The Phantoms (2022) Movie Script
1
[thunder roaring]
[dramatic music]
[thunder roaring]
- [John] She is dead.
Nothing on Earth can
change that.
[dramatic music]
The day I lost my daughter
Sarah to the fire,
I had already lost my wife.
[dramatic music]
I believe
when the angels return to
Earth they'll do so with fire.
For our home still burned when
we received the invitation,
a house for lease
with three days journey.
[woman sobbing]
[tense music]
[birds chirping]
[dramatic music]
- [Isaac] The house is full.
You can add anything
you like to it,
but please do not take
anything with you.
- [John] We do not have
anything.
- [Isaac] All you may need has
most likely
been left behind in the house.
[birds squawking]
- Have you worked for
the Wakefields very
long, Mr. Hendricks?
- Isaac.
- Isaac.
- Yeah, well, it's
always difficult
finding the right people,
and I can tell that
you're different.
You're good folk.
The great expanse of land
that you saw on the way here,
you can use it as a shortcut
back to town.
It'll be about 25 minutes
walking that is.
- I can only pay you
for two months upfront.
- No, no, one month is mine.
There you are.
It's all done then.
Ladies.
- Well.
- [Jennie] What first?
- I think a bedroom.
I need to lie down.
[dramatic music]
[door creaking]
- There may be some flour,
but I would be surprised
if there's much of
anything else.
- I'm really not very hungry,
and I...
I don't think that
Charlotte will want to eat.
- Well, if Charlotte's
not hungry
and you're not hungry and
I'm not hungry,
I suppose there's no need
to make dinner tonight then.
Tell me, how long did
that man say
it had been since the
last people lived here?
- He didn't.
Why?
- I find it strange that their
house is covered in dust,
but the plants are well watered.
- [John] I hated myself for
my silence.
I hated them for theirs.
What else could we do?
- [Charlotte] How long do you
think you'll stay now?
- [John] A little girl was dead.
- You don't need to
stay because of me.
- Charlotte.
- And you don't need to
stay here for John either.
- Listen.
I've been waiting to
give you this. I--
I found it in the pocket
the day after.
[soft music]
It's so strange--
that it could be so close
and I can suddenly feel nothing.
- I'm going to do a
thorough cleaning today
to see what we've gotten
ourselves into.
- [John] Fine.
I'll go into town and see
what they have for work.
- Do you mean patients?
- Patients, labor,
whatever I can get.
- But it's not even been a week.
- [sighing] How long
should I wait?
- But you're a
professional, John.
You shouldn't take just any job.
- Then we shouldn't have
kept our money in the house.
You didn't wanna put it
in a bank, so
I'll take whatever I
can get for now.
Besides, what little
Jack loaned us
is not gonna last us very long.
- As long as you're
going into town,
then there is a list
of things that we need.
- [John] We existed as if
in a dream,
from which we could not awake.
[dramatic music]
[loud thud]
I could not help but feel
that something had followed us--
or found us.
- You're the new doctor.
- Yes.
Weiland, John Weiland.
- We always had a problem
with rats in this town.
[tense music]
And how do you find the house?
- It's fine, thank you.
- And your wife?
- My wife?
- Well, your wife and her
sister too, are they doing fine?
- Yes, they are.
We're all getting along
just fine, thank you.
- Perhaps they would
like to come into town.
We have a women's club there.
- I'll mention it to them.
- Please.
- Forgive me but I must be
getting on now.
Good day to you.
- Good day.
- [Woman] John.
John.
[tense music]
[tense music]
- Did Jennie just come
through here?
- No.
There are trunks full
of old clothing in here.
Maybe there's some
things we can use.
So much of it's rotted to dust.
It's a shame.
- You shouldn't be
exerting yourself.
- It'll have to be altered.
It'll all have to be altered.
[tense music]
- [Jennie] Do you see anything?
- No.
[suspenseful tone]
Whoa.
[tense music]
- Are you alright?
- Yes.
- Well, what happened.
- There are rats alright.
- I knew I heard
something last night.
Well, I'll set out
the traps then.
They carry disease.
We don't want them getting
into the house.
- [John] Look at this.
- Me?
- Yes.
You studied French?
- Ages ago.
- I found it tucked away in
the library.
I thought you might know
what it says.
[Jennie sighing]
- It's a lease
from 1785, I think.
- The date I can make
out myself.
- John.
- A small furnished house
in Toulouse.
The rest is just legal.
To tell you the truth,
it's rather hard to read.
In fact, it looks like the
second half is written in Dutch.
- Well, I suppose we can
make do we these.
- I wish that we could forge
enough material in that house
to make something more modern.
- We did find a coat for
you but it's a bit worn.
- This is precisely the
kind of dress
that mother would've worn
every day of her life.
What would she have
done with it?
- Turned it inside out and
used it as two dresses.
Sarah.
[wolves howling]
- I think we should go
inside now.
[door creaking]
[tense music]
[door creaking]
[soft gasping]
[dramatic music]
Charlotte.
[tense tone]
[tense tone]
[suspenseful music]
- What are you doing?
- What do you mean?
- There's someone in the house.
- What is it?
- Lock the door!
- What's happening?
[dramatic music]
[suspenseful music]
[tense music]
[floorboards creaking]
[heavy breathing]
[window slamming]
[wind blowing swiftly]
[suspenseful music]
[wind blowing swiftly]
- Perhaps he was a
previous tenant,
and he came back for something,
left something behind.
- His manner was cold.
It did not look like he was
looking for anything at all.
- This could be my fault.
I should've thought to
lock up the house.
- We've never kept the
doors locked before.
Why should we start now?
- We don't know anyone here.
Jennie's right.
We should keep the doors locked.
[women muttering excitedly]
- Oh, no.
- [John] What is it?
- By all accounts a
flock of chickens.
[women muttering excitedly]
- Hello, my dears, welcome.
[dramatic music]
[women whispering]
- And Mr. Jamel confessed
that one of his dogs
had gotten hold of his
wife's prize pheasant
and run off [chuckling].
- Really?
- I've always wanted to come.
My husband Peter would
never allow it.
[women whispering]
- The two of you don't
even seem like sisters.
- Ladies, please excuse me.
[dramatic music]
[women whispering]
[tense music]
- Please excuse me for a moment.
- These are the very
type of women
I've spent my life attempting
to separate myself from.
They do not have a
clue of what is
going on in the world right now.
- Maybe they don't wish to know.
- They choose not to know.
They live in a time capsule.
- They live in it, but
we look it.
Perhaps we'll start a trend.
- [chuckling] No.
- Shh.
They're going to hear us.
- I care not.
Charlotte,
I've been thinking.
I wanna go back east.
I feel that you and John
need to be alone right now.
You are going to be just fine.
I don't think that you
need me here anymore.
- I can't survive what's
happened alone.
- You're not alone, Charlotte.
- Aren't I?
- Charlotte,
I've reached an age
where I've become a woman
of no means or position,
and the chances of my
marrying now are slim.
No amount of education
can change that.
When Sarah was alive it was
easy to forget these things.
I traded my security for
knowledge,
and those qualities
are not exactly
considered desirable in a woman.
Now when I see you and
John together,
it only reminds me of what
I will not have in my life.
- What do you know of
John and me?
- John is a good man for you.
You have to let him be a
good man for you.
You love him.
- Yes.
I don't remember.
[dramatic music]
- What are you saying?
- I can remember it in
my mind but not my heart.
Please, Jennifer, I need
you to stay here with me
with us, please.
- Where were you last night?
I woke up and you were gone.
- I couldn't sleep.
- [John] Strange that you
didn't wake me.
- I couldn't sleep.
I went into one of the
spare rooms to write.
- The attic?
- Yes.
- To write.
- I just told you that.
- You blame me for what
happened.
- There's someone on the roof.
The roof! There's
something on the roof!
[tense music]
- Could it be the man
from last night.
- It's nothing just the rats.
- What I heard was not a rat.
- You're overreacting.
- I do not overreact, John.
- Yes, you do.
- Jennie, please.
- Please what, be quiet?
[loud thud]
[loud stomping]
Big rats.
[cricking chirping]
[tense music]
[suspenseful music]
- What happened?
- John, what happened?
- Nothing.
The fog was heavy
it's hard to see.
- John.
Where is the rifle?
- Did you see anyone?
- It's such an unusual mist.
So unusual.
- What's the matter?
Are you alright?
- Of course I am.
[dramatic music]
Jack, you know you can
stay the night.
We have plenty of room.
- Thank you, but I have to
be off again this evening.
I was simply passing near
enough to make a stop.
See how you were doing.
- I'm glad you did.
- You know, John,
you do not look well.
- How do you mean?
- You have all had a
great deal of misfortune.
Is there anything that I can do?
- No, Jack.
Jack, you've done enough.
[bell tolling]
- John.
I may have been your
professor 10 years ago,
but I've been your friend
for almost as long.
Tell me what is on your mind.
- We were together
behind the house when
the fire broke out.
Jennie was gone. It was
early evening.
When we got back everything
was in flames.
I ran through the door
and ran upstairs.
My baby was on fire.
I couldn't reach her.
I swear to God, Jack
I couldn't reach her.
- I'm sorry, son.
- I have known Charlotte
ever since we were children.
There wasn't a moment in
my life that I did not know
I would spend the rest
of my life with her.
[dramatic music]
She was so filled with life,
and now everything
that I thought I knew
I do not understand
and I do not understand her.
[dramatic music]
- Yes, you do.
- Doctor, how is your mother?
- Half a year past 90,
no end in sight.
And you are well, Charlotte?
- Yes, fine, thank you.
- You know, it's not too
late to have another baby.
- Jack.
- Never under estimate a woman's
need to have a child, John.
It overrides all other
priorities.
It makes her spirit whole.
After all, my dear,
what else does a woman have
if not the joy of creation?
[birds chirping]
[soft music]
- Mommy.
[suspenseful music]
- Sarah!
- Charlotte!
Charlotte!
[loud crash]
- [Jennie] I know what I saw.
- How?
- Does there need to
be a reason?
- I heard a voice,
a child's voice.
Now you said you saw a girl.
- What?
- Last night,
John thought he saw the
figure of a little girl.
- John?
We need to leave here as
soon as possible.
- [John] Where do you
suggest we go?
- Anywhere.
Back east stay with your father.
- You know that's not
an option for me.
- Staying here could be
dangerous.
- We don't know that.
- What do we do?
What, what do we do?
- I'll go into town see
Mr. Hendricks.
See if there's something
else another house.
- I don't trust, Mr. Hendricks.
- [Charlotte] Why.
- It's just all too strange,
this house,
the way he inquired
about us after the fire.
This place is filled with
other people's belongings.
I mean truly, how would
he even know about us?
- By virtue of his
vocation I would guess.
- That far away.
- And now this.
- Alright.
Alright, enough.
The two of you begin writing
inquiries for another house.
I will deal with Mr. Hendricks.
We are educated
civilized people.
We cannot let this get
the better of us.
Give into fear and panic.
We will go on as normal.
Behave as though nothing
has happened.
I told Jennie to lock her door.
Call out if anything
else should happen.
- John.
- Hmm?
- Has it occurred to you
that Sarah's here with us?
- Yes.
You weren't expecting
that answer.
- I'm not leaving here.
Sarah is here.
By some grace of God or
outside of God, I don't care.
She's here in this house,
and I'm not going to
leave her again.
- Sarah is dead.
Nothing that happens here
is going to change that.
- That's the doctor
talking, not my husband.
- Facts, Charlotte,
are not a matter of
emotion or intelligence.
They're simply facts.
- For the first time,
I feel hope here.
We can't leave until we at
least try to understand this
opportunity for us both.
[dramatic music]
[birds chirping]
[Sarah mumbling]
[heavy sobbing]
[somber music]
What were you doing?
- What do you mean?
- You left in the middle
of the night.
- What?
- Yes.
You said the room was too hot.
Have you seen Jennie?
I can't find her.
She's not in her room.
[dramatic music]
Jennie.
- I dreamed it.
- Have you been out
here all night?
[dramatic music]
John, don't.
- There are two.
- I don't understand who
would do such a thing.
- I don't know.
- And to leave them buried here
when there's a cemetery
so close behind.
- What do you mean?
- About half an acre south of
the house, there's a cemetery.
- [Charlotte] Come.
- [Jennie] No, no.
We're gonna inside now.
[tense music]
- I have a vague memory of
something long and dark
with red eyes
much like the sunset
and I seem to be sinking
into deep green water.
And there was a singing
in my ears like the
voice of the sea
inviting me to wander.
Oh, I'm so tired.
- Of course you are.
You've been up all night.
Come.
I'm putting you to bed.
- There's something
wrong here, Charlotte.
- Only misunderstood.
- No, something terrible.
[tense music]
[men mumbling]
[dramatic music]
- Gentlemen.
Turn.
Gentlemen, draw your weapons.
[suspenseful music]
[guns firing]
[thunder roaring]
[rain splashing]
- This is illegal,
not to mention stupid.
- Not out here, son.
- Stupid? This coming
from the man
who just moved into
the Wakefields.
I would look hard first
before casting stones, doctor.
- And I'd look hard before
taunting a man
who's pushing a needle
into your arm.
- Then you like the house,
Dr. Weiland?
- Find it cozy, do you?
- Quiet yourselves, you
stupid fools.
- Come with me.
- No.
- Oh, no.
No, I meant to leave those here.
I'll be back within a fortnight.
[soft music]
- [Charlotte] You haven't
read any of these?
- [John] It never occurred
to me to do so.
- [Charlotte] What are we
looking for?
- [John] Anything about
the house,
anything about the people
who lived here before us.
- 1962.
- Dear writer, the war.
- Yes.
A long time ago.
- Dear Brother Marshal,
we are waiting for word of Jack,
and do not know what is
happening in Pennsylvania.
[soft music]
- [John] In those weeks
I wondered,
can life be born out of death?
In the darkest of night,
can people find their way home?
Can they find each other?
A new story?
- I've been inspired.
[Charlotte] John!
Look.
Sarah.
Honey.
Are you here?
[dramatic music]
- Sweetheart.
[soft music]
[John] We were happy.
Probably more so than we
deserved to be.
I continued to search
for answers,
and Charlotte wrote a story
about a little room with
yellow wallpaper.
[bird squawking]
I like it.
I think it's very, very good.
- It's alright.
- And who's behind the
wallpaper?
Is it you?
- Maybe.
It doesn't really matter.
[soft music]
[Jennie] I missed you.
- This is Ms. Sayer.
- Good morning.
- Good morning.
- John.
John, this is Ms. Sayer.
- Hello.
- Jennie's told me
all about you,
about both of you.
Well, it doesn't like
that we've returned.
- You have the most
interesting friends.
- Catherine is a woman I trust.
I've known of her since
my years at school.
She studies many things,
things that would be
considered to be beyond nature.
I know that she can help.
- Jennie, so much has happened
since you've been gone.
John and I are so much better.
- And that runs counter
to how you look.
You're both pale and thin.
- Excuse me, but she is simply
wandering into the house.
- Do you know when this
house was built, Dr. Weiland?
- 1792.
- You don't want me here,
do you?
- No.
It's just a bit of a
surprise, that's all.
- I see.
Do you believe there's
a logical explanation
for what is happening
in this house?
- Reasonable if not logical.
- Good, that's the fair start.
- I just don't understand
what you think that you
can do here.
[dramatic music]
- Jennie believes the
two of you are in danger.
- Jennie exaggerates.
- Ms. Sayer, how do you feel
about a nice hot cup of tea?
- That would be lovely, my dear.
- John, would you please gather
the bags from the carriage?
[dramatic music]
- There's a woman
behind this wall.
- A woman?
- A dead woman?
- No.
- Perhaps you're speaking of a
story that I've been writing.
It's there on the desk.
- No.
This house is full.
Here, they--
cannot leave. They will not.
- [Charlotte] Sarah?
- And others.
- How long have you
known Jennie?
- Oh, my dear, let's see.
Well, it's gotta be
around 15 years now.
- Has it been that long?
Oh, where does it go?
- Prior to her letter,
Jennie's never mentioned you.
I'm so sorry. That sounded
just terrible.
- It's perfectly fine. I
understand what you meant.
You see, I'm everybody's
little secret.
People aren't so quickly
inclined to mention
the friend who prefers
to spend her leisure time
hunting around in
dark old houses
and carrying on a full
conversation with a wall.
- I knew nothing of this,
you see, until much later.
We first met during my studies.
Catherine was giving a
lecture at Chapel
on secular rights and
the modern woman.
- [Charlotte] May I ask
you a question?
- Well, of course my dear.
- Can you help us
speak with Sarah?
- Charlotte.
- Well, it would be
wonderful if I could,
but I have found in
situations such as this
no help from the living can
be given to speak to the dead.
Only you can speak to
those that you love.
- Then why have you come?
- John.
- It's alright, Jennie.
I'm here because Jennie
asked me to come.
Because sometimes a fresh
perspective
is as useful as anything else.
- I'm quite happy that
you're here.
Anything you can tell us
would be greatly appreciated.
- I know, my dear.
- What?
- Catherine.
- Jennie, can you fetch
me my shawl?
- Oh yes, of course.
[suspenseful music]
What is it, Catherine?
- Someone is under there.
- [Charlotte] Why do
you say that?
- Because it's calling to John.
You need to go there.
- No.
- Alone.
[suspenseful music]
- [Spirit] John.
- John!
He's been gone too long.
- I don't like this.
Why did you tell him he
had to go alone?
You said that you were
here to help us.
I thought that this had
to do with Sarah.
Where is he?
Speak to me.
- Charlotte.
[heavy breathing]
[dramatic music]
Here, give her this.
- Thank you.
Thank you.
I knew it if we stayed.
I knew it in my heart.
- No, no.
- Mommy.
- Oh, God.
- Sweetheart.
Am I dreaming?
- Did you see us here, hmm?
Have you heard us
calling to you, my angel?
- Where have you been?
- In the fire.
- [Charlotte] No, honey.
No, no not anymore.
- Not that fire, mommy.
- [Charlotte] Darling, no.
There was no other fire.
- Yes, there is.
- Have you been in this house?
Sarah, look at me.
Where have you been?
- In hell.
- You don't mean that.
- I've been burning in hell.
- Liar.
Liar!
[tense tone]
- Hell.
You'll both burn in hell
for what you're gonna do.
[dramatic music]
- Charlotte.
Look at me.
- Why?
Why are they doing this to us?
You did this.
It was you.
You wanted me that
night outside.
You want it to be just us,
our filthy lust.
- [Jennie] Charlotte.
- You don't really love me.
- Stop this.
- Now you've seen her.
You've all seen her.
She's with that man
in this house.
I have to find her.
I have to go upstairs.
Yes, you pulled her
from this house.
- [John] Charlotte.
Charlotte.
Charlotte.
- Let me go.
Let me go.
- No, no.
- Let me go!
- Jennie, get my bag now!
- Let go of me!
Let go of me!
- Charlotte!
- Charlotte,
you've got this all wrong.
- You want me to believe
that I know you do.
That's what this is all about.
You brought her out.
[soft music]
We can go back.
We can go back and
get her, please.
Please.
- No, honey.
Oh god, Charlotte,
no, it was a trick.
They were tricking us.
It was not Sarah.
They want us to believe
that Sarah is here.
- Sarah is here.
She has been with you since
the moment you lost here.
She's even been in this house.
- Quiet!
- But John.
John is right.
John is right.
That was not your daughter.
- Jennie.
- I can feel her, John.
I can feel her. She's so close.
- It's done.
It's done now.
- Wish that I could sleep
my life away [sobbing].
- How did you know--
to go under the house?
- It sounds like singing.
When I hear it I follow,
but I never know what I'll find.
The rest, I--
rely on instinct.
- Are we safe in here?
- Yes.
We're safe.
- We leave in the morning.
Charlotte.
Can you hear me?
- Yes, I can hear you, John.
- What's happening?
Is she alright?
- She's fine.
Are you alright?
- I'm fine, yes.
I just couldn't stop sleeping.
Where's Catherine?
Charlotte.
Charlotte, honey, is there
anything that I can get for you?
- No, thank you.
I had the most terrible dreams.
You were old
and looked so very, very sad.
- It's 1:30 in the afternoon
and I can't seem to find
Catherine.
- Perhaps she's gone into town.
- No, she wouldn't just leave
not without telling us or
leaving some kind of a note.
[door creaking]
[dramatic music]
- It's alright.
Steady.
- John, I'm worried that
something
has happened to Catherine.
This is not like her.
- Listen, some terrible
things have happened,
but so far no one's
been truly hurt.
I'm sure she's fine.
It will take 25 minutes to get
to town, hopefully less back,
depending on if I can
secure a carriage.
But under no circumstances
do I want you to go
into the house.
- Finally we're in agreement
on something.
She'll be fine with me.
- I know.
Try to rest.
Stay close.
Do not go into the house.
I'll be back soon.
- John.
I've been so foolish and so
selfish for such a long time.
- No, no.
- I haven't been seeing clearly.
I haven't been seeing you.
Why have you stayed with me?
- Don't you know?
- Because you're a good husband.
- Because I love you.
[soft music]
[thunder roaring]
- Hurry back.
[dramatic music]
[birds chirping]
[dramatic music]
[low growling]
- Are you here to stop me?
[dog barking]
[tense music]
- Inside. Now!
- Are we already dead?
- No.
I am.
[suspenseful music]
[dogs howling]
- They're still there.
[loud bang]
I think that we can get outside
the back.
[loud screech]
[floorboards creaking]
[glass shattering]
Charlotte.
Charlotte.
Charlotte.
Charlotte.
[soft sobbing]
Charlotte.
Charlotte.
Charlotte.
[dogs barking]
Charlotte.
Charlotte.
Charlotte.
[suspenseful music]
Charlotte!
Charlotte.
Charlotte.
Charlotte.
Charlotte.
[loud thudding]
[soft mumbling]
Charlotte.
Charlotte.
[suspenseful music]
[Jennie screaming]
- Jennie!
Charlotte!
Jennie.
[flies buzzing]
[suspenseful music]
- We've been trying to
tell you to leave.
[soft music]
[soft music]
[suspenseful tone]
- You are not a phantom.
Where is my wife?
Where is my wife?
Wakefield.
How?
Where is my wife?
- How strong
is your love,
Dr. Weiland?
How strong?
- What have you done
with my wife?
- Is your love?
- What have you done
with my wife?
I want you out of this house!
[loud thud]
[soft music]
- It's dirt.
It's just dirt.
[muffled voices]
- Such an unusual mist.
- [Jennie] That is
counter to how you look.
- [Jennie] You're both
pale and thin.
- [John] It's so unusual
all the time.
[suspenseful music]
I hear others.
All I ever wanted was my
daughter back.
[dramatic music]
- John.
- My love.
- I'm so sorry.
[footsteps approaching]
- She is dead.
Her heart will never beat again.
But the disease will
keep her body adamant.
We have lived with this thing
just short of three centuries.
[cane tapping]
You're going to have to
make a choice now, John.
You can leave her here
abandoned, unaided
trapped in that flesh
indefinitely
able to think, to dream,
to hear but helpless
and you very soon will die
or you can bring to this house
those from whom she can feed
and in turn she can feed you.
You will be bound
together in this cycle
until she finds another
to give it to.
I tell you these things
because I made a
promise to do so
if it came to that.
Time is short now, John.
So listen carefully.
She will be useless
during the day
and you will not.
But she will be able to perform
the most miraculous
things during the night,
and you will not.
The rest you will come to know.
Oh, one other thing.
For reasons I do not understand
she will be able to
affect and manipulate
the wills of some animals.
Rodents and wolves appear
to be the most susceptible.
You can use the other grave
now, John, for the sister.
In homes we were all born.
In homes we all die
or hope to die.
[dramatic music]
[bell tolling]
[bell tolling]
- We don't ever have to
leave her now.
- Rest.
Until nightfall.
I don't know if Sarah
was ever here.
Grief was our ghost,
and all the victims who hover
over this house tried
to warn us.
Charlotte had written:
The wallpaper pattern does move
and no wonder,
the woman behind shapes it.
[tense music]
[people mumbling faintly]
[footsteps approaching]
- It looks great.
Have you shown it
to anyone else?
- Not yet.
- Alright, so what's the deal?
How can you afford to
rent it so cheap?
- Well, the owners paid
for the house long ago.
What do you do for work?
- I'm in construction.
My wife's the one with the
exciting job.
- I'm a writer, social
commentary, it's nothing.
- My wife was a writer.
- Really?
What's her name?
- Charlotte.
But she's been using
pen names forever now.
- And I suppose we couldn't
take down the wallpaper?
- No, Travis.
This could be the nursery.
It's perfect.
- Colleen, it's a little out
of the way, don't you think?
We're expecting--
a daughter.
- Congratulations.
[dramatic music]
[dramatic music]
[tense music]
[dramatic music]
[thunder roaring]
[dramatic music]
[thunder roaring]
- [John] She is dead.
Nothing on Earth can
change that.
[dramatic music]
The day I lost my daughter
Sarah to the fire,
I had already lost my wife.
[dramatic music]
I believe
when the angels return to
Earth they'll do so with fire.
For our home still burned when
we received the invitation,
a house for lease
with three days journey.
[woman sobbing]
[tense music]
[birds chirping]
[dramatic music]
- [Isaac] The house is full.
You can add anything
you like to it,
but please do not take
anything with you.
- [John] We do not have
anything.
- [Isaac] All you may need has
most likely
been left behind in the house.
[birds squawking]
- Have you worked for
the Wakefields very
long, Mr. Hendricks?
- Isaac.
- Isaac.
- Yeah, well, it's
always difficult
finding the right people,
and I can tell that
you're different.
You're good folk.
The great expanse of land
that you saw on the way here,
you can use it as a shortcut
back to town.
It'll be about 25 minutes
walking that is.
- I can only pay you
for two months upfront.
- No, no, one month is mine.
There you are.
It's all done then.
Ladies.
- Well.
- [Jennie] What first?
- I think a bedroom.
I need to lie down.
[dramatic music]
[door creaking]
- There may be some flour,
but I would be surprised
if there's much of
anything else.
- I'm really not very hungry,
and I...
I don't think that
Charlotte will want to eat.
- Well, if Charlotte's
not hungry
and you're not hungry and
I'm not hungry,
I suppose there's no need
to make dinner tonight then.
Tell me, how long did
that man say
it had been since the
last people lived here?
- He didn't.
Why?
- I find it strange that their
house is covered in dust,
but the plants are well watered.
- [John] I hated myself for
my silence.
I hated them for theirs.
What else could we do?
- [Charlotte] How long do you
think you'll stay now?
- [John] A little girl was dead.
- You don't need to
stay because of me.
- Charlotte.
- And you don't need to
stay here for John either.
- Listen.
I've been waiting to
give you this. I--
I found it in the pocket
the day after.
[soft music]
It's so strange--
that it could be so close
and I can suddenly feel nothing.
- I'm going to do a
thorough cleaning today
to see what we've gotten
ourselves into.
- [John] Fine.
I'll go into town and see
what they have for work.
- Do you mean patients?
- Patients, labor,
whatever I can get.
- But it's not even been a week.
- [sighing] How long
should I wait?
- But you're a
professional, John.
You shouldn't take just any job.
- Then we shouldn't have
kept our money in the house.
You didn't wanna put it
in a bank, so
I'll take whatever I
can get for now.
Besides, what little
Jack loaned us
is not gonna last us very long.
- As long as you're
going into town,
then there is a list
of things that we need.
- [John] We existed as if
in a dream,
from which we could not awake.
[dramatic music]
[loud thud]
I could not help but feel
that something had followed us--
or found us.
- You're the new doctor.
- Yes.
Weiland, John Weiland.
- We always had a problem
with rats in this town.
[tense music]
And how do you find the house?
- It's fine, thank you.
- And your wife?
- My wife?
- Well, your wife and her
sister too, are they doing fine?
- Yes, they are.
We're all getting along
just fine, thank you.
- Perhaps they would
like to come into town.
We have a women's club there.
- I'll mention it to them.
- Please.
- Forgive me but I must be
getting on now.
Good day to you.
- Good day.
- [Woman] John.
John.
[tense music]
[tense music]
- Did Jennie just come
through here?
- No.
There are trunks full
of old clothing in here.
Maybe there's some
things we can use.
So much of it's rotted to dust.
It's a shame.
- You shouldn't be
exerting yourself.
- It'll have to be altered.
It'll all have to be altered.
[tense music]
- [Jennie] Do you see anything?
- No.
[suspenseful tone]
Whoa.
[tense music]
- Are you alright?
- Yes.
- Well, what happened.
- There are rats alright.
- I knew I heard
something last night.
Well, I'll set out
the traps then.
They carry disease.
We don't want them getting
into the house.
- [John] Look at this.
- Me?
- Yes.
You studied French?
- Ages ago.
- I found it tucked away in
the library.
I thought you might know
what it says.
[Jennie sighing]
- It's a lease
from 1785, I think.
- The date I can make
out myself.
- John.
- A small furnished house
in Toulouse.
The rest is just legal.
To tell you the truth,
it's rather hard to read.
In fact, it looks like the
second half is written in Dutch.
- Well, I suppose we can
make do we these.
- I wish that we could forge
enough material in that house
to make something more modern.
- We did find a coat for
you but it's a bit worn.
- This is precisely the
kind of dress
that mother would've worn
every day of her life.
What would she have
done with it?
- Turned it inside out and
used it as two dresses.
Sarah.
[wolves howling]
- I think we should go
inside now.
[door creaking]
[tense music]
[door creaking]
[soft gasping]
[dramatic music]
Charlotte.
[tense tone]
[tense tone]
[suspenseful music]
- What are you doing?
- What do you mean?
- There's someone in the house.
- What is it?
- Lock the door!
- What's happening?
[dramatic music]
[suspenseful music]
[tense music]
[floorboards creaking]
[heavy breathing]
[window slamming]
[wind blowing swiftly]
[suspenseful music]
[wind blowing swiftly]
- Perhaps he was a
previous tenant,
and he came back for something,
left something behind.
- His manner was cold.
It did not look like he was
looking for anything at all.
- This could be my fault.
I should've thought to
lock up the house.
- We've never kept the
doors locked before.
Why should we start now?
- We don't know anyone here.
Jennie's right.
We should keep the doors locked.
[women muttering excitedly]
- Oh, no.
- [John] What is it?
- By all accounts a
flock of chickens.
[women muttering excitedly]
- Hello, my dears, welcome.
[dramatic music]
[women whispering]
- And Mr. Jamel confessed
that one of his dogs
had gotten hold of his
wife's prize pheasant
and run off [chuckling].
- Really?
- I've always wanted to come.
My husband Peter would
never allow it.
[women whispering]
- The two of you don't
even seem like sisters.
- Ladies, please excuse me.
[dramatic music]
[women whispering]
[tense music]
- Please excuse me for a moment.
- These are the very
type of women
I've spent my life attempting
to separate myself from.
They do not have a
clue of what is
going on in the world right now.
- Maybe they don't wish to know.
- They choose not to know.
They live in a time capsule.
- They live in it, but
we look it.
Perhaps we'll start a trend.
- [chuckling] No.
- Shh.
They're going to hear us.
- I care not.
Charlotte,
I've been thinking.
I wanna go back east.
I feel that you and John
need to be alone right now.
You are going to be just fine.
I don't think that you
need me here anymore.
- I can't survive what's
happened alone.
- You're not alone, Charlotte.
- Aren't I?
- Charlotte,
I've reached an age
where I've become a woman
of no means or position,
and the chances of my
marrying now are slim.
No amount of education
can change that.
When Sarah was alive it was
easy to forget these things.
I traded my security for
knowledge,
and those qualities
are not exactly
considered desirable in a woman.
Now when I see you and
John together,
it only reminds me of what
I will not have in my life.
- What do you know of
John and me?
- John is a good man for you.
You have to let him be a
good man for you.
You love him.
- Yes.
I don't remember.
[dramatic music]
- What are you saying?
- I can remember it in
my mind but not my heart.
Please, Jennifer, I need
you to stay here with me
with us, please.
- Where were you last night?
I woke up and you were gone.
- I couldn't sleep.
- [John] Strange that you
didn't wake me.
- I couldn't sleep.
I went into one of the
spare rooms to write.
- The attic?
- Yes.
- To write.
- I just told you that.
- You blame me for what
happened.
- There's someone on the roof.
The roof! There's
something on the roof!
[tense music]
- Could it be the man
from last night.
- It's nothing just the rats.
- What I heard was not a rat.
- You're overreacting.
- I do not overreact, John.
- Yes, you do.
- Jennie, please.
- Please what, be quiet?
[loud thud]
[loud stomping]
Big rats.
[cricking chirping]
[tense music]
[suspenseful music]
- What happened?
- John, what happened?
- Nothing.
The fog was heavy
it's hard to see.
- John.
Where is the rifle?
- Did you see anyone?
- It's such an unusual mist.
So unusual.
- What's the matter?
Are you alright?
- Of course I am.
[dramatic music]
Jack, you know you can
stay the night.
We have plenty of room.
- Thank you, but I have to
be off again this evening.
I was simply passing near
enough to make a stop.
See how you were doing.
- I'm glad you did.
- You know, John,
you do not look well.
- How do you mean?
- You have all had a
great deal of misfortune.
Is there anything that I can do?
- No, Jack.
Jack, you've done enough.
[bell tolling]
- John.
I may have been your
professor 10 years ago,
but I've been your friend
for almost as long.
Tell me what is on your mind.
- We were together
behind the house when
the fire broke out.
Jennie was gone. It was
early evening.
When we got back everything
was in flames.
I ran through the door
and ran upstairs.
My baby was on fire.
I couldn't reach her.
I swear to God, Jack
I couldn't reach her.
- I'm sorry, son.
- I have known Charlotte
ever since we were children.
There wasn't a moment in
my life that I did not know
I would spend the rest
of my life with her.
[dramatic music]
She was so filled with life,
and now everything
that I thought I knew
I do not understand
and I do not understand her.
[dramatic music]
- Yes, you do.
- Doctor, how is your mother?
- Half a year past 90,
no end in sight.
And you are well, Charlotte?
- Yes, fine, thank you.
- You know, it's not too
late to have another baby.
- Jack.
- Never under estimate a woman's
need to have a child, John.
It overrides all other
priorities.
It makes her spirit whole.
After all, my dear,
what else does a woman have
if not the joy of creation?
[birds chirping]
[soft music]
- Mommy.
[suspenseful music]
- Sarah!
- Charlotte!
Charlotte!
[loud crash]
- [Jennie] I know what I saw.
- How?
- Does there need to
be a reason?
- I heard a voice,
a child's voice.
Now you said you saw a girl.
- What?
- Last night,
John thought he saw the
figure of a little girl.
- John?
We need to leave here as
soon as possible.
- [John] Where do you
suggest we go?
- Anywhere.
Back east stay with your father.
- You know that's not
an option for me.
- Staying here could be
dangerous.
- We don't know that.
- What do we do?
What, what do we do?
- I'll go into town see
Mr. Hendricks.
See if there's something
else another house.
- I don't trust, Mr. Hendricks.
- [Charlotte] Why.
- It's just all too strange,
this house,
the way he inquired
about us after the fire.
This place is filled with
other people's belongings.
I mean truly, how would
he even know about us?
- By virtue of his
vocation I would guess.
- That far away.
- And now this.
- Alright.
Alright, enough.
The two of you begin writing
inquiries for another house.
I will deal with Mr. Hendricks.
We are educated
civilized people.
We cannot let this get
the better of us.
Give into fear and panic.
We will go on as normal.
Behave as though nothing
has happened.
I told Jennie to lock her door.
Call out if anything
else should happen.
- John.
- Hmm?
- Has it occurred to you
that Sarah's here with us?
- Yes.
You weren't expecting
that answer.
- I'm not leaving here.
Sarah is here.
By some grace of God or
outside of God, I don't care.
She's here in this house,
and I'm not going to
leave her again.
- Sarah is dead.
Nothing that happens here
is going to change that.
- That's the doctor
talking, not my husband.
- Facts, Charlotte,
are not a matter of
emotion or intelligence.
They're simply facts.
- For the first time,
I feel hope here.
We can't leave until we at
least try to understand this
opportunity for us both.
[dramatic music]
[birds chirping]
[Sarah mumbling]
[heavy sobbing]
[somber music]
What were you doing?
- What do you mean?
- You left in the middle
of the night.
- What?
- Yes.
You said the room was too hot.
Have you seen Jennie?
I can't find her.
She's not in her room.
[dramatic music]
Jennie.
- I dreamed it.
- Have you been out
here all night?
[dramatic music]
John, don't.
- There are two.
- I don't understand who
would do such a thing.
- I don't know.
- And to leave them buried here
when there's a cemetery
so close behind.
- What do you mean?
- About half an acre south of
the house, there's a cemetery.
- [Charlotte] Come.
- [Jennie] No, no.
We're gonna inside now.
[tense music]
- I have a vague memory of
something long and dark
with red eyes
much like the sunset
and I seem to be sinking
into deep green water.
And there was a singing
in my ears like the
voice of the sea
inviting me to wander.
Oh, I'm so tired.
- Of course you are.
You've been up all night.
Come.
I'm putting you to bed.
- There's something
wrong here, Charlotte.
- Only misunderstood.
- No, something terrible.
[tense music]
[men mumbling]
[dramatic music]
- Gentlemen.
Turn.
Gentlemen, draw your weapons.
[suspenseful music]
[guns firing]
[thunder roaring]
[rain splashing]
- This is illegal,
not to mention stupid.
- Not out here, son.
- Stupid? This coming
from the man
who just moved into
the Wakefields.
I would look hard first
before casting stones, doctor.
- And I'd look hard before
taunting a man
who's pushing a needle
into your arm.
- Then you like the house,
Dr. Weiland?
- Find it cozy, do you?
- Quiet yourselves, you
stupid fools.
- Come with me.
- No.
- Oh, no.
No, I meant to leave those here.
I'll be back within a fortnight.
[soft music]
- [Charlotte] You haven't
read any of these?
- [John] It never occurred
to me to do so.
- [Charlotte] What are we
looking for?
- [John] Anything about
the house,
anything about the people
who lived here before us.
- 1962.
- Dear writer, the war.
- Yes.
A long time ago.
- Dear Brother Marshal,
we are waiting for word of Jack,
and do not know what is
happening in Pennsylvania.
[soft music]
- [John] In those weeks
I wondered,
can life be born out of death?
In the darkest of night,
can people find their way home?
Can they find each other?
A new story?
- I've been inspired.
[Charlotte] John!
Look.
Sarah.
Honey.
Are you here?
[dramatic music]
- Sweetheart.
[soft music]
[John] We were happy.
Probably more so than we
deserved to be.
I continued to search
for answers,
and Charlotte wrote a story
about a little room with
yellow wallpaper.
[bird squawking]
I like it.
I think it's very, very good.
- It's alright.
- And who's behind the
wallpaper?
Is it you?
- Maybe.
It doesn't really matter.
[soft music]
[Jennie] I missed you.
- This is Ms. Sayer.
- Good morning.
- Good morning.
- John.
John, this is Ms. Sayer.
- Hello.
- Jennie's told me
all about you,
about both of you.
Well, it doesn't like
that we've returned.
- You have the most
interesting friends.
- Catherine is a woman I trust.
I've known of her since
my years at school.
She studies many things,
things that would be
considered to be beyond nature.
I know that she can help.
- Jennie, so much has happened
since you've been gone.
John and I are so much better.
- And that runs counter
to how you look.
You're both pale and thin.
- Excuse me, but she is simply
wandering into the house.
- Do you know when this
house was built, Dr. Weiland?
- 1792.
- You don't want me here,
do you?
- No.
It's just a bit of a
surprise, that's all.
- I see.
Do you believe there's
a logical explanation
for what is happening
in this house?
- Reasonable if not logical.
- Good, that's the fair start.
- I just don't understand
what you think that you
can do here.
[dramatic music]
- Jennie believes the
two of you are in danger.
- Jennie exaggerates.
- Ms. Sayer, how do you feel
about a nice hot cup of tea?
- That would be lovely, my dear.
- John, would you please gather
the bags from the carriage?
[dramatic music]
- There's a woman
behind this wall.
- A woman?
- A dead woman?
- No.
- Perhaps you're speaking of a
story that I've been writing.
It's there on the desk.
- No.
This house is full.
Here, they--
cannot leave. They will not.
- [Charlotte] Sarah?
- And others.
- How long have you
known Jennie?
- Oh, my dear, let's see.
Well, it's gotta be
around 15 years now.
- Has it been that long?
Oh, where does it go?
- Prior to her letter,
Jennie's never mentioned you.
I'm so sorry. That sounded
just terrible.
- It's perfectly fine. I
understand what you meant.
You see, I'm everybody's
little secret.
People aren't so quickly
inclined to mention
the friend who prefers
to spend her leisure time
hunting around in
dark old houses
and carrying on a full
conversation with a wall.
- I knew nothing of this,
you see, until much later.
We first met during my studies.
Catherine was giving a
lecture at Chapel
on secular rights and
the modern woman.
- [Charlotte] May I ask
you a question?
- Well, of course my dear.
- Can you help us
speak with Sarah?
- Charlotte.
- Well, it would be
wonderful if I could,
but I have found in
situations such as this
no help from the living can
be given to speak to the dead.
Only you can speak to
those that you love.
- Then why have you come?
- John.
- It's alright, Jennie.
I'm here because Jennie
asked me to come.
Because sometimes a fresh
perspective
is as useful as anything else.
- I'm quite happy that
you're here.
Anything you can tell us
would be greatly appreciated.
- I know, my dear.
- What?
- Catherine.
- Jennie, can you fetch
me my shawl?
- Oh yes, of course.
[suspenseful music]
What is it, Catherine?
- Someone is under there.
- [Charlotte] Why do
you say that?
- Because it's calling to John.
You need to go there.
- No.
- Alone.
[suspenseful music]
- [Spirit] John.
- John!
He's been gone too long.
- I don't like this.
Why did you tell him he
had to go alone?
You said that you were
here to help us.
I thought that this had
to do with Sarah.
Where is he?
Speak to me.
- Charlotte.
[heavy breathing]
[dramatic music]
Here, give her this.
- Thank you.
Thank you.
I knew it if we stayed.
I knew it in my heart.
- No, no.
- Mommy.
- Oh, God.
- Sweetheart.
Am I dreaming?
- Did you see us here, hmm?
Have you heard us
calling to you, my angel?
- Where have you been?
- In the fire.
- [Charlotte] No, honey.
No, no not anymore.
- Not that fire, mommy.
- [Charlotte] Darling, no.
There was no other fire.
- Yes, there is.
- Have you been in this house?
Sarah, look at me.
Where have you been?
- In hell.
- You don't mean that.
- I've been burning in hell.
- Liar.
Liar!
[tense tone]
- Hell.
You'll both burn in hell
for what you're gonna do.
[dramatic music]
- Charlotte.
Look at me.
- Why?
Why are they doing this to us?
You did this.
It was you.
You wanted me that
night outside.
You want it to be just us,
our filthy lust.
- [Jennie] Charlotte.
- You don't really love me.
- Stop this.
- Now you've seen her.
You've all seen her.
She's with that man
in this house.
I have to find her.
I have to go upstairs.
Yes, you pulled her
from this house.
- [John] Charlotte.
Charlotte.
Charlotte.
- Let me go.
Let me go.
- No, no.
- Let me go!
- Jennie, get my bag now!
- Let go of me!
Let go of me!
- Charlotte!
- Charlotte,
you've got this all wrong.
- You want me to believe
that I know you do.
That's what this is all about.
You brought her out.
[soft music]
We can go back.
We can go back and
get her, please.
Please.
- No, honey.
Oh god, Charlotte,
no, it was a trick.
They were tricking us.
It was not Sarah.
They want us to believe
that Sarah is here.
- Sarah is here.
She has been with you since
the moment you lost here.
She's even been in this house.
- Quiet!
- But John.
John is right.
John is right.
That was not your daughter.
- Jennie.
- I can feel her, John.
I can feel her. She's so close.
- It's done.
It's done now.
- Wish that I could sleep
my life away [sobbing].
- How did you know--
to go under the house?
- It sounds like singing.
When I hear it I follow,
but I never know what I'll find.
The rest, I--
rely on instinct.
- Are we safe in here?
- Yes.
We're safe.
- We leave in the morning.
Charlotte.
Can you hear me?
- Yes, I can hear you, John.
- What's happening?
Is she alright?
- She's fine.
Are you alright?
- I'm fine, yes.
I just couldn't stop sleeping.
Where's Catherine?
Charlotte.
Charlotte, honey, is there
anything that I can get for you?
- No, thank you.
I had the most terrible dreams.
You were old
and looked so very, very sad.
- It's 1:30 in the afternoon
and I can't seem to find
Catherine.
- Perhaps she's gone into town.
- No, she wouldn't just leave
not without telling us or
leaving some kind of a note.
[door creaking]
[dramatic music]
- It's alright.
Steady.
- John, I'm worried that
something
has happened to Catherine.
This is not like her.
- Listen, some terrible
things have happened,
but so far no one's
been truly hurt.
I'm sure she's fine.
It will take 25 minutes to get
to town, hopefully less back,
depending on if I can
secure a carriage.
But under no circumstances
do I want you to go
into the house.
- Finally we're in agreement
on something.
She'll be fine with me.
- I know.
Try to rest.
Stay close.
Do not go into the house.
I'll be back soon.
- John.
I've been so foolish and so
selfish for such a long time.
- No, no.
- I haven't been seeing clearly.
I haven't been seeing you.
Why have you stayed with me?
- Don't you know?
- Because you're a good husband.
- Because I love you.
[soft music]
[thunder roaring]
- Hurry back.
[dramatic music]
[birds chirping]
[dramatic music]
[low growling]
- Are you here to stop me?
[dog barking]
[tense music]
- Inside. Now!
- Are we already dead?
- No.
I am.
[suspenseful music]
[dogs howling]
- They're still there.
[loud bang]
I think that we can get outside
the back.
[loud screech]
[floorboards creaking]
[glass shattering]
Charlotte.
Charlotte.
Charlotte.
Charlotte.
[soft sobbing]
Charlotte.
Charlotte.
Charlotte.
[dogs barking]
Charlotte.
Charlotte.
Charlotte.
[suspenseful music]
Charlotte!
Charlotte.
Charlotte.
Charlotte.
Charlotte.
[loud thudding]
[soft mumbling]
Charlotte.
Charlotte.
[suspenseful music]
[Jennie screaming]
- Jennie!
Charlotte!
Jennie.
[flies buzzing]
[suspenseful music]
- We've been trying to
tell you to leave.
[soft music]
[soft music]
[suspenseful tone]
- You are not a phantom.
Where is my wife?
Where is my wife?
Wakefield.
How?
Where is my wife?
- How strong
is your love,
Dr. Weiland?
How strong?
- What have you done
with my wife?
- Is your love?
- What have you done
with my wife?
I want you out of this house!
[loud thud]
[soft music]
- It's dirt.
It's just dirt.
[muffled voices]
- Such an unusual mist.
- [Jennie] That is
counter to how you look.
- [Jennie] You're both
pale and thin.
- [John] It's so unusual
all the time.
[suspenseful music]
I hear others.
All I ever wanted was my
daughter back.
[dramatic music]
- John.
- My love.
- I'm so sorry.
[footsteps approaching]
- She is dead.
Her heart will never beat again.
But the disease will
keep her body adamant.
We have lived with this thing
just short of three centuries.
[cane tapping]
You're going to have to
make a choice now, John.
You can leave her here
abandoned, unaided
trapped in that flesh
indefinitely
able to think, to dream,
to hear but helpless
and you very soon will die
or you can bring to this house
those from whom she can feed
and in turn she can feed you.
You will be bound
together in this cycle
until she finds another
to give it to.
I tell you these things
because I made a
promise to do so
if it came to that.
Time is short now, John.
So listen carefully.
She will be useless
during the day
and you will not.
But she will be able to perform
the most miraculous
things during the night,
and you will not.
The rest you will come to know.
Oh, one other thing.
For reasons I do not understand
she will be able to
affect and manipulate
the wills of some animals.
Rodents and wolves appear
to be the most susceptible.
You can use the other grave
now, John, for the sister.
In homes we were all born.
In homes we all die
or hope to die.
[dramatic music]
[bell tolling]
[bell tolling]
- We don't ever have to
leave her now.
- Rest.
Until nightfall.
I don't know if Sarah
was ever here.
Grief was our ghost,
and all the victims who hover
over this house tried
to warn us.
Charlotte had written:
The wallpaper pattern does move
and no wonder,
the woman behind shapes it.
[tense music]
[people mumbling faintly]
[footsteps approaching]
- It looks great.
Have you shown it
to anyone else?
- Not yet.
- Alright, so what's the deal?
How can you afford to
rent it so cheap?
- Well, the owners paid
for the house long ago.
What do you do for work?
- I'm in construction.
My wife's the one with the
exciting job.
- I'm a writer, social
commentary, it's nothing.
- My wife was a writer.
- Really?
What's her name?
- Charlotte.
But she's been using
pen names forever now.
- And I suppose we couldn't
take down the wallpaper?
- No, Travis.
This could be the nursery.
It's perfect.
- Colleen, it's a little out
of the way, don't you think?
We're expecting--
a daughter.
- Congratulations.
[dramatic music]
[dramatic music]
[tense music]
[dramatic music]