Amityville 7 : The New Generation Page #4

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Where've you been?

Work.

What do you think?

You've been working all day, sweetie?

Watch.

Look.

What?

There.

Oh, my god.

They're all this way.

The emulsion ran.

I've seen it before, but ...

No, no.

Not like this. Look, They're all ...

dead.

It more looks kind of like an ink blot.

Doesn't it?

I guess everybody see something different.

Yeah.

What do you see?

Maybe it's time for you to take a break.

Llanie, I need this for the show.

Come on.

We'll figure something else out.

Come on.

Yeah.

Keyes.

What is it?

Listen.

It's only a dream.

Where're you going?

Been having in the nightmares for a week now.

From since I met him.

In these dreams ...

it's the only explanation.

That's not possible.

You know that.

Don't you?

Yeah.

But they're so real.

It's like Clark said.

You repress the memory ...

And I guess it's just trying to get out.

I don't have a memory what happened in Amityville.

I wasn't born yet.

Maybe this mind.

What?

- Maybe I'm gonna commit the same crime.

Maybe it's my destiny.

Just like Bronner, maybe it's in the blood.

Remember what else Clark said?

He said that it was easy to

become obsessed with that thought.

You're in control of your own life.

I think I lost it.

- Then take it back.

We'll take back control together.

What Bronner did was a terrible thing.

But that doesn't mean we're gonna relive his insanity.

You're not gonna kill anyone.

How do you know that?

- I know you're stuck in it right now.

But you have to get to the other side.

How?

You can do it.

What?

Kill us.

Kill us all.

I think you need an ending for your show.

This is it.

This is what?

Come on.

Look ...

Here's my thinking.

When something terrifies you,

the best thing to do is to confront it.

Head on.

I mean that's practically what you do for a living.

You're an artist.

You're suppose to be scared and confused.

So, go after what scares you.

Go after Bronner.

You think this is funny.

- No, I'm serious.

You've got this ridiculous idea

that your destiny is to shoot your family.

Well ...

Dick, Jane, Pauli we're your family.

Shoot us.

We can put red food color in it.

It'll look like blood.

I'm sorry, I just don't see the connection.

All right, maybe it's a stupid idea.

Keyes, I can only help you to a certain point.

Tonight's your chance.

You designed this crazy show for a reason.

See it thru.

Hey, Keyes.

Man, you look like sh*t.

Come on in, come on in.

You want take a look?

Sure.

- So, come on. Come in here. Come on.

Gently, gently, gently ...

Guns on a timer.

Set to go off sometime before the year 2001.

I called this ...

When ...

and where.

It's like ...

life.

Right?

The TV set up.

I mean ...

Everyone's used to watching violence on TV, right?

I'm giving them ...

an option.

Hey ...

you all right, hombre?

I don't know.

So much death around here, Pauli.

I don't intend to die.

Actually no one doesn't till it really happens, all right?

It's not loaded.

Right?

Yeah, that's good.

Here we go.

Here we go.

Hi. Thanks for coming.

Show's right in there.

Here you go.

What?

That's what I'm trying to get it.

She was really destroyed.

Her lover died recently.

I heard she committed a suicide.

Her work really shows it.

You're a very brave man, Pauli.

A loaded gun ...

with all these critics around.

One of you critics to stay here while I go in the can.

Keyes.

Honey, you're okay?

So ...

When I'm gonna to do this?

I don't know.

It's going great though.

Janet was right.

A Scot from the Times's here.

And I think grant people showed up.

So ...

about ten minutes.

I'll tell everyone ten minutes.

Okay.

You reach inspector Clark's office.

If this is an emergency, please dial 911,

otherwise leave a message him.

Clark ...

this is Keyes.

I need your help.

Oh, god.

It's okay we'll take care of it.

Candles.

Janet?

Maybe I could a find the candles.

Good idea, Dick.

- Where's the flashlight? I'll be right back.

Watch out for the matches, will you?

If I get thru this evening, no more artists.

Jesus Christ.

Dick ...

Hello?

Oh, my god.

Suki?

Dick ...

help me.

I'm so alone.

You promised me.

You said forever.

Is that really you?

You said ... forever.

Dick ...

I wanna take you with me.

No, you keep away from me.

Hold me.

Touch me.

It's coming.

There we go.

- Yeah.

Is Keyes ready?

Yes.

Let's do it.

Gentlemen.

Okay, right this way.

It's called the American Gothic 2.

It's a performance piece.

It's compelling, probing and mercifully short.

Excuse me.

Get the hell out of that chair.

Come on, man, it's probably not loaded anyway.

You're in here, aren't you Bronner?

Watching me.

Waiting ...

No, you know I'm not gonna do it! I'm not you!

I'm not.

Go to hell, Bronner.

I refuse.

Son ...

Oh, no, Su.

Dad?

Is that you?

I should have gone to Parsons.

I should have!

But people like you said I had a head for bussiness!

But I don't have now. Do I?

Do I, Keyes!?

Where're you going?

Come back here!

Are you a landlord?

Oh, Bronner.

I'm proud of you, son.

Now ...

it's up to you.

What is?

The Amityville.

It's in your blood.

Where the hell is Dick?

Maybe we should just go on.

I told you he'd weasle out.

What was that?

Ladies, this ain't what we rehearsed.

Keyes ...

Look at me.

Jesus. Sh*t.

Keyes.

Keyes!

No!

Freeze!

Keyes ...

Stop.

Look at me.

Hold your fire, hold your fire.

Yes, son ...

Son, you can do it.

Come on.

- Everybody down! - Cover up ...

No!

It's in your blood.

Son ...

Come on.

Leave me alone!

Did they lose their mind?

Keyes ...

Hey ...

Big mistake, Keyes.

Seven years - bad luck.

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