Three ribbons, handkerchiefs, numbered tennis balls, thick rope, and bath water are prepared. Carol Anne is summoned by her mother's voice and then by her father's authoritative, angry demeanor.
Tangina: Tell her to go to the light!
Diane: NO!
Tangina: You can't choose between life and death when we're dealing with what is in between. Now tell her before it's too late.
Diane: Run to the light, baby. Mommy is in the light.
Tangina: Tell her you're waiting for her.
Diane: Mommy's waiting for you in the light.
[under her breath to Tangina]
Diane: I hate you for that.
The door to the bedroom is opened - blinding blue strobe-lights flash from within the closet. .
Tangina (to Ryan): Go downstairs and wait by the target
Tangina (to Steve): Give me the tennis ball marked number one.
She discovers a passageway between the closet through the living room ceiling when she tosses the ball into the closet and it returns by way of the living room. Steve tosses a handful of rope into the closet - the end of it, covered with pinkish slime, falls at Ryan's feet from the living room ceiling.
Tangina: Help me tie this around my waist.
Diane: What do you think you're doing?
Tangina: I'm going in after her.
Diane: She won't come to you. Let me go.
Tangina: You've never done this before.
Diane: Neither have you.
Tangina: . . . . You're right. You go.
Steve: No. I'll do it. Let me go.
Diane: You can't go. You're the only one strong enough to hold the rope.
With Steve lowering her into the upstairs closet, and Ryan pulling the other end of the rope in the living room, Diane is guided through the closet into the channel of the twilight other-world. A spell is cast by the clairvoyant.
Tangina: Cross over, children. All are welcome. All welcome, go into the light...There is peace and serenity in the light.
Steve panics and pulls on the rope - the hideous, giant head of the Beast roars at him from the closet door - he drops the rope holding Diane and the enraged creature retreats. Clutching Carol Anne in her arms and grasping the rope, Diane plummets from the ceiling to the living room floor - both are covered with a reddish, slimy, jelly-like afterbirth. She has successfully plucked her daughter from the jaws of death.
The bath water revives them.
Carol Anne: Hi, Daddy.
Tangina prematurely and smugly boasts to the video camera recording the events about the extraction.
Tangina: This house is clean.
A moving van is being packed with boxes of the Freelings' belongings - they are moving away permanently.
Dana: Mom! I'm going to dinner with Janice and Brian.
Diane: Is your room all packed up?
Dana: Everything but the bed!
Another inanimate object almost 'kills' Steve - he stumbles over Robbie's bicycle in the front yard. Diane has white curls of hair at her temples from the harrowing ordeal.
Dana: Are you gonna do something about this?
Diane: About what?
Dana: Your new gray!
Diane: Oh! You don't like it. You don't think it's kinda PUNK!
They are "leaving tonight for sure." Diane is taking a soothing bath and the younger children rest in the serene, silent and peaceful house. The paranormal events commence again: the frightening, grinning clown doll vanishes from its customary chair, grabs Robbie, pulls him under the bed and attempts to strangle its owner. Another invisible spirit traumatizes Diane - the malignant force bounces her on the bed, hurls her against the bedroom wall, and drags her across the ceiling.
The closet comes to life with more virulence than before - there's oozing, gooey slime, white-hot light, and more sucking power. The Beast bars Diane from entering her children's bedroom door.
Diane (screams): No, don't touch my baby.
The distraught mother runs outside into the yard for help - in the rain - and makes a wrong step. She slips into the muddy, excavated pit next to the house, dug for their swimming pool. She slides down the slippery slope into the dirty water - she surfaces with skeletal faces of corpses (with silent, screaming expressions) rising behind her.
Coffins, with partly decomposed, rotting corpses, implode from beneath the ground. Diane scrambles to escape, but the mud prevents her from getting a grip, and she slides back into the macabre swimming pool of death.
Her neighbors pull her out, and she rushes back upstairs to her children's bedroom. In the corridor, the perspective of the passageway lengthens, and as she runs toward the bedroom door, the distance increases. With a desperate assault, she finally reaches the room, which is being sucked into the grotesque maw of the Beast. By grasping hands in a chain, she pulls her young children from the threatening jaws. More coffins explode through the floor of the house and in the yard, opening up and exposing more skeletal remains.
Steve: You s-o-b. You moved the cemetery but you left the bodies, didn't ya? You s-o-b. You left the bodies and you only moved the headstones. You only moved the headstones. Lies. Lies.
The vengeful ghosts are upset because the house and the entire subdivision, was built by crooked, greedy land developers over the site of an ancient tribal burial ground - a sacrilegious violation of their sacred space - the cemetery was moved with its headstones, but the bodies were left in the ground.
The Freelings recover Dana.
Dana (screams): What's happening?
Steve: Get in the car, Dana.
And they reclaim their family, and escape in the family car with the dog through a dangerous gauntlet of obstacles as more skeletal corpses burst from underneath. A skeleton hits the windshield.
Steve: Oh, shit!
Robbie: Faster! Faster!
Steve: Don't look back!
There is nothing left on the plot of ground that was the Freeling's house after it implodes. They drive by the ironic sign: "You are now leaving Cuesta Verde - We'll miss you!"
Another hotel marquee at their Holiday Inn announces: "WELCOME DR. FANTASY & FRIENDS." Tired, the evicted family finds refuge in a room there. Steve shuts the door - after a moment, he opens it and shoves the room's TV out onto the balcony for the night. After the credits have played and blackness fills the screen, giggling children's voices fill the soundtrack, and then slowly diminish.
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