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(birds squawking)

(gentle orchestral music)

(gentle orchestral music continues)

(birds squawking)

- It's very lonely here.

- Like the edge of the world.

- How long is it till the tide covers the causeway?

- Not long.

- Is this all there is?

- Depends where you're going.

It all begins again out there.

Perhaps there's a road hidden under the water,

lined with drowned souls.

(bell rings)

There you are.

It only rings once.

We've been warned.

Come on.

(gentle orchestral music)

- [Anna] Do many people get cut off?

- A few.

Before they built the lighthouse,

this place was a graveyard for ships.

There are hundreds of wrecks around here.

Why did you come to Jersey in the winter?

- I needed to work something out.

It can't be very real in summer.

- Everything's real.

Reality is total.

Do you see that?

- Perhaps.

(gentle orchestral music continues)

(singer vocalizing)

(gentle orchestral music continues)

- All my family are buried here.

We are the last of the Dabernons, my brother George and I.

We are all that's left of centuries

of Dabernon lives.

- That's sad somehow.

There are Robinsons everywhere.

- Dabernons are like Jersey cows,

they don't transplant well.

What's your first name?

- Annabelle.

- Always?

- No, usually Anna.

- Hugh.

Invariably.

Welcome to Jersey, Anna.

(birds chirping)

(birds chirping)

- [Anna] I'm glad you asked me here.

I'd never have come on my own.

- Mmm.

It's one of the most famous burial mounds in Europe.

Come on, let's go down.

This must have been the grave of some very great chief.

Some of these stones weigh 30 tons.

Imagine all those hundreds of exhausted men laboring

to get them up here on rollers.

- Mmm.

- Life was pretty expendable in 2,000 B.C.

- A lot of them must have died on the way.

I wonder if their ghosts are watching us.

- Maybe.

The past is another country, someone once said.

We are the past, Anna.

Some part of us is always there.

Look at these marks here on the stone.

They're called cut marks.

You find them on monuments all over the world,

but no one knows what they are.

When we learn to read them we can go to that country.

- Oh, I don't know really.

Umm, bluish-green, I think.

I've always wanted to wake up in a room of that color.

But my husband liked white everywhere.

- So what color is your bedroom?

- White. - Ah.

- But my desk in the library where I work

is bluish-green and my lamp.

So that's something.

- It sounds to me that you don't like being

at home very much.

- Oh, it's not that exactly.

It's not what we say, it's what we don't say.

After the weekend it's a relief to go to work.

- I suppose that's part of the problem?

- Well, David would rather keep me at home.

So the library has become a kind of refuge,

somewhere where I can think.

- What do you think about mostly?

The state of your marriage?

Debit and credit balance?

- Something like that.

Your job's very responsible.

- Yes.

That's one of the reasons why I'm doing it.

Lives depend on my decisions.

I enjoy the challenge.

(all chattering)

- The way she looked at him when he went off in the morning.

- Was David never like that?

- No, never!

But you can't change people.

After four years I still don't think

he really knows what I'm like.

- How'd you like it?

- I'm not sure.

- You don't commit yourself easy, do you?

- Not to friends.

- Well, give me the verdict tomorrow morning.

Bye bye.

- Who was that?

- Colin.

He works for me at the airport, on the ground staff.

Not much in his head.

Quite a nice kid though.

What were you saying?

- Oh, about David.

What he really wanted was a wife, not a person.

Just someone to be there.

He's so old-fashioned.

They're getting very burned.

- Hold them farther away then.

Now what are you doing?

- Not managing very well.

- I build you the perfect fire and now you spoil the dinner.

You're not much good, are you?

- I told you I was a town girl.

- We're elemental people.

Everything must be used.

We cook on fuel from the beach.

We gather fertilizer from the sea,

which in turn regenerates the earth

from whence the sausage you are about to eat

was nourished.

- That's ridiculous.

- What is?

- Well, sausages being nourished.

- (snorting) Pigs eat too, don't they?

(Anna gasping)

(upbeat music) (engine revving)

- Everything's so deserted.

I wonder what they all do at night?

I do wish I didn't have to go back tomorrow.

I do hate hurting people.

Hugh?

Do you want me to stay?

- That must be your decision.

(gentle orchestral music)

(boat horn blowing)

- You needn't wait any longer.

I hate farewells.

Don't look at me like that.

(boat horn blowing)

I have to go now.

Goodbye.

(all chattering)

(door clicking)

(gentle orchestral music)

(boat horn blowing)

(engine rumbling)

(door clicking)

- Don't worry.

It's as much my house as his.

Come on in.

George?

(door clicking)

Hello, I'm back.

- So I see.

- Anna.

This is my brother George.

Anna Robinson.

She's going to stay the night.

- Really?

- I hope it's not inconvenient?

- Stay the night here?

- That's what I said.

The spare room.

Clean sheets.

Fresh flowers.

An extra place for dinner.

- Well, you better take her upstairs.

Didn't he tell you about his history with the island?

Remarkable work.

Three years of intensive study

and he's still only half-way through.

I've been learning Old French

and do you know any Old French?

- No.

- No.

Few people do.

Some more wine?

- Just a little.

- I try to help with the research.

- Thank you.

- We've always worked very closely together.

I deal in antiques, old oak mostly, and silver.

Perhaps you've seen my shop in St. Helier?

- Yes, Dabernon.

Had some very nice, um, branch candlesticks in the window.

- They're not bad.

Keep the tourists happy.

They don't know a good piece when they see one.

My best stuff's here of course.

Been with us for generations.

We are a very ancient family, you know.

- He'll tell you about Sir John now.

- Yes, well, why not?

You see that brass hanging behind you,

- Mm-hmm.

- [George] That's Sir John Dabernon.

Direct line back to the 13th Century.

- It looks rather like Hugh.

- There is a strong family resemblance between all of us.

I brought Hugh up after our parents died.

Well, you can tell that, can't you?

- He's been a real mother to me.

-Yes,

well...

(gentle orchestral music)

- Why are you looking at me?

I wish you wouldn't.

It makes me feel strange.

- I want to remember everything about you.

(gentle orchestral music continues)

(singer vocalizing)

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle orchestral music continues)

(birds chirping)

(door clicking)

- Morning.

Oh!

I'm sorry.

- Never seen a naked woman before in his life.

Good morning, Annabelle Robinson.

- I didn't mean to laugh at him.

- It's his own fault.

Anybody else would have had more tact.

- Or at least brought us two cups of tea.

You can see the lighthouse.

You can see-

- All I see is you.

- You'll catch a cold like that.

(door clicking)

- No breakfast this morning?

- You've never done that before.

- What?

- Brought them home.

Brought them home,

here to this house.

- For heaven's sake, George.

- It's disgusting!

In mother's room!

In her bed!

- You were probably conceived in that bed.

- That's different.

You going to marry her?

- I don't know.

I haven't thought about it.

- Well, I'm the head of this household.

There are certain standards.

- Don't give me that crap.

Standards!

Blue films after bridge are okay, but making love

to a real, live woman...

- I don't want to find her here when I get back.

(door clicking)

(door slams)

(engine revving)

- I was going to bring you breakfast in bed.

- It was lonely up there without you.

- We can have it down here now.

- It was beautiful, wasn't it?

- Yes.

- What time do you finish work today?

- Not 'til five.

Will you miss me?

- Every minute.

Every second.

- [Hugh] Come to the airport for lunch.

- Yes.

I want to be with you always.

(birds squawking) (waves crashing)

(people chattering)

- Hello?

- Oh.

- Do you remember? We met outside the cinema.

- Yes.

You're Colin.

- That's right, and you're?

- Anna Robinson.

- How do you do?

Can I get you a drink?

- Emm..

Thank you. A tomato juice.

- Tomato juice, please.

Why don't we go and sit over there?

Are you going on the 13:35?

- No, I'm going to have lunch with Hugh.

- Oh.

Oh well, he saw you first.

- Are you an islander?

- Aye, chri-yeh.

Can't you tell?

You mean I sound like an Englishman?

Oh my chri-yeh!

(both laughing)

Thank you.

No, I've lived here all my life.

My father is one of the "Centeniers of Saint Brelade".

Er, Delamare,

that's my name.

- A Centenier?

- It's an honorary policeman.

It's part time and they don't get paid for it,

but they're allowed to arrest people.

They deal with all the crime in their own parish.

- Must mean he's very busy.

- No, not really.

Jersey isn't exactly a hotbed of violence.

How much longer are you staying?

- Hello.

- Hello.

- Been waiting long?

- A lifetime.

- Shall we go?

- Bye bye.

- Hugh, what are we going to do?

It's impossible here.

- George will get used to it.

- Well it.. isn't just that.

- Are you afraid you husband might turn up?

- He couldn't accept it, what I said yesterday.

Oh, and it was an awful line and we ended

up shouting to each other.

- Does he still think there's a chance?

- Maybe.

I don't really know.

He couldn't believe that in one week

I could meet someone and everything would change.

- And has it?

(laughing)

- Absolutely.

Completely!

I've never felt like that with anyone before.

With you, I just want to be with you all the time.

- Tell you what-let's go to Scotland.

(airplane engine roaring) (Hugh speaking indistinctly)

- What?

- I want to make love to you in Scotland!

- Shh! (laughing)

What a lovely idea! (laughing)

(plane engine roaring)

(engine rumbling)

This is it?

- [Hugh] This is it.

That's the cottage.

It used to be the old bakery.

We'll be completely on our own.

- It's not just an affair, is it?

- No.

It's a love affair.

(birds chirping) (dog barking)

Come on, let's tell the MacKays we're here.

(engine revving)

(dog barking)

(upbeat music)

(upbeat music continues)

(waves crashing)

(upbeat music continues)

- I'm very happy.

- [Hugh] Good.

- It can be so simple.

Warmth, good food,

a great, big bed.

Whenever I went away with David

it was always to a recommended hotel

with television in our rooms.

- Nothing like that here.

And another thing.

- What?

- Let's agree not to talk about David anymore.

- The past is another country.

(waves crashing)

(water splashing)

Hugh don't!

It's dangerous!

(waves crashing)

- Fantastic!

- Don't be an idiot!

Come back.

(waves crashing)

I don't like it here.

(water splashing)

(waves crashing)

Please Hugh, let's go.

(waves crashing)

(footsteps thudding)

- [Hugh] Where are you going, beautiful Annabelle Robinson?

- Home.

I don't like that place.

- You must have more faith in me.

Don't ever leave me like that again.

- You don't seem to need me.

I might not have been there.

- I need nobody but you around.

Don't ever forget that.

(gentle orchestral music)

(gentle orchestral music continues)

(singer vocalizing)

(gentle orchestral music continues)

- [Hugh] Why can't we always be like this?

- Mm.

- Just us.

- Mm.

(Anna laughing)

- Whee!

(gentle orchestral music)

- Anna!

- Yippee!

(gentle orchestral music continues)

(birds squawking)

Hugh?

What is it?

What is it, Hugh?

What's the matter?

What is it?

Oh no.

What is it?

Tell me!

Speak to me.

Please, Hugh.

Speak to me.

I've got you. I'm holding you.

I'll get someone.

(birds squawking)

(Anna breathing heavily)

(Anna breathing heavily)

(dog barks)

Quickly!

Quickly, you must come!

- Calm yourself, girl.

What's the matter? - Quickly!

He's ill.

He's terribly ill.

You must help me. - Who's ill?

- My chest.

Just get a doctor.

Quickly, a doctor.

I can't leave him.

I've got to go back.

- David, get on the telephone at once for Doctor Irving.

Where is he?

- He's on the beach, by the...

Look, just get a doctor, please!

- What was all that about?

- Heaven knows,

but hurry man, get on the telephone to the doctor.

- Aye.

- Tell him it sounds bad.

- It can't happen.

It can't happen!

He can't die.

He can't die!

You can't die.

You can't die!

You can't die.

You can't leave me!

You said you'd never leave me.

He said he'd never leave me!

Hugh, you said you'd never leave me!

Come back to me!

Come back to me!

Please come back! - Stop it!

Stop it, you hear!

Stop it.

Now stand up.

Stand up!

Will you kindly give me some assistance?

(gentle orchestral music)

(gentle orchestral music continues)

(door clicking)

(door creaking)

Well now, with the sedatives I have given her,

oh, thank you.

She should sleep through the night.

I'll return for the necessary formalities tomorrow morning.

- What about him in the cottage, Doctor?

Is it decent with just a sheet on him and him fully dressed?

- Ah, Mrs. MacKay, the dead are not able to appreciate

consideration about such matters.

Sufficient to do your best for her upstairs.

And you, like it or not, are responsible for the time being

for the both of them.

I think you should keep this by 'til the morning.

- What's that?

- A certificate of death.

- Subor--

- Subarachnoid hemorrhage leading to heart failure.

- He was a fine, big fellow.

Strange him dying like that.

- Ah, it can happen.

No warning.

No previous heart malfunction.

No, no.

It's my belief that when you're called

there's no power on earth to interfere.

- Mmm, yes.

Well now, Doctor, what's to be done with the widow?

- Mrs. Robinson will no doubt have to see about the funeral.

- Mrs. Robinson?

- She's from Weymouth I understand.

Left her husband and ran off with this man.

- Well!

It's the lord's judgment, that's what it is.

- Now, Betty!

- Married or not she evidently loved the man.

I'll say goodnight to you.

- [David] it was good of you to come so quickly.

- Oh, not a word.

I'll look back again in the morning.

Good night.

(door clicking)

- What a thing to happen.

- Aye.

(eerie ambient music)

(Anna groaning)

(door clicking)

(footsteps thudding)

(door creaking)

(eerie ambient music continues)

(door clicking)

(wind howling)

(Anna breathing heavily)

- What is it?

What's the matter?

You can't leave me.

He said he'd never leave me!

He said he'd never leave me!

Please Hugh, come back to me, come back to me.

Please come back to me.

(eerie ambient music)

(eerie ambient music continues)

(eerie ambient music continues)

(eerie ambient music)

(Anna whimpering)

(eerie ambient music continues)

(footsteps thudding)

(eerie ambient music continues)

(footsteps thudding)

(eerie ambient music)

(footsteps thudding)

(footsteps thudding)

(eerie ambient music continues)

(door clicking)

(dramatic music)

Come inside.

(door clicking)

(rooster crowing)

(horse neighing)

(hand knocking on door)

(door clicking)

- Oh, good morning to you.

Will you be needing Mrs. MacKay to assist you

with the laying out?

- Thank you.

That won't be necessary.

You can see.

There's been a mistake.

- Maybe he was just too strong to die.

- The doctor should have known what he was about.

Him and his philosophizing about the right time to go.

- (chuckling) Aye.

They'll have a thing or two to tell him when he arrives.

- Aye.

(hand knocking on door)

Come in.

Well, good morning.

- Good morning.

I just came to say that we're leaving.

- Leaving?

- Yes.

We were due to go anyway.

I put the money in there with the keys.

- But what about your man?

He must be very ill.

- No.

He's perfectly all right.

- Should you not wait for the doctor, Missy?

- No, I don't want to see him. He made a mistake.

You can tell him that.

- But where will you be going?

- Home to Jersey.

- Just a minute.

You may as well have this.

No use to us.

- Thank you.

Goodbye.

(door clicking)

(engine revving)

Had to get away from that place.

They don't understand.

You'll be all right when we get home.

I wish you wouldn't look at me.

Please, Hugh.

Hugh, stop it!

(tires screeching)

I'm sorry.

Don't worry, I'll get you home.

I just want to check the route.

Now then, take the A838 to Lairg,

the 836 to Bonar Bridge and the A9.

We've got to get to the airport by 5:30.

I think we can do it.

(engine revving)

Please don't look at me.

Mmm.

(upbeat music)

Everything's going to be all right.

(upbeat music continues)

(door clicking)

(door clicking)

(airplane engine roaring)

We're here.

(door clicking)

The house is freezing.

George must be away.

Come along.

(gentle orchestral music)

I'll light the fire.

(gentle orchestral music continues)

I feel better now, don't you?

It's good that we slept on the plane.

We're home, Hugh.

We've won.

We've won!

Now let's take your jacket off.

Come on.

(laughing)

There we are.

Now, come and sit down and we'll have a drink to celebrate.

(gentle orchestral music continues)

Here we are.

There.

That's lovely.

Don't you want any?

Hmm?

What are we going to tell George?

Well, he didn't like it when I was here with you before,

maybe now it'll be different.

What d'you think?

Hugh, Hugh, listen to me.

You have to help me.

I can't do it alone.

Look Hugh,

I'm going to say words to you,

and you must try and repeat them.

Will you try?

Good.

Now,

I want you to try really hard.

Um..

Say... say after me...

Say after me...

I...

I... love... you.

I, love, you,

I... love you.

I love you.

Hugh, say you love me.

Say you love me, Hugh.

Please Hugh!

Say you love me Hugh, please.

For God's sake Hugh, speak.

Just speak to me Hugh.

Please just speak to me!

No.

(Hugh sighing)

(gentle orchestral music)

I can't do it.

I can't help him.

(gentle orchestral music continues)

What are we going to do?

(gentle orchestral music continues)

- [Hugh Voiceover] I love,

I love you.

(gentle orchestral music continues)

(engine rumbling)

(door clicking)

(door clicking)

(door clicking)

- When does a man die?

Who knows what happens at the moment of death?

The soul doesn't die.

It simply leaves the body.

But what if it didn't?

If it went on living in a dead body?

- A prisoner and a body decaying around it?

Is it possible?

What is possible?

- Hugh is not dead.

- If it weren't for you this would never have happened.

He's possessed, isn't he?

Possessed by you.

You're a witch,

trafficking with the Devil!

You have conjured an evil spirit into his dead body.

- My love for him has given him life.

- It's revolting!

His flesh is cold.

Dead!

There is no pulse.

No heartbeat.

Hugh's body is rotting.

It is disintegrating hour by hour.

And something must be done, now!

- Please, why don't you just go away and leave us alone?

(dramatic orchestral music)

- I'll prove it to you.

He hears nothing.

He feels nothing.

(dramatic orchestral music)

Oh God.

I tell you he's dead.

(dramatic orchestral music continues)

Anna! - Hugh, sit down.

Please, just sit down.

- Unbelievable, unbelievable!

At the trumpet's sound

the graves shall be opened and the dead

shall rise again.

I know what we must do.

We must take him to a priest.

- A priest?

- Exorcism.

Exorcism.

This spirit must be exorcized.

- And then?

- Then he can rest.

He can be at peace.

- He will die.

- Yes.

- And then it'll be over.

Everything.

- [Hugh Voiceover] it will be all right, Anna.

Don't stop him.

- You see, he wants you to, err...

He wants to be free.

We must go, Anna.

- I can't go with you.

- Believe me, it's the best thing for all concerned.

He died out there, on that beach in Scotland.

He died.

(dramatic orchestral music)

(engine revving)

For now is the ax put unto the root of the trees.

So that every tree that beareth not forth

good fruit, is hewn down and cast into the fire.

(tires screeching)

And the Devil was cast into the lake of fire and brimstone.

And shall be tormented day and night forever and ever.

For the Lord is come out of his pace

to visit the wickedness of such as dwell upon the earth.

He will purge his flour and gather his wheat into the barn.

But he will burn the chaff with unquenchable fire.

(tires screeching)

The day of the Lord cometh as a thief in the night,

and when men shall say peace,

and all things are saved, then shall sudden destruction

come upon them and they shall not exist! (screaming)

(George screaming)

(van crashing)

(dramatic chime music)

(explosion booming)

(fire crackling)

(dramatic chime music)

(dramatic chime music)

(birds squawking)

(water splashing)

- Looks like a bad one, sir.

- Yes.

(both chattering indistinctly)

(birds squawking)

(footsteps thudding)

(door clicking)

- How do I love thee?

Let me count the ways,

I'm not going too fast for you, am I?

Hmm?

Good.

How does it go?

How do I love thee?

Let me count the ways.

- [Hugh Voiceover] I love thee to the depth and breadth

and height my soul can reach.

I love thee with a passion put to use in my old griefs.

I love thee with the breath, smile, tears of all my life.

- I shall but love thee better

after death.

- [Hugh Voiceover] I see something so beautiful.

Come with me.

Will you be afraid?

- Not with you.

- [Hugh Voiceover] We must go there, together.

- Yes.

Hugh, love me.

(gentle orchestral music)

(gentle orchestral music continues)

(hand knocking on door)

What do you want?

- Oh, forgive me for the intrusion, but the door,

it was not locked, so...

I'm the Centenier from St. Brelade.

Gordon Delamare.

- Yes? - Would you be Mrs. Dabernon?

- Why?

- I believe a Mr. Hugh Dabernon lives here.

- No.

No, there's no one here.

- I regret it is my duty to tell Mr. Dabernon

there has been an accident

involving his brother, George Dabernon.

- Who?

- George Dabernon.

He was killed in a car crash.

It is necessary for the next of kin to identify the body.

Where is Mr. Dabernon?

- He's in Scotland.

- Whereabouts in Scotland?

- He died there two days ago.

In Scotland.

- Hugh Dabernon?

- Yes.

There.

It says there that he's dead.

Take it.

I'm afraid I can't help you anymore.

Now please go.

You'll have to go.

Please.

(door clicking)

(footsteps thudding)

(door clicking)

He's gone.

They've all gone.

No one will worry us now.

Let's have breakfast.

Hmm?

No we can't.

It's lunch time!

Well, let's have breakfast anyway.

In the morning room,

♪ Let's go into the morning room, ♪

♪ The morning room, the morning room ♪

♪ Let's go into the morning room ♪

Come and sit down.

And I'll wrap you up.

There.

You are such a darling.

There.

I'm going to make you the most beautiful breakfast

you've ever had.

Now that we're really alone.

I won't be long.

(gentle orchestral music)

(gentle orchestral music continues)

(waves crashing)

I hope it wasn't too long.

Come and sit down.

Here.

You must be so hungry.

Now.

It's so difficult when people don't understand.

It's hard to think of the shop without an owner though.

Maybe when you're ready but you can take it over,

we could run it together.

Hmm?

You know I can't stay at home all day.

After lunch I've got to go out and do some shopping.

You won't mind being left alone for a little while,

will you?

Well, you can sit in here and listen to some records.

(gentle orchestral music)

(gentle orchestral music continues)

- Hello, Anna.

Can I give you a lift?

(gentle orchestral music continues)

(gentle orchestral music continues)

- Hello, I'm back.

Hello, have you missed me?

Hugh?

(wind howling)

- [Hugh Voiceover] Anna.

Not much time.

Come with me.

Before I...

Kiss me.

Kiss me.

(wind howling)

(Anna grunting) (dramatic orchestral music)

(Anna screaming)

(Anna gasping)

(door slamming)

(dramatic orchestral music)

(Anna breathing heavily) (wind howling)

(Anna sobbing)

- You are dead!

You ARE dead!

(sobbing)

You are dead!

(dramatic orchestral music)

(engine rumbling)

What are you doing?

- Er, I'm, I'm sorry.

I thought that...

- There's nobody here.

Only me.

What do you want?

- Nothing.

Nothing.

I, I heard about Hugh and his brother.

I'm very sorry.

- Sorry?

- My father told me.

Mr. Delamare.

The Centenier.

- You're Colin.

- Yes.

I, I though perhaps if you were alone I could help.

But of course you're not.

- I am alone.

- But-

- There's no one there.

There's no one inside.

The house is empty.

Everything's dead.

- Can't I do anything for you?

- No.

There's nothing that you can do.

I have to go now, he's calling me.

Excuse me.

- Will you be all right?

Is there nothing I can do for you?

- I mean-

- No, there's nothing that you can do.

(door clicking)

(door clicking)

(door banging)

Stop!

(door banging)

Stop it!

(door banging)

(wind howling) (door banging)

(door banging)

(door banging)

Hugh.

Hugh.

Please Hugh, stop it.

Stop it.

Stop it, Hugh.

Please Hugh,

stop loving me.

Please stop loving me.

Please stop loving me.

Just let me go.

I don't want to die.

Hugh?

Hugh, I'm sorry.

It's my fault.

Do you forgive me?

(dramatic orchestral music)

Please.

Please.

Please.

Forgive me.

(dramatic orchestral music)

(dramatic orchestral music)

No, you're dead! You're dead!

You're dead! You're DEAD!

(dramatic orchestral music)

(candlestick thudding)

(birds chirping)

(wind howling)

(eerie ambient music)

(eerie ambient music continues)

(eerie ambient music continues)

(eerie ambient music continues)

- Err, err... I thought I saw a man leaving.

I wanted... Are you all right now?

Er, I brought you some flowers.

- I know what I have to do.

- Where are you going?

- With him.

We're going together.

- Who?

Anna, I don't understand.

(eerie ambient music)

Anna!

Anna, I know something's terribly wrong.

Please tell me.

If you tell me I can help you.

- Nothing is wrong.

Not anymore.

Please let me go.

You can't follow me there.

(wind howling)

(bell chimes)

- There-- something very wrong, dad.

She said she was alone but she wasn't.

But er, there was a man there.

I saw him leave afterwards.

What?

No, at El Tico's.

I, I think you should come.

Yes.

I, I don't know what to do.

Well yes, I'll be here.

Okay.

(wind howling)

(waves crashing)

(birds squawking)

(waves crashing)

(eerie ambient music)

(Anna breathing heavily)

(Anna breathing heavily)

(waves crashing)

(Anna breathing heavily)

(eerie ambient music continues)

(waves crashing)

(waves crashing)

(footsteps thudding)

(wind howling) (eerie ambient music)

- How long is it 'til the tide covers the causeway?

- [Hugh Voiceover] Not long.

- Is this all there is?

- [Hugh Voiceover] No.

It all begins again out there.

(dramatic music)

(waves crashing)

- No.

(waves crashing)

Anna!

(waves crashing)

Anna!

Anna!

(waves crashing)

(dramatic orchestral music)

(singer vocalizing)

(dramatic orchestral music continues)