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The Amityville Horror (1979) holds an unusual distinction among the "event" American horror films released in the late 1970s. Like The Omen (1976), and Alien (1979), it inspired repeat customers at the box-office and eventual sequels and spin-offs. Unlike those films, though, The Amityville Horror held an initial attraction for 1979 audiences the events depicted in the film were purported to be based on the actual experiences of a real family, the Lutzes, who moved into a three-story Long Island house and began to be traumatized by unseen evil forces. A book (The Amityville Horror A True Story by Jay Anson) detailing the harrowing and somewhat random incidents became an enormous bestseller upon publication in September 1977. Hollywood soon came calling in the form of an independent film production by American International Pictures. As with the book, the movie was a runaway success.
The Amityville Horror stuck fairly closely to the incidents related in the book. The prologue depicts the aftermath of an all-too real horror: the act of a young man who shot and killed his parents and four siblings as they slept. A year later, a newly married couple, George Lutz (James Brolin) and his wife Kathy (Margot Kidder) put an offer on the house in which the murders took place. The couple move into the house with their three children from Kathy's previous marriage. While George doesn't seem to be religious, Kathy was raised Catholic, and has arranged to have a priest, Father Delaney (Rod Steiger) come and bless the house. The family is outside playing with their dog Harry when Father Delaney arrives; he goes upstairs but is confronted by disturbing phenomena unpleasant smells, the sudden appearance of a swarm of flies in the room, and most disturbing, a disembodied voice telling him to "Get Out!" In the coming days, the Lutz family live through many strange and disturbing things a window sash crushes the hand of one of the boys, daughter Amy (Natasha Ryan) discovers an invisible playmate named Jody who tells her disturbing things, Kathy has vivid nightmares of specific details of the murders in the house, black ooze comes up through the toilets, the babysitter becomes trapped in a closet despite the lack of a lock on the door, and the dog Harry fixates over a hidden room in the basement. Perhaps most disturbingly, George becomes sullen and upset, and he becomes obsessed with cutting firewood, keeping his ax sharpened, and stoking a large fire in the fireplace. Meanwhile, Father Delaney clashes with his superiors, especially when the evil presence seems to follow him away from the house.
The Amityville Horror poses a problem for modern viewers who may know that the basic story of demonic harassment told by George and Kathy Lutz for the book and subsequent movie has been essentially debunked. William Weber, the defense lawyer of Amityville killer Ronald "Butch" DeFeo, Jr., revealed that he and the Lutzes came up the story over "several bottles of wine" he felt the story would help his defense, which was one of insanity caused by voices heard in the head of his client. The movie only makes a token gesture toward a documentary approach, with a scant few text titles indicating the passage of time spent in the house. The storytelling that director Stuart Rosenberg chooses is standard and straightforward, so, lacking any verisimilitude of a 'true story' the movie must stand up on its own merits. The events then take on less of an aspect of mounting terror, and more of a random collection of mere things that happen which add up to little or nothing.
That does not mean that viewers of The Amityville Horror are totally left out in the cold. Some may find an entertaining level of unintentional humor in the film, while others may see a different subtext of horror than intended. As horror novelist Stephen King wrote in Danse Macabre, his non-fiction roundup of horror in popular culture, "...the picture's subtext is one of economic unease, and this is a theme that director Stuart Rosenberg plays on constantly...Little by little, [the house] is ruining the Lutz family financially. The movie might as well have been subtitled The Horror of the Shrinking Bank Account...here is a movie for every woman who ever wept over a plugged-up toilet or a spreading water stain on the ceiling from the upstairs shower; for every man who ever did a slow burn when the weight of the snow caused his gutters to give way; for every child who ever jammed his fingers and felt that the door or window which did the jamming was out to get him. As horror goes, Amityville is pretty pedestrian. So's beer, but you can get drunk on it. 'Think of the bills,' a woman behind me in the theater moaned at one point..."
The Amityville Horror earned over $65 million at the box office. Critical reaction, however, was harsh. Richard Schickel, writing in Time voiced a common complaint, saying the film "...has become one of the summer's top grossing movies despite the fact that the people who made it seem to have been of two minds about their story. On the one hand, they are tediously documentary about every odd manifestation of the unseen world at work, and the accretion of these minor incidents is so dully presented that we begin to long for a good scare. On the other hand, when the film makers try to assuage our restlessness, they swing too far in the other direction."
In the New York Times, Janet Maslin laments the lack of enough levity to make the mild shocks tolerable: "George Lutz has begun to look shaggy and pink-eyed, and now he has a terrible gray pallor. He communicates with his formerly happy family in monosyllables, and spends too much time sharpening his ax. One night, Kathleen Lutz - played by Margot Kidder, who stubbornly remains the bright-eyed life of the party despite signs that plenty is amiss - finds George sitting in the livingroom alone. He is screaming that he is about to crack up, and he has fresh toothmarks on his legs. Kathleen studies the situation, then asks sweetly, 'Honey, are you O.K.?' There isn't nearly enough of this sort of inadvertent merriment in The Amityville Horror, which isn't horrifying enough to do without a few laughs."
Co-star Margot Kidder later said, "There are no pretensions as to The Amityville Horror being a deep psychological drama, I don't think. ...Horror movie buffs really are savvy audiences...Many of them are the most articulate film buffs on the planet, and they want to get scared and have fun. Much like a thrill ride at Disneyland where you're shrieking in fear, but afterward you just laugh...Audiences know that that's what they're going to get they're going to get a ride." Kidder also acknowledged the humor aspect of the film, saying "You're on that edge of serious camp. All the time. And the really masterful directors just keep it riiight there."
Although it told a self-contained story (such as it is), the success of The Amityville Horror spawned a healthy number of sequels, prequels, and spin-offs. First was Amityville II: The Possession (1982), a prequel which fictionalized the original DeFeo murders in the house. It was directed by Damiano Damiani and was based on the book Murder in Amityville by Hans Holzer. The following year saw Amityville 3D (1983), produced during the brief craze for 3D (stereoscopic) movies in the early 1980s, and was known as Amityville III: The Demon in non-3D showings. A made-for-TV film, Amityville 4: The Evil Escapes (1989) came next, followed by four direct-to-DVD films in the 1990s which traded on the Amityville name. Finally, a new adaptation of the original book was produced in 2005.
Producers: Ronald Saland, Elliot Geisinger
Director: Stuart Rosenberg
Screenplay: Sandor Stern; Jay Anson(book); George Lutz, Kathy Lutz (story, both uncredited)
Cinematography: Fred J. Koenekamp
Art Direction: Kim Swados
Music: Lalo Schifrin
Film Editing: Robert Brown, Jr.
Cast: James Brolin (George Lutz), Margot Kidder (Kathy Lutz), Rod Steiger (Father Delaney), Don Stroud (Father Bolen), Murray Hamilton (Father Ryan), John Larch (Father Nuncio), Natasha Ryan (Amy), K.C. Martel (Greg), Meeno Peluce (Matt), Michael Sacks (Jeff), Helen Shaver (Carolyn), Amy Wright (Jackie), Val Avery (Sgt. Gionfriddo)
by John M. Miller
The Amityville Horror (1979)
The real story-behind-the-story of The Amityville Horror (and the genuine horror of the house) was the well-documented mass murder that occurred at 112 Ocean Avenue on November 13, 1974. At roughly 3 o'clock that morning, 23-year-old Ronald Joseph ("Butch") DeFeo, Jr. shot and killed his parents and four younger siblings as they slept. He originally told police that he suspected a gangland hit against his car dealer father, but his story unraveled the following day and he confessed to the crime. He was tried in 1975 and convicted of six counts of second-degree murder. His defense lawyer, William Weber, attempted to present a plea of insanity, saying that DeFeo heard voices in his head which told him to kill his family.
To continue the timeline, George and Kathy Lutz moved into the Amityville house in December, 1975, with their three children. They left the house after 28 days. After recording several hours of audio tapes relating their experiences in the house, author Jay Anson took the material and wrote the book The Amityville Horror - A True Story, which was published in September of 1977. Two producers, Ronald Saland and Elliot Geisinger, who worked for CBS television, first optioned the hit book. The property then came to the attention of Sam Arkoff, a cigar-chewing producer and co-founder (with James Nicholson) of the famed low-budget studio American International Pictures, or AIP.
As Arkoff wrote in his 1992 autobiography, Flying Through Hollywood by the Seat of My Pants, "as important as The Amityville Horror was in the history of AIP, we might not have ever made the picture were it not for a bookstore owner in the San Fernando Valley. In 1977, I was browsing through his shelves, selecting some books to take on an upcoming vacation. 'Here's one, Sam, that you've got to read. Everyone says it would make a terrific movie.' Of course, I had heard that line hundreds of times before over the past forty years." Arkoff bought the book, but did not take it on his trip. His daughter read it though, and also told him it would make a good film. Arkoff agreed after reading it in one sitting.
Arkoff investigated the rights and found that while no movie studio had bought the book, the CBS Network had the rights and planned to shoot a TV movie with a budget of $800,000. Arkoff called the CBS vice president to negotiate for the rights; he ended up with the sale while CBS retained the first two TV network airings of the finished film.
Casting the two leading characters, George and Kathy Lutz, became a top priority during the preproduction period. James Brolin's agent contacted his client about the picture, and Brolin dismissed the project as a "cheap little horror deal." The agent sent Brolin the book to read, however. "One night... I started about 7 o'clock, and it was 2 in the morning I was still reading, going 'whoa! Really?' and I'm right at this particular part, I can't remember what it was, where I'm pretty tense. Where my pants, which I had hung up on the door, fall onto the floor. Well, I practically hit the ceiling with my head, I was up so fast. At that point I realized how scared I was, and I thought there's something to this - this is a real grabber."
Actress Margot Kidder also discussed her role with her agent, and later admitted that, since her stock was high following the enormous worldwide success of Superman: the Movie (1978), in which she played reporter Lois Lane, "we could get my first big salary." Following a philosophy of "do one for money and one for the heart," she felt the time was ripe for cashing in. "As I got into it (making the movie)," Kidder continued, "I just thought it was fun."
The Amityville Horror was budgeted for $4.6 million, and was allowed a short seven-week shooting schedule. As Arkoff explained, the film came in slightly over budget, "...at $4.7 million at a time when the average picture at the majors cost $13 million to $15 million. Ironically, the New York Daily News eventually reported that we had spent $25 million on the picture; the newspaper's film critic just couldn't believe that we had made it for relatively small change. Even in those latter years of AIP, however, excessive spending was never part of our standard operating procedure. Good habits are hard to break."
Cryptically, Arkoff wrote that "...there were nonstop headaches during the shooting of the picture. Some of the people behind the cameras - from producers [Ronald] Saland and [Elliot] Geisinger... to the Lutzes themselves - created a hornet's nest of problems, frequently getting in the way and contributing very little to the project itself. (I often thought that if I could conjure up the demons of Amityville, I'd turn them loose at the homes of those individuals who had tormented us throughout the making of the picture!)"
Another conflict on the set concerned the differing acting styles of the two leads. Kidder later said that she and Brolin were "from different worlds." She said "I was very full of myself and thought I was from the hip, young Hollywood, and Jim Brolin, to me, was from the old, stodgy Hollywood." Brolin agreed, saying "Yeah, there were tribulations." Kidder continued, "there's kind of two approaches you can take to acting. ...one is to have [everything] really seriously planned out and execute everything ahead of time in a scene, so you figure out ahead of time what your character is thinking, what your character is doing, you know every prop intimately so you know what your character is going to do at what spot in the line. Then there's another way of acting that says be in the moment, take the accidents, play with them as you're doing the scene and let's see what happens. And that's more the way I like to work. ...There's no right or wrong way here, but it can be very annoying to actors ...who really, really can't cope with accidents and have to know exactly what's going to happen." Brolin seemed to feel that this clash of styles added to the tension of their scenes, and that director Rosenberg also took advantage of the situation, saying "if [the director] loves the fact that you're a pear, and you're an orange, and you're an apple... [then] let's see how you interrelate, because you're from completely different gene pools; to me, that's what makes movies great."
Sam Arkoff was near the end of his producing days, and the success of The Amityville Horror came along with a business move that meant the end of American International Pictures as well. As Arkoff later wrote, "ironically, we released The Amityville Horror at about the same time I had merged AIP with Filmways, a move designed to channel more capital into the company to finance bigger-budget movies. Admittedly, hindsight is always twenty-twenty. But the success of The Amityville Horror could have almost single-handedly achieved the same goal, without all the difficulties and the heartache that the merger eventually brought with it."
Flying Through Hollywood by the Seat of My Pants by Sam Arkoff with Richard Trubo.
For God's Sake, Get Out!, (2005). 21min. documentary on the making of The Amityville Horror.
by John M. Miller
The Amityville Horror (1979)
Following its initial 1979 theatrical run, The Amityville Horror became the highest-grossing independent production up to that time, earning $65 million at the box-office. This total held until 1990, when the independently-produced Teenage Mutant Ninja Turtles (1990) beat the record.
During the shooting of The Amityville Horror, the studio strained to concoct stories of mysterious and unsettling occurrences on the set, probably because there were such stories surrounding the shooting of The Exorcist (1973) some years before. James Brolin later said that "We were being asked, 'Is there weird stuff going on?' and we were looking for stuff now. We'd have liked to tell them 'Oh yeah you wouldn't believe the stuff that happened yesterday my lunch fell off the table in my lap.' Well, that happened on the last picture."
During filming, director Stuart Rosenberg decided that Margot Kidder was not registering the proper level of fright during some intense scenes. For the scene of the glowing eyes at the window, Rosenberg held up, out of camera range, "a Day-glo orange stuffed velour pig with glass eyes" (according to Kidder). Of course, this action by the director only had the effect of causing Kidder to laugh hysterically.
During the publicity junket for the release of the movie, James Brolin and Margot Kidder visited the actual Amityville house, accompanied by the press. "It was much more condensed than the location we had in the movie, which was in Tom's River, New Jersey," Brolin later described. "I drove around... to the back side, and you could see, across the water several hundred feet, the house from the back side. And everything was white with yellow shutters except the boathouse door was flat black. That jarred me..."
James Brolin was never convinced that the story told in the book and film was true. "George [Lutz] is a good salesman he could sell a lot of Fords, this guy. You know a charmer. You had to believe him. The way he told the story was great. But he was such a good salesman, you realized that he could be selling you sand....So there was a lot of doubt there."
Margot Kidder was even more blunt in her assessment of the veracity of the story the Lutz family told. "I didn't buy that this really had happened." When asked by the press at the time if she thought the story was true or not, she didn't know how to answer. She turned to the writers for their answer to the question, which was "we'll never tell."
Brolin evaluated his performance from some years distance, and said, "When the lion supposedly bites me I have a scene in the chair where I go 'I'm coming apart!' - I thought that was a little over the top. Good actors just know how to go far, but not that sixteenth of an inch farther, and I went too far."
According to Kidder, the filmmakers rubbed Rod Steiger's head with honey to get the flies to crawl about on his face.
The script of The Amityville Horror called for a ghostly image to appear in the "red room" of the house's basement at the conclusion. The filmmakers wanted to suggest an image that vaguely resembled George Lutz rather than an exact one, so instead of having James Brolin perform the part, Brolin's non-actor brother was brought in and given a similar beard to wear.
Although The Amityville Horror was a huge hit, James Brolin did not get another film offer for two years. He blamed the intensity and violence in his portrayal of the George Lutz character.
Due to unwanted sightseers, the original look of the Amityville house has been altered over the years. The Dutch Colonial style structure had distinctive quarter-circle windows which resembled eyes. These windows have been redesigned into standard rectangles to deter fans from locating the Long Island house.
Flying Through Hollywood by the Seat of My Pants by Sam Arkoff with Richard Trubo
For God's Sake, Get Out!, (2005). 21min. documentary on the making of The Amityville Horror.
Compiled by John M. Miller
The Amityville Horror (1979)
"James Brolin, as the father on the verge of being devilishly possessed, does so much eye rolling that in the movie's sober context, he appears ludicrous. The absurdity is heightened by Rod Steiger, in one of his overripe performances as the family priest who first suspects that something's rotten in Amityville. The result is not chills, but an uncontrollable desire to break into laughter, so lacking is the film in properly gothic suspense. Margot Kidder is chipper and pleasant as the puzzled wife resisting her worst suspicions about the demons in her dream house, but she cannot overcome the film's ineptitude and lethargy. The movie's creators should either have stuck to the facts, ma'am, or they should have invented something to scare the pants off us. As it is, they have managed merely to bore them off."
Richard Schickel, Time, Sept. 17, 1979.
"So many horror-movie clichs have been assembled under the roof of a single haunted house that the effect is sometimes mind-bogglingly messy. There is apparently very little to which the director, Stuart Rosenberg, will not resort. But he still can't come up with anything more hair-raising than the trick of having one Lutz experience a severe start when he or she doesn't realize other Lutzes are in the room. Whenever Mr. Rosenberg stumbles upon an idea as good as this one, he's bound to repeat it over and over again. Scary things do happen in the movie, but they're always telegraphed in advance and make too little sense to have a cumulative effect. ...Eventually, it turns out that the house's problem is in the basement, and that behind the basement wall are the gates of hell. This will come as a great surprise to any fans of 'The Sentinel,' a movie of several years ago that definitively located the gates of hell on the top floor of a Brooklyn Heights brownstone, guarded by John Carradine, Burgess Meredith and Sylvia Miles."
Janet Maslin, New York Times, July 27, 1979.
"I did an article for Rolling Stone in late 1979, and I now think I was needlessly hard on The Amityville Horror in that piece. I called it a stupid sort of story, which it is; I called it simplistic and transparent, which it also is, but these canards really miss the point, and as a lifelong horror fan, I should have known it. Stupid, simplistic and transparent are also perfectly good words to describe the tale of The Hook, but that doesn't change the fact that the story is an enduring classic of its kind... Stripped of its distracting elements (a puking nun, Rod Steiger shamelessly overacting as a priest who is just discovering the devil after forty years or so as a man of the cloth, and Margot Kidder not too tacky! doing calisthenics in a pair of bikini panties and one white stocking), The Amityville Horror is a perfect example of the Tale to be Told around the Campfire."
Stephen King, Danse Macabre
"Jan Anson's best-selling haunted house story was allegedly true, documenting the supernatural experiences of a family living on Long Island. If true, it's far more frightening than any fiction. This American-International film version... deviates frequently from the so-called true events, adding to the confusion as to fact or fiction. There are several harrowing moments as the couple experiences ghostly phenomena, but it never comes near capturing the sheer terror of Anson's narrative."
John Stanley, The Creature Features Movie Guide
"In order to be a horror movie, a horror movie needs a real Horror. The creature in Alien was truly gruesome. The case of possession in The Exorcist was profoundly frightening. The problem with The Amityville Horror is that, in a very real sense, there's nothing there. We watch two hours of people being frightened and dismayed, and we ask ourselves. . . what for? If it's real, let it have happened to them. Too bad, Lutzes! If it's made up, make it more entertaining. If they can't make up their minds. . . why should we?
Roger Ebert, The Chicago Sun-Times
"First of three tall tales spun out of Jay Anson's supposedly factual-based bestseller. Family moves into reputedly haunted Long Island house: cue for bad smells, slamming doors, and a horrible sense of deja vu as the movie churns out numerous post-Exorcist clichs. Tautly directed, but the thin material, and a dreadfully hammy priest from Steiger, effectively wreck what little suspense remains."
Geoff Andrew, Time Out Film Guide
Compiled by John M. Miller
The Amityville Horror (1979)
COP AT THE HOUSE (Carmine Foresta): Jesus Christ, it gets worse all the time.
COP #2 AT THE HOUSE (Baxter Harris): Sure as hell doesn't get any better. All shot in their beds execution-style. Only the mother shot in the head.
COP AT THE HOUSE: What time do you make it? Gimmee a ballpark guess.
COP #2 AT THE HOUSE: 3, 3:15. And that's pretty close.
MRS. TOWNSEND (Elsa Raven): There's nothing like it on the market. Not at this price.
MRS. TOWNSEND: I like to refer to this as a fixer-upper, that can be fun.
GEORGE LUTZ (James Brolin) (after a staircase fixture comes off in his hand): We can start with this, huh?
GEORGE LUTZ: What do you think?
KATHY LUTZ (Margot Kidder): I love it. But, honey... Eighty thousand dollars? I mean, it might as well be eight hundred thousand dollars.
KATHY LUTZ: I just wish that... all those people hadn't died here. I mean... ugh! A guy kills his whole family. Doesn't that bother you?
GEORGE LUTZ: Well, sure, but... houses don't have memories.
KATHY LUTZ: I don't know.
GEORGE LUTZ: Well I do. The house wouldn't even be for sale, and if it was we couldn't afford it if we had, uh, tuna casseroles for a year.
FATHER DELANEY (Rod Steiger) (praying): God's peace in this house...
THE HOUSE: ...get ...out...
AMY LUTZ (Natasha Ryan): I wanna go home. Mommy, I wanna go home.
GEORGE LUTZ: You're one helluva watchdog, Harry.
KATHY LUTZ (waking up screaming): She was shot in the head!
JACKIE (Amy Wright) (trapped in closet): Amy! Amy open the door... Amy? For Christ's sake, open the door!
CATERER: Look, the deal was cash. You know? Cash.
GEORGE LUTZ: The cash was lost. You gotta take a check.
CATERER: I don't like checks. Let me tell you something about checks. Checks get cancelled. Checks bounce. Checks is not cash. Cash is cash.
GEORGE LUTZ: You listen to me, pal. I don't like lectures and I don't like being hassled in the men's room. I'm going to write you a check. Either that's good enough for you or you're going to eat your own goddamn food.
JACKIE: Why didn't you open the door? Why didn't you answer me?
KATHY LUTZ: Why didn't you unlock the door? You heard Jackie knocking!
AMY LUTZ: Jody wouldn't let me.
FATHER DELANEY: I happened to check into the murders. And I checked into the twenty year old boy who killed his parents, and his four brothers and sisters. And when he was at trial, he testified that he heard voices in the house. He heard voices in the house and the voices told him to DO it! Now, I was in the house and I heard the voices, too! And I also felt their presence in the house! I'm telling you, there was a presence in that house!
FATHER RYAN (Murray Hamilton): Half the killers in this country say the same thing. The voices. The voices told me to do it.
FATHER DELANEY: But I heard them, Father. I heard voices! Then explain this... Explain my hand, if you can do that. Go on! Explain how the car went out of control. Go on! Father Bolan was with me. You tell him.
FATHER BOLAN (Don Stroud): Well, the wheel locked and then the...
FATHER RYAN: "The wheel locked". How about a mechanical defect? I'd blame Detroit a lot faster than the Devil. It seems like every month there's some kind of recall.
FATHER DELANEY: Oh. I see. We're just gonna walk away from it. Well, has that become the fashion now? To cover up?
FATHER RYAN: Nothing to walk away from.
FATHER DELANEY: Well, I think it's nonsense.
FATHER RYAN: There's nothing to cover up.
FATHER DELANEY: I think it's bureaucratical bullshit! What do you think I am? I am not some pink-cheeked seminarian who doesn't know the difference between the supernatural and a bad clam! I am a trained psychotherapist! I went into that house, and what I saw there was real, what I felt there was real, and what I heard there was real! Now, gentleman, I have a family in my parish that's at great risk! They're facing real danger.
FATHER RYAN: Who the hell do you think you are? You think your secular education gives you the right to question the church?
KATHY LUTZ (sobbing): Why is it all going wrong? We have to do something.
KATHY LUTZ: What does Jody look like, huh? I mean, uh, is Jody big, or thin, or fat?
AMY LUTZ: She's nice. She tells me things too.
KATHY LUTZ: Yeah? Like what does she tell you?
AMY LUTZ: She tells me about the little boy who used to live in my room. He got hurt and he died.
KATHY LUTZ: And what else does Jody tell you?
AMY LUTZ: She says that she wants me to live here forever and ever. So we can all play together.
BARTENDER (Hank Garrett): Jesus, I'm sorry. You look just like that kid. You know, he was sitting right in that seat where you are when he was arrested.
AMY LUTZ (singing): Jesus loves me, this I know / For the bible tells me so / Little ones to him belong / They are weak but he is strong / Yes, Jesus loves me / Yes, Jesus loves me / Yes, Jesus loves me / The bible...
KATHY LUTZ: Who are you singin' to, princess?
AMY LUTZ: You scared Jody.
KATHY LUTZ: Jody? There's no one here, see?
AMY LUTZ: You scared her. She went out the window.
KATHY LUTZ: She went out the window? Well, I'd better check and make sure she's not still there, huh?
KATHY LUTZ: What I saw was NOT a cat!
GEORGE LUTZ: It could have climbed up the ivy I mean it's all over the side of the damn house.
CAROLYN (Helen Shaver) (in a possessed voice): Find the well... it's the passage... to hell! COVER IT!
GEORGE LUTZ (Blessing the house): Peace to this house and all who enter in it. Peace to this house and all who enter in it.
KATHY LUTZ (Blessing the house): Forgive our sins, and save us from all illness. Grant this through Jesus Christ, our Lord.
GEORGE LUTZ (addressing the presence in the house): What do you want from us? Goddamnit, this is MY house!
GEORGE LUTZ: I'm coming apart! Oh, mother of God, I'm coming apart!
KATHY LUTZ: Would you please leave that damn fire alone and listen to me?
GEORGE LUTZ: I'm not going anywhere. You're the one that wanted a house. This is it, so just shut up!
KATHY LUTZ: You... bastard!
(George slaps Kathy)
Compiled by John M. Miller