?
00:08:15David?
00:08:20David?
00:08:26David?
00:08:36David?
00:08:41David?
00:08:47David?
00:09:06Notes for introduction.
00:09:08Today is Thursday, September 25th.
00:09:12And I might as well get started with this thing.
00:09:17Get the book rolling with what I've got so far.
00:09:20God knows it isn't taking the direction I assumed it would.
00:09:24This whole thing began when my natural writer's curiosity
00:09:30was aroused by an article I'd read in a weekly periodical.
00:09:34The article was concerned with the commercial aspects of spiritualism and the occult.
00:09:39My original idea was to expose the phonies who were bilking millions of dollars each year
00:09:44out of their gullible victims.
00:09:46To go after the fake mediums.
00:09:49Phony astrologers.
00:09:51The self-proclaimed seers.
00:09:53And trick mystics.
00:09:55I was successful at this for some time.
00:09:58The floating face which was a dummy's head on a wire.
00:10:02The ghost of a woman's son who turned out to be the medium's own kid in a weird ghetto.
00:10:08The fortune teller whose life images in a crystal ball were supplied by a hidden film projector.
00:10:15But then I got into this business with Ellen Cort.
00:10:21I had better try to get this down exactly the way it happened.
00:10:27Ellen Stern's Cort was recently widowed.
00:10:30Her late husband James Raymond Cort was a successful sculptor from a well-to-do family.
00:10:36He worked from a studio on the grounds of his estate in Carmel.
00:10:40When he married, he brought Ellen there to live.
00:10:43The night before she came to see me, she had undergone a very bizarre and frightening experience.
00:10:49Shortly after midnight, she was awakened from a sound sleep.
00:10:53By the barking of her dog, Raleigh.
00:10:55What is it, Raleigh?
00:10:56What's the matter, boys?
00:10:57Somebody out there?
00:10:58Somebody out there?
00:11:00Now he got relacións a good story for me and you have to be ONE-ika however they didn't
00:11:01teach her stuff as well.
00:11:14What's the matter, boys?
00:11:18Somebody out there?
00:11:20When he's met so many people, it's a huge lack of respect.
00:11:25Oh
00:11:33Oh
00:11:39Oh
00:11:45Oh
00:11:55Okay, show me. Okay, show me what you want. Okay. Easy. Easy, boy. Easy.
00:12:25Easy. Easy. Easy. Easy.
00:12:55Easy. Easy.
00:13:25The following night, Mrs. Cort came to see me. Actually, her sister, Marsha Stearns, an acquaintance of mine, had set up the meeting. Marsha knew about my work in the supernatural. When Ellen called her about the incident, Marsha had Ellen contact me.
00:13:41And the police found only the body of my dog, Raleigh. His neck snapped, ribs broken. They analyzed the bloodstains on the floor, and they were his. All his.
00:13:56Are you sure you hit the man when you fired the shotgun?
00:13:59I'm telling you, I hit him.
00:14:00Well, think about it. You were upset. You saw your dog killed. You could have missed.
00:14:03I've handled guns before. He was right in front of me in my direct line of fire. The charges hit him, smashed him backward, and that's when I ran.
00:14:13But when the police arrived, there wasn't a trace of him.
00:14:17No. He was gone. And when I told them who it was, they wouldn't believe me. Now, that's why I've come to you.
00:14:25Well, Mrs. Cort, why wouldn't the police believe you?
00:14:28Because the man I shot was already dead.
00:14:33It was Jim.
00:14:36My dead husband, James Cort.
00:14:45Ellen Cort seemed convinced that she had encountered the risen form of a recently entombed husband.
00:14:51I asked her to describe the circumstances surrounding Cort's death.
00:14:56Jim had been feeling very bad.
00:14:58We didn't know why, and our family doctor suggested that he undergo a series of tests at the Fraser Clinic.
00:15:06That's when we discovered he was suffering from a terminal disease of the brain called Pick's disease.
00:15:11I've heard of it.
00:15:12There's no cure, there was no treatment, and he, I don't know, Jim just seemed to change almost overnight.
00:15:19He was confined to a wheelchair, no longer work.
00:15:23He even had me board up his studio. He wouldn't even talk about his work.
00:15:27Was he at all involved with the supernatural?
00:15:29Yes, he was.
00:15:35And it started just before his death.
00:15:39Tell me about that.
00:15:40I'd arranged an exhibit of Jim's sculptures at the Langdon Gallery, and he met a woman there named Madame Jekiel.
00:15:51She owns an antique shop here in San Francisco, and part of her business involves the occult.
00:15:56In what way?
00:15:57She deals with objects that are supposed to have occult power.
00:16:01She even claims to cure the sick, and Jim believed her.
00:16:05No doubt asked him for a lot of money, too.
00:16:08No. No, she didn't.
00:16:10As far as I know, Jim never gave her a penny, not even for that ring.
00:16:15What ring?
00:16:16An Egyptian scarab.
00:16:18Something to do with the god Osiris.
00:16:22Osiris is an Egyptian god involved with the doctrine of immortality.
00:16:28Yes.
00:16:29The ring was part of an agreement he made with her.
00:16:34Use the word agreement.
00:16:37What kind of agreement did they have?
00:16:38I wish I could tell you.
00:16:40I can't.
00:16:42All I know is Jim accepted that ring in return for some kind of promise.
00:16:47He refused to discuss it.
00:16:49Where's the ring now?
00:16:51Do you know where it is?
00:16:52Yes.
00:16:55It's in his coffin.
00:16:57His coffin?
00:16:58Jim even specified that he was to be buried with that ring.
00:17:03That it be kept on his hand.
00:17:07And his body is in the crypt, in the grounds of the estate.
00:17:10That's where his body should be.
00:17:14But after what I saw last night, I don't know anymore.
00:17:18The next afternoon, I had lunch with Marsha, who was taking a flight to New York.
00:17:26She was quite worried about her sister.
00:17:28But you know I'm not easy to panic.
00:17:31And when Ellen phoned me, I knew she was desperate.
00:17:34I suggested she talk to you.
00:17:37Actually, we haven't been close for over three years since she married that James Court.
00:17:42Why?
00:17:42Did you get along with Court?
00:17:44No, I didn't.
00:17:46And when Ellen married him, it affected our relationship.
00:17:49We just haven't seen very much of each other.
00:17:51But now when she really needs me, I can't be here.
00:17:54How long do you have to be in New York?
00:17:56Well, only a few days.
00:17:57But I felt that we should talk before I left.
00:18:00It's important.
00:18:02If she says that she saw James alive, well then somehow I...
00:18:05Sure.
00:18:06If I didn't believe she was telling me the truth, that she knows it, I wouldn't be here.
00:18:10I know, but it's just all so fantastic.
00:18:14I mean, how could such a thing be possible?
00:18:16I don't know.
00:18:18But we're certainly going to try to find out.
00:18:22However, before I was able to contact Ellen again, another bizarre incident occurred.
00:18:29That night in Carmel, a sales girl was closing her shop for the day.
00:18:35Millie Parks, pretty, blonde, in her early 20s, was tired after a full day's work.
00:18:42She was anxious to close up, get into her car, and drive the six miles to her home.
00:18:48A small, one-story beach house on the ocean near Big Sur.
00:18:51¶¶
00:19:00¶¶
00:19:01¶¶
00:19:03I don't know.
00:19:33Oh, my God.
00:20:03Oh, my God.
00:20:33Oh, my God.
00:21:03And give me a blast.
00:21:03I might never have seen it.
00:21:12It's unbelievable.
00:21:14Sheriff, huh?
00:21:15I suppose you'll want to talk to me about it.
00:21:17No.
00:21:18All right.
00:21:27Get a blanket over there, fast.
00:21:30Hey, come here.
00:21:31I want to talk to you over here.
00:21:32Gene, Mike, get these spectators out of here.
00:21:34Is that the way you found her?
00:21:37Yeah.
00:21:38But I ain't seen nobody ever look like that after no car crash, Sheriff.
00:21:41She was like...
00:21:41Never mind what she was.
00:21:43You just keep shut on that part of it.
00:21:45Anybody ask you, you just found her dead in the car.
00:21:48Sheriff, nobody looked like that.
00:21:50I got through telling you, I don't want any more talk about this at all.
00:21:54Now, is that clear?
00:21:55Yeah, it's clear.
00:21:55But let me ask you something.
00:21:57How am I going to forget the color of that face?
00:21:59Help him get on his way.
00:22:00Will you try?
00:22:01Let's go.
00:22:01Charlie.
00:22:09I'm putting a lid on this one.
00:22:11Nobody talks to anybody about the condition of the deceased.
00:22:14Give me the mic.
00:22:17Sheriff Hartley, we have a 946.
00:22:20Let me talk to the coroner.
00:22:31All right, you know where I am if you need me.
00:22:48Can't you ever be on time?
00:22:50What do you look so sour about it?
00:22:52What do you think?
00:22:53You know, every time I manage to steal an afternoon, up come the rain clouds.
00:22:58I don't know what you're trying about.
00:22:59It doesn't look so bad to me.
00:23:00Well, if I came from Chicago, it wouldn't look so bad to me either.
00:23:04Hey, uh, what about the autopsy report?
00:23:07I didn't get it yet.
00:23:09Oh, I'd be ready now.
00:23:10Why don't I call the office and find out?
00:23:13What is this?
00:23:14It's going to take a couple of minutes.
00:23:15Why don't you go get changed?
00:23:16Unless you want to play a nose.
00:23:18Oh, you're funny.
00:23:19I'll meet you in the first tee.
00:23:28What'd you get, Sid?
00:23:30Extraordinary case.
00:23:32I've never heard of anything like this in my life.
00:23:34Even when I was a lab assistant in Chicago, we never had a case like this.
00:23:37What about this girl?
00:23:39The cause of death was strangulation.
00:23:41But from the depth of the indentation marks in her neck, it seems that the murderer must have possessed exceptional strength.
00:23:47Okay, now I know she was strangled.
00:23:49What I want to find out is what else was done to her.
00:23:51All right, that's the extraordinary part.
00:23:54The sallow skin cast and the collapsed sack-like appearance of the body was a direct result of a total evacuation of all the main arteries.
00:24:03Oh, Sid, I...
00:24:04Oh, all right, I'll make it simple for you.
00:24:06The girl's body was totally drained of blood.
00:24:09It was...
00:24:10Look, I don't want the media to get a hold of this.
00:24:14That's all I need.
00:24:14A bunch of newspaper men crawling up my back.
00:24:16Now, I can see the headlines now.
00:24:18Vampire killer loose in Monterey.
00:24:20What can you do for me?
00:24:21I'll do the best I can, but I can't guarantee anything.
00:24:23You know that I have to file a report.
00:24:25I cannot falsify the report.
00:24:27You know damn well I don't want you to do anything like that.
00:24:29All I want kept under wraps is the condition of the corpse, not the fact that she was murdered.
00:24:34Look, I gotta have time to work this thing out.
00:24:38Okay, I understand.
00:24:40I'll try and keep it under wraps for you.
00:24:42Okay, that's one favor I owe you.
00:24:53From the looks of that one, I'm gonna have to take two shots aside for now.
00:24:56Uh, Sid, now you know the only people who give shots are doctors.
00:25:00Feed up.
00:25:12The morning I drove down from San Francisco, the weather was foul.
00:25:16A curtain of cold rain fell from a gunmetal gray sky.
00:25:21I'd set up a meeting with Sheriff Hartley and Carmel to discuss the Ellen Court situation.
00:25:27I didn't expect much cooperation from him, but it was worth a try.
00:25:30A way to begin.
00:25:32When I pulled up in front of Hartley's office, the sky had begun to clear and the sun was breaking through.
00:25:38I hoped it was a good omen.
00:25:39Mr. Norris, at the risk of seeming inhospitable, I just don't understand why any of this would interest a man who spends his time, uh...
00:26:02Chasing ghosts.
00:26:07I'm sure you find this all very amusing, Sheriff.
00:26:09Mrs. Court swears her husband is alive.
00:26:13She asked me to help her, I agreed to.
00:26:14Uh, what do you want from me?
00:26:17Any information that ties in with the man she shot in her husband's studio?
00:26:20Uh, shot at.
00:26:22It's plain she missed him.
00:26:24Nobody can take a shotgun charge and keep walking.
00:26:27Look, she saw an intruder, she went panicky.
00:26:30Could have been anybody.
00:26:31Some bum looking to spend the night indoors.
00:26:33It gets cold out here in these woods at night.
00:26:35Now, I'll bet you that right now your, uh, ghost has hopped a freight and is halfway to Chicago.
00:26:43As for information, I...
00:26:44I don't have any to give.
00:26:48What about that, uh, girl who was murdered in her car the other night?
00:26:53Tonight, Millie Parks.
00:26:55Well, what about her?
00:26:56Well, I stopped in town before I came here and heard a few people talking about it.
00:27:01Well, it's like they say, read all about it in your daily newspaper.
00:27:04I have.
00:27:06Somebody hid in the car, strangled her, or the car hit a tree.
00:27:11Now, that's all there is to it.
00:27:13Mm-hmm.
00:27:14Are you sure that's all there is to it?
00:27:19Mr. Norlis.
00:27:21Now, are you saying there's some connection between that dead girl and Mrs. Cort's ghost?
00:27:26I'm not saying anything. I'm just asking questions.
00:27:29That's what I get paid for.
00:27:31And I'll handle it if it's, uh, if it's all right with you, Mr. Norlis.
00:27:35Sure, sure. It's all right with me.
00:27:37It just seems that there are a lot of nervous people in town.
00:27:40I think they saw a lot more than they're willing to talk about.
00:27:44Like I said, that's police business.
00:27:48Okay.
00:27:51Thanks for the information.
00:27:57I think maybe he's onto something?
00:27:59On to what?
00:28:01Now, there's a very simple explanation to this whole thing.
00:28:04All we've got to do is find it.
00:28:07I hope so, Tom.
00:28:08I sure hope so.
00:28:10Oh.
00:28:10As I headed for the court estate along the 17-mile drive, acres of lush cypress and tall pine loomed over me.
00:28:29The ocean below bellowed and roared, smashing into the coastline, spilling white foam along the sand.
00:28:37There's no doubt this rugged peninsula country could give the French Riviera a tough competition.
00:28:41But on this afternoon, my mind really wasn't on the scenery.
00:28:47I kept thinking about the girl who had been murdered the night before.
00:28:52Trying to tie what I knew about her into the story Ellen had told me.
00:28:56I had a gut hunch the two were connected.
00:28:59How, I didn't know.
00:29:00I was going to have to try and find out.
00:29:17Hello, Mrs. Card.
00:29:19I really do appreciate your coming.
00:29:27It's really a beautiful place.
00:29:29It was, but it isn't anymore.
00:29:33Not for me.
00:29:34I let the servants go after Jim's death.
00:29:37Now I'm trying to sell the estate.
00:29:40Would you like some coffee?
00:29:42Sure.
00:29:43So you mean to tell me you're out here all along?
00:29:46I had Mrs. Harrison with me until today.
00:29:48She'd been with the family for years, so I kept her on to look after the place.
00:29:52But that girl's murder frightened her.
00:29:55She turned in her notice this morning.
00:29:56Said she wouldn't stay this far out of town after dark.
00:30:00Well, she makes sense.
00:30:02I think it'd be a good idea if you went back into town with me tonight and stayed at the inn.
00:30:04Well, I guess maybe you're right.
00:30:08I didn't sleep a wink last night.
00:30:10Every time the house creaked, my skin crawled.
00:30:13Kept imagining I heard noises from the woods.
00:30:16You think we could take a look at your husband's studio?
00:30:22Sure.
00:30:22I'll get the keys.
00:30:23You say the dog led you in this direction?
00:30:49Yes.
00:30:50Yes, I practically had to run to keep up with him.
00:30:53What time did he wake you up?
00:30:55Just after midnight.
00:30:58There it is, over there.
00:31:00Jim loved this place.
00:31:15It used to be a barn before he converted it into a studio.
00:31:18What the people in town tell me, your husband was something of a reckless.
00:31:23Oh, I suppose that's true, but he liked being alone.
00:31:26After we were married, I had a studio set up in the main house, but he never used it.
00:31:30He'd always come out here to work.
00:31:32Called it his personal hideaway.
00:31:49Is this from the dog?
00:31:51Yes, all of it.
00:31:52He killed Raleigh as easily as you'd smash a fly, and he was a German shepherd, a very powerful animal.
00:32:01You say you had to unlock the door to get in.
00:32:03That's right.
00:32:04The question is, how did he get inside?
00:32:10Is this the corner he came from?
00:32:14Yes.
00:32:15He was standing right here.
00:32:17I'll never forget his eyes.
00:32:23They were horrible.
00:32:25Wild.
00:32:26Staring at me.
00:32:28How long has it been since you've been out here?
00:32:30I haven't been here since Jim died.
00:32:33I haven't been here since Jim died.
00:32:33I haven't been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since I've been here since
00:33:03now you don't believe me do you
00:33:07what do you believe
00:33:11i don't know
00:33:14but i'm still confused about the ring it must be worth a great deal of money why do you say that
00:33:23because charles langdon told me yesterday regarding the purchase of all the studio sculptures
00:33:29when he mentioned the ring i told him it wasn't for sale well what did he say
00:33:33he became quite upset and that's when i hung up maybe i should have a talk with langdon
00:33:39look while i'm in san francisco do me a favor find out all you can about that murder the other night
00:33:45there's something about that girl's death they're trying to hide
00:33:48well then you think there's a connection between what happened to me and the parks girl
00:33:54i don't know that's what i want to find out i'll call you tonight
00:33:58may i be of
00:34:05may i be of uh some assistance yes you might
00:34:30you tell mr langdon that david norliss is here to see him
00:34:34you'll be so kind as to follow me
00:34:37mr langdon a uh mr norliss to see you may i help you
00:35:01uh david norliss
00:35:04oh i know you i enjoyed one of your books very much
00:35:09really which one i have a terrible memory for titles
00:35:12it dealt with undersea life and uh i believe it was off the coast of yugoslavia
00:35:16the man below
00:35:17yes i'm glad you liked it
00:35:19i did
00:35:19you're the only one who read it
00:35:20come
00:35:21may i show you something here
00:35:23no thank you i would like to ask you some questions
00:35:26regarding your association with james raymond court
00:35:29oh you see i'm uh looking into his death
00:35:32looking into
00:35:34in what capacity
00:35:35there's a private investigator working for mrs court
00:35:38well i'd be glad to help ellen but uh i mean it seems a little bit on the bizarre side
00:35:42there was nothing of a mysterious nature about james death
00:35:45well then you won't mind answering a few questions will you
00:35:47fire ahead
00:35:48how well did you know him
00:35:51well we were closely associated
00:35:53you see our gallery is the main outlet for james work here in san francisco for the past several years
00:35:58i've placed a great number of his works
00:36:00with collectors and i've arranged for a few special commissions things of that sort
00:36:04hmm
00:36:05well how much do you know about the occult mr langley
00:36:08very little actually
00:36:10doesn't interest me at all
00:36:11hmm
00:36:12what's interesting because mrs court was saying
00:36:15uh could we talk upstairs
00:36:17huh
00:36:19please
00:36:20you see i somehow got the impression
00:36:28that you were responsible for mr court's fascination with the supernatural
00:36:32no it was simply a manifestation of his disease
00:36:34you do know madame jacquil don't you
00:36:41in a business sense i frequently send people to her shop
00:36:45she has excellent taste
00:36:47picks up some really splendid items from time to time
00:36:50hmm
00:36:50see i was told
00:36:52that he met her here in your gallery
00:36:54yes
00:36:55we had james last exhibition
00:36:57i introduced him as a matter of fact
00:36:59and frankly i wish i hadn't
00:37:01his obsession with the supernatural began with madame jacquil
00:37:04what about that ring he got from her
00:37:08you know anything about that
00:37:09apparently it's from egypt
00:37:11it's very ancient
00:37:13known to collectors of antique jewelry as the osiris scarab
00:37:16valuable
00:37:17but his true value is difficult to determine
00:37:20the beetle as you know is a symbol of immortality
00:37:25there are rumors that the osiris scarab is a life ring
00:37:28capable of granting restorative powers to its wearer
00:37:32you believe that
00:37:33hardly
00:37:35myth and nonsense
00:37:37why do you want the ring so badly
00:37:40apparently ellen told you of my interest
00:37:43obviously
00:37:43ideal
00:37:46in antique art and objects mr norris
00:37:49this ring is such an object
00:37:51it has a fascination for those of us who are connoisseurs
00:37:54so certainly i should like to own the osiris scarab
00:37:57well mrs court told me that you demanded to know why the ring wasn't for sale
00:38:02well naturally i was disappointed and i vented my disappointment over the telephone
00:38:06it was purely an emotion of the moment
00:38:08so she didn't tell you why she wouldn't sell the ring
00:38:12or where it is
00:38:13no she did not
00:38:15you know where it is
00:38:17you see mr court's
00:38:21will declared that the ring should be buried with him
00:38:24it's now on his finger in the family crypt
00:38:27how curious
00:38:30how very curious
00:38:32the ring should be buried with him
00:38:46and
00:38:47and
00:38:50Oh, my God.
00:39:20Oh, my God.
00:39:51Jim always loved being in the studio, and his presence might linger there.
00:39:57Oh, come on. This was no presence. This was a real man, real enough to kill a dog and take a double shotgun blast in the chest.
00:40:03Why are you telling me this? Look, this has nothing to do with me.
00:40:08Well, I think it has a lot to do with you and the ring you gave the court.
00:40:12All part of a puzzle, and I thought you'd help me put the pieces together.
00:40:18There's nothing I can say.
00:40:21What about the studio? I think you know something about the studio, and it's linked with the ring.
00:40:26Look, I'm going to tell you something. You stay away from that place. Stay away from the whole court estate.
00:40:34Why?
00:40:35It's the house of Sargoth.
00:40:38Hello?
00:41:00Helen, it's David. How are you?
00:41:01Okay, but it sure is raining here.
00:41:04Listen, I think I'm into something.
00:41:05I saw Madam Jaquil. She wasn't too talkative, but she did make a slip in reference to James' studio.
00:41:11I think this whole thing ties into the studio.
00:41:12I'm going to be down there in about an hour. I'll pick you up at 11.30.
00:41:17Well, where are we going?
00:41:18Back to the studio. Now, you're familiar with it, and I'm not.
00:41:22I wouldn't know what to look for, but I'm convinced something's there. Will you go with me?
00:41:25I'll be ready.
00:41:26Okay.
00:41:38It's almost midnight. I was worried. I thought something might have happened to you.
00:41:42The storm slowed me down. I've been into a lot of heavy traffic.
00:41:44What do you expect to find at the studio?
00:41:46I don't know. I'm not sure.
00:41:47Did you find anything out about the Parks girl?
00:41:49You know, only that there seemed to be something strange about the body.
00:41:53Like what?
00:41:54Like she had no blood.
00:42:12They're over here.
00:42:25I hate to put you through this.
00:42:37I'd rather have done it alone.
00:42:38No, I'm glad I can help.
00:42:40Anyway, I was going stir-crazy waiting back at the inn.
00:42:43I'm glad I can help.
00:43:13I wish I knew what to look for.
00:43:26Anything odd or abnormal.
00:43:27What's this?
00:43:51I don't know. I've never seen it before.
00:43:55I wasn't here the other day.
00:43:56I know.
00:43:58You sure he didn't start this just before he died?
00:44:01No.
00:44:02This isn't his.
00:44:04It's not like his work.
00:44:07Look at the face.
00:44:08I have this clay.
00:44:21What about it?
00:44:25It's still damp.
00:44:28Someone's still working on this thing.
00:44:30But that's impossible.
00:44:32How could that be?
00:44:33I have this now.
00:44:34I know.
00:44:38Something's still moving on.
00:44:45Come on.
00:44:46How could that be?
00:44:46How could that be?
00:44:46Ah!
00:44:47Oh!
00:44:47Oh!
00:44:47I'm not.
00:44:47I'm not.
00:44:48Oh!
00:44:48Ah!
00:44:49We can't!
00:45:19We can't!
00:45:49We can't!
00:46:20Okay.
00:46:21Miss Court, Mr. Norris, you know, it's two o'clock in the morning.
00:46:26You've been drinking.
00:46:27Look, I'm not gonna argue with you.
00:46:28I saw a court.
00:46:29He was as close to me as you are.
00:46:30Another one of your ghosts?
00:46:31A ghost doesn't rip off a car door.
00:46:33Take a look out the window.
00:46:34He did that?
00:46:35He did that.
00:46:37He did that?
00:46:38He did that.
00:46:39Mrs. Court, are you all right?
00:46:44All right, let's go.
00:46:45Get him around in the back there, would you?
00:46:54All right, let's go.
00:46:55All right, listen.
00:46:56Check this over here.
00:46:57We still are trying to find a body.
00:46:58He says he hit one and we can't find it.
00:47:02Look out.
00:47:03Get it over here.
00:47:04It seems to me that you must have just grazed him with a finger.
00:47:05I'm telling you, I hit him head on.
00:47:06All right.
00:47:07Hey, Frank, search the main house.
00:47:08The rest of you, check the studio and all the grounds.
00:47:09You come with me.
00:47:10Where?
00:47:11I'm gonna see if Mr. Court is at home to a friend.
00:47:12Come on with us.
00:47:13Let's go.
00:47:14I hit him head on.
00:47:15Hey, Frank, search the main house.
00:47:18The rest of you, check the studio and all the grounds.
00:47:20You come with me.
00:47:21Where?
00:47:22I'm going to see if Mr. Cord is at home to friends.
00:47:25Come on with us.
00:47:26Let's go.
00:47:44Someone's taken the body.
00:47:49Did you hear what I said?
00:47:50That's all there is to it.
00:47:51Somebody's taken the body.
00:47:55Well, pardon me, what more do you need?
00:47:57Oh, now you look, Mr. Norris.
00:47:58I just don't buy your zombie story.
00:48:01As far as I'm concerned, we got a prowler that looks like Mr. Cord,
00:48:04who assaulted you people when you caught him doing his job.
00:48:07Now, for his own reasons, he removed Mr. Cord's body.
00:48:11I'm still in the darkness.
00:48:12Maybe it's to follow up the disguise.
00:48:14I don't try to explain the abnormal strength.
00:48:16Do you think I pulled the door off the car?
00:48:17I don't try to explain anything.
00:48:20If I did, I would say that you snagged the open car door on the garage
00:48:24in your hurry to get out.
00:48:25Now, look, when people panic, they do funny things.
00:48:28What are you going to do about all this?
00:48:29Assuming that we don't find the prowler on the ground,
00:48:33and I agree that's very unlikely,
00:48:34then I'll have the wood search.
00:48:36In the meantime, it's late, and I'm tired.
00:48:39I'm going to take Mrs. Cord back to town.
00:48:40You follow us. When you get there, you can sign a complaint.
00:48:44Let's give up on this wild goose chase.
00:48:46Who is this?
00:49:00It's David.
00:49:01You all right?
00:49:03Oh, I suppose so.
00:49:05The, uh...
00:49:06They gave me a sedative.
00:49:08What time is it?
00:49:09It's afternoon.
00:49:11Two o'clock.
00:49:11Where are you?
00:49:13I'm at home.
00:49:14I'm trying to reach Charles Langdon.
00:49:16Has he called you?
00:49:17No.
00:49:18No one's called.
00:49:20That, uh, sheriff still won't believe me.
00:49:24He thinks we're both crazy.
00:49:25Did you show him the sculpture we found?
00:49:28No, no.
00:49:29I don't want anyone touching that thing
00:49:30until I can determine what it is, what it means.
00:49:34I'm having the clay analyzed right now.
00:49:35Well, Sheriff Hartley wants me to make a full statement
00:49:40at his office this afternoon.
00:49:41What, what should I tell him?
00:49:43Tell him the truth.
00:49:44Just leave out the sculpture.
00:49:46David?
00:49:48David, I'm still very frightened.
00:49:51He's out there, alive,
00:49:55and you and I know he's out there.
00:49:57Why won't the sheriff believe us?
00:49:59I mean, what's it going to take to make him believe us?
00:50:01That night, Ellen's sister, Marsha,
00:50:11drove down from San Francisco.
00:50:14She had returned from her trip to New York
00:50:17earlier than expected.
00:50:19And unfortunately,
00:50:20when she tried to reach me,
00:50:22I was out.
00:50:25It was after midnight
00:50:26when she pulled into the deserted court estate.
00:50:29And when she found no one there,
00:50:31she was already too tired
00:50:32to make the half-hour drive to Carmel.
00:50:36And since another storm was building,
00:50:39Marsha decided to seek closer lodgings.
00:50:43By the time she had arrived
00:50:44at the Orange Grove Motel,
00:50:46a small off-the-road scattering of faded cabins,
00:50:49the storm had broken
00:50:51and the rain had begun to fall.
00:50:55Please, let me come in.
00:51:17It's freezing.
00:51:17Please, I need a roof.
00:51:20Papa, will you tell her we're closed?
00:51:23Papa, tell her we're closed.
00:51:26Now look, lady,
00:51:27it's like I said.
00:51:29Oh, please, can I come in?
00:51:31It's so wet out here.
00:51:32I'm freezing to death.
00:51:33Well, come on in.
00:51:37It's awfully late,
00:51:40but I could give you cabin number nine.
00:51:44It's our best one.
00:51:45New springs and mattress in there.
00:51:47Just a shower, no tub bath.
00:51:49Is that all right?
00:51:50Yeah, that's fine.
00:51:51That's fine, really.
00:51:52I said we're closed.
00:51:55Can't turn the girl away, Mama.
00:51:57No harm in giving her nine.
00:51:59Well, give her the key
00:52:00and hurry up about it
00:52:01and come to bed, Papa.
00:52:02Now.
00:52:06Mama, she gets a little grouchy
00:52:09after midnight.
00:52:10I can handle her, though.
00:52:12Well, I hope so.
00:52:13I don't want to cause you any trouble.
00:52:15Oh, no trouble at all.
00:52:16Now, let's see.
00:52:17That will be ten dollars.
00:52:24Oh, thank you.
00:52:29Can I help you with your things?
00:52:33No, no, thank you.
00:52:33I can manage.
00:52:37Pleasant dreams.
00:52:59Oh, thank you.
00:54:16Ah!
00:54:17Ah!
00:54:18No!
00:54:22No!
00:54:23Ah!
00:54:24Ah!
00:54:25Ah!
00:54:26Ah!
00:54:27Ah!
00:54:28Ah!
00:54:29Ah!
00:54:30Ah!
00:54:31Ah!
00:54:32Ah!
00:54:33Ah!
00:54:34Ah!
00:54:35Ah!
00:54:36Ah!
00:54:37Ah!
00:54:38Ah!
00:54:39Ah!
00:54:40Ah!
00:54:41Ah!
00:54:42Ah!
00:54:43Ah!
00:54:44Ah!
00:54:45Ah!
00:54:46Ah!
00:54:47Ah!
00:54:48Ah!
00:54:49Ah!
00:54:50Ah!
00:54:51Ah!
00:54:52Ah!
00:54:53Ah!
00:54:54Ah!
00:54:55Ah!
00:54:56Ah!
00:54:57Ah!
00:54:58Ah!
00:54:59Ah!
00:55:00Ah!
00:55:01Ah!
00:55:02Ah!
00:55:03Ah!
00:55:04Ah!
00:55:05Ah!
00:55:06Ah!
00:55:07Ah!
00:55:08Ah!
00:55:09Ah!
00:55:10Ah!
00:55:11Ah!
00:55:12Ah!
00:55:13Ah!
00:55:14Ah!
00:55:15Ah!
00:55:16Ah!
00:55:17Ah!
00:55:18Ah!
00:55:19Ah!
00:55:20Ah!
00:55:21Ah!
00:55:22Ah!
00:55:23Ah!
00:55:24Ah!
00:55:25Ah!
00:55:26Ah!
00:55:27Ah!
00:55:28Ah!
00:55:29Ah!
00:55:30Ah!
00:55:31Ah!
00:55:32Ah!
00:55:33Ah!
00:55:34Ah!
00:55:35Ah!
00:55:36Ah!
00:55:37Ah!
00:55:38Ah!
00:55:39Ah!
00:55:40Ah!
00:55:41Ah!
00:55:42Ah!
00:55:43Ah!
00:55:44Ah!
00:55:45Ah!
00:55:46Ah!
00:55:47Ah!
00:55:49Is your sister there?
00:55:50Marsha, no. I thought she was still in New York.
00:55:53No, she tried to call me, got my service and left a message.
00:55:56Said she was driving down late last night.
00:55:58I haven't seen her.
00:56:00Well, maybe she changed her mind.
00:56:03If she calls again, I'll tell her where you are.
00:56:06Now, look, I'm at the architectural firm who originally designed your place.
00:56:10I found out how Cort got into the studio without unlocking the door.
00:56:15It came up from below.
00:56:16So, these blueprints I've been looking at show some very curious construction that went on back in the 20s.
00:56:23It seems the people who originally owned the place built a series of underground tunnels.
00:56:28Why would anybody want to build tunnels?
00:56:30Well, during Prohibition, they probably stored guns and liquor.
00:56:33The plans also show several entrances, one of which is in the crypt.
00:56:38Now, I found a connection between Cort and the bloodless condition of the Parks girl.
00:56:43I think the sculpture is being done by Cort.
00:56:47I think he needed the girl.
00:56:49He needed a killer.
00:56:50But why?
00:56:52For the clay in the sculpture.
00:56:54I just got the chemical analysis back.
00:56:56The clay is 40% human blood.
00:57:00Now, look, Ellen, stay put.
00:57:02I have a few more things to check on, and I'll be down as soon as I can.
00:57:06Okay?
00:57:07Okay.
00:57:07Okay.
00:57:37I've got to talk to you.
00:58:07Now, do you mind telling me why you have to see David Norliss?
00:58:14I've got to break free.
00:58:17I've got to strike back at them.
00:58:20The powers of darkness.
00:58:22They've controlled me.
00:58:26Twisted me.
00:58:27And I've done their bidding.
00:58:30And listen, when I met your husband, the thing he most wanted in this world was that his crippled body be healed.
00:58:38And so, I told him about the Osara Scarab.
00:58:46I tried to convince him about its power over death, of a life beyond death.
00:58:53But that only by the use of his talent could it be purchased.
00:58:57So we made a pact.
00:58:59After death, the ring would allow him the power to rise from his coffin to work on a figure of Sargoth.
00:59:06Once the sculpture's finished, it'll have a physical form in which to enter our world.
00:59:13And in return for bestowing life to Sargoth, Jim Court will be granted immortality.
00:59:18But we can stop him.
00:59:21That's why I came here.
00:59:23His powers take effect after sundown.
00:59:26If we can reach him by sunset, we can remove the ring from his finger.
00:59:36Mr. Norliss, I have a message for you, sir.
00:59:48When did Mrs. Court leave?
00:59:58Fifteen or twenty minutes ago, I guess.
01:00:00She and the other lady, they left in a big hurry.
01:00:02How long before it gets dark here?
01:00:04About a half hour, I guess.
01:00:14The entrance has got to be here someplace.
01:00:16Thanks.
01:00:18Over here.
01:00:26I think I found it.
01:00:27I'll go first.
01:00:48Maybe we should wait.
01:00:49We don't have time.
01:00:50We can't wait.
01:00:51This way.
01:01:03How do we know which one to take?
01:01:05We don't.
01:01:05You take that tunnel and I'll take this one.
01:01:32What if I find his body?
01:01:34Then you remove the ring.
01:01:36Let's go.
01:01:36Let's go.
01:01:37Let's go.
01:01:38Let's go.
01:01:40Let's go.
01:01:47Let's go.
01:01:48Let's go.
01:01:49Let's go.
01:01:50Let's go.
01:01:50The End
01:02:20The End
01:02:50Alan, I found him!
01:03:07He's over here!
01:03:11I can't get it all over!
01:03:12I can't get it all over!
01:03:18Hurry!
01:03:20Hurry!
01:03:24Hurry!
01:03:28Hurry!
01:03:58Hey
01:04:18Fuck it up!
01:04:28David, he killed you, and you killed who?
01:04:34Come on, let's go.
01:04:37I don't know why he let me go.
01:04:39I don't understand.
01:04:41It's no use.
01:04:43Nothing's any use.
01:04:45Can you get it open?
01:04:52It's been moved.
01:04:57It's almost finished.
01:04:58Everything but the eyes.
01:05:05We can't let him come to life.
01:05:08We've got to let him finish.
01:05:11Let him.
01:05:13He's the only thing that can stop.
01:05:16What are you doing?
01:05:18Making a blood circle.
01:05:20According to medieval alchemy, you can enter a blood circle, but if it's on fire, you can't get out.
01:05:27What's that?
01:05:31Hurry!
01:05:37Quick, quick.
01:05:38Come on, let's go.
01:05:39Come on, let's go.
01:05:40Come on, let's go.
01:05:41Come on, let's go.
01:05:41Come on, let's go.
01:05:43Come on, let's go.
01:05:45Come on, let's go.
01:05:45Come on, let's go.
01:05:47I don't know.
01:06:17I don't know.
01:06:47I don't know.
01:07:17I don't know.
01:07:47I don't know.
01:08:17I don't know.
01:08:47I tried to explain it all to Sheriff Hartley, but he couldn't accept it.
01:09:08The next morning they found the bones of a man in the ashes, the remains of James Raymond Court, and of the demon Sargoth they found nothing, absolutely nothing.
01:09:21Sargoth.
01:09:31Sargoth.
01:09:31Strange name.
01:09:32I wonder if he was truly destroyed, or could he be the key to David's disappearance?
01:09:47Well, maybe this will tell me.
01:09:59Maybe this will tell me.
01:10:00Chapter 2, December 4th.
01:10:11It was a rainy afternoon when I received the letter.
01:10:15Turn theaper, the poet and the child, or could he be the Stephen Lee?
01:10:17Yes?
01:10:19The mission midday.
01:10:24We're going to go.
01:10:25Bye.
01:10:27The End
01:10:57The End
01:11:27The End
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