All language subtitles for camaj

(BUZZlNG)

CANDYMAN: They wiII say
that I have shed
innocent bIood.

What's blood for,
if not for shedding?

With my hook for a hand,

I'II spIit you
from your groin

to your guIIet.

(WOMAN SCREAMlNG)

CANDYMAN: I came for you.

GlRL: lt's the scariest
story l have ever heard,
and it's totally true.

It happened a few years ago,
near Moses Lake, in Indiana.

CIara was babysitting
for the Johnsons,

and BiIIy puIIs up
on his motorcycIe.

Now, she wasn't even
going out with BiIIy.

She was actuaIIy
going out with MichaeI
for about six months.

But she aIways had
the hots for BiIIy

'cause he was
Iike a bad boy.

And MichaeI
was just so nice.

So, anyway,
she decides that
tonight's the night

that she's gonna
give BiIIy what she
never gave to MichaeI.

Have you ever
heard of Candyman?

No.

Well, his right hand
is sawn off

and he has a hook jammed
in the bloody stump.

And if you look
in the mirror,

and you say his name
five times,

he'll appear behind you
breathing down your neck.

You wanna try it?

GlRL: So BiIIy began.

He Iooked in the mirror
and he said...

Candyman.

No one ever
got past four.

Not here.

Go downstairs.

l have a surprise for you.

(CHUCKLES)

GlRL: She Iooked
in the mirror,

and I don't know why,

but she said his name
the Iast time.

Candyman.

She turned out
the Iights...

(CLARA SCREAMlNG)

What he saw
turned his hair
white from shock.

Killed her,

split her open with his hook,
and then killed the baby, too.

And Billy got away,

but soon after
he went crazy.

My roommate's
boyfriend knows him.

So, when did you
first hear this story?

My friend
heard it on the radio.
lt's true. Sick, huh?

The babysitter
just roasted the kid,

like it was a turkey
or something.

So, what's the deal?

You guys doing a page
on serial killers
or something?

Something like that.

Well, that's it.
We're done.

All right.
Thanks.

No problem.

See ya.
See ya.

See ya.
(BOTH GlGGLE)

Seems like they're
gettin' younger
every day.

TREVOR: Does anybody
remember the craze for
the pet baby aIIigators?

DlANE: When they got
too Iarge to keep,

peopIe fIushed them
down the toiIet.

They Iive
in the sewers now.

Some of them
are 30-feet Iong.

TREVOR: Where did
this happen?

DlANE: In Miami.

They went
blind and albino
from living in the dark.

(STUDENTS LAUGHlNG)

DANNY: Sir,
it wasn't Miami,
it was New York.

l read it in the paper.

Oh, well,
then it must be true.

(ALL LAUGHlNG)

Why would Danny and Diane
both be suffering from
the same delusion,

in two cities,
over 1 ,000 miles apart?

Let's face it, folks.

There are
no alligators
in the sewers.

No, it's round the campfire,
it's bedtime stories.

See, these stories
are modern, oral folklore.

They are the unselfconscious
reflection of the fears
of urban society.

(BELL RlNGlNG)

That's lunch.

The primordial reptile
is then transformed into
this monster, right? Why?

Ah, the dashing
professor.

The lovely wife.

Hello.

Helen,
you know everybody?

The crème de la crème.
Harold.

Hi.

Diane, Daniel, Stacey.

Hi.
Hello.

So, keep up
the good work.

Thank you for
the contributions.

Thanks. Bye.
Awesome lecture.

See you.

Bye.

See ya.

So you wanna tell me
about this girl?

What's her name?
Stacey.

She could barely look me
in the eyes, Trevor,

and l swear
she was blushing.

Well, l guess that's
because she's madly
in love with me.

You know,
all those bursting
adolescent hormones.

You don't
really think. . .

No, of course not.

Good. l should hope not.
So, what's the matter?

Trevor,

you promised
you wouldn't do

the urban legends lecture
until next semester.

You knew that Bernadette
and l were gathering data
from the freshmen,

so why did you
have to ruin it?
(SlGHS)

Honey, you're my wife
and l love you dearly,

but you can't expect me
to hold up their education

while the two of you
complete your thesis.
l mean, be realistic.

l have a curriculum
l have to follow here.

Yes, l know.

Well? So don't be
mad at me.

GlRL ON TAPE:
If you Iook
in the mirror

and say his name
five times,

he'II appear behind you
breathing down your neck.

(KEYS CLATTERlNG)

Can l clean the room?

Oh, sure.
Don't mind me.

GlRL ON TAPE:
So BiIIy began.

He Iooked in the mirror
and he said...

"Candyman,
Candyman, Candyman..."

Candyman, huh?

Yes, have you heard
of him?

Mmm-hmm.
You doing a study on him?

Yes, l am.
What have you heard?

Everybody's scared of him
once it get dark.

He live over at Cabrini.
My friend told me
about him.

Cabrini-Green?

Yeah, in the projects.

l live on the South Side,
so l don't know too much
about it,

but my friend,
she know all about it.

Her cousin
live at Cabrini.

They say
he killed a lady.

Can l talk
to your friend?

Sure.

Kitty?

Yeah?
What do you want?

Lady down here
wanna talk to you.

All right.

She comin'.

l'm Helen Lyle.

Pleased to meet you.
Henrietta Mosely.

And this is Kitty Culver.

Hello.

Tell her
what you told me
about the Candyman.

All l know was there
was some lady in a tub,
and she heard a noise.

Do you remember
her name?

l think her name
was Ruthie Jean.

And she heard this
banging and smashing,

like somebody was tryin'
to make a hole in the wall.

So Ruthie called 91 1
and she said,

"There's somebody comin'
through the walls."

And they didn't
believe her.

They thought the lady
was crazy, right?

Mmm-hmm.

So she called 91 1 again,
and they still didn't
believe her.

But when they
finally got there,
she was dead.

Was she shot?

No.

She was killed with a hook.

(MlMlCS SLlClNG)

HENRlETTA: lt's true.

Yeah, it is.
l read it in the papers.

Candyman killed her.

Yeah, but l don't
know nothin' about that.

BERNADETTE:
Helen, this is sick.

This isn't one
of your fairytales.
A woman got killed here.

Jesus.

That's not
the half of it.

Now,
that's Cabrini-Green,

not that you'd
recognize it today.

Yeah, no kidding.
l won't even
drive past there.

Heard a kid got shot
there the other day.

Every day.

Okay, now look carefully
at this picture.

And then this one.

You spot it?

No.

That's not Cabrini-Green.

That's this building,
Lincoln Village.

My apartment was built
as a housing project.

No.
Yeah.

Now take a look at this.

Once it was finished,
the city soon realized

that there was
no barrier between
here and the Gold Coast.

Unlike over there,
where you got the highway

and the "L" train to
keep the ghetto cut off.

Exactly. So they made
some minor alterations.

They covered
the cinder block
in plaster

and they sold
the lot off as condos.

How much
did you pay
for this place?

Don't ask.
(LAUGHS)

Now wait
till you see this.

Here's the proof.

The killer, or killers,
they don't know which,

smashed their way
through the back
of this cabinet.

See, there's
no wall there.

lt's only a medicine chest
separating us from the
other apartment.

Hey, hey, wait!
What are you doing?

There could be somebody
on the toilet.

No, the apartment's vacant.
Are you sure?

Yes.

There.

Okay. Now take a look.

BERNADETTE:
That is amazing.

(GASPS)

What?
There's somebody
in there.

l saw a light go on.

There's nobody there.

Psych.

That's not funny.
That was not funny.

(LAUGHlNG)

You didn't
scare me at all.

Yeah, right.

Ow.

You don't believe all
that nonsense anyway,
do you?

l don't. Do you?

No.

All right.

BOTH: Candyman, Candyman,

Candyman, Candyman,

Candyman.

Oh, you chicken !
(LAUGHS)

You have to do it
five times. Go on.
Go again.

BERNADETTE: I'm sorry...

HELEN: I did it...

(CLOCK TlCKlNG)

(SOFT THUD)

Trevor?

(SCREAMlNG)

Oh, Trevor!

What? Who were
you expecting?

(SlGHS)

What time is it?

lt's late,
and l'm smashed.

Sorry l scared you.

What's with the arsenal,
Bernadette?

We're only going
eight blocks.

You're the one who
got us dressed up
like cops.

l just said
dress conservatively.

Yeah, well,
we look like cops.

Why are you trying
to scare me?

l'm not trying to
scare you, Helen.

l just want you
to think, okay?

The gangs
hold this whole
neighborhood hostage.

Okay, let's just
turn around then !
Let's just go back,

and we can write a nice
little boring thesis,

regurgitating
all the usual crap
about urban legend.

We've got a real
shot here, Bernadette.

An entire community
starts attributing the
daily horrors of their lives

to a mythical figure.

Now, if Trevor and Archie
were in on this,

do you think
they'd chicken out?

ln a second.

Exactly.

(SlGHlNG) All right.

Yo, G, what's up?
What's up, man?

You wanna
wait here for me?

No.

Well, then let's go.

Check them out.

HELEN: And lock the car.

MAN 1 : Hey, now. Whoo!

Want somethin', baby?

l got it for you.

MAN 2: Say, yo, mama.
Come over here, baby.
Come on, come on.

Yo, baby.

Which way you goin'?

Just going inside.

Yeah?
(MAN LAUGHlNG)

MAN 1 : Y'all can't
come up in here.
MAN 2: Can't come up in here.

Excuse me, y'all can't
come up in here.

Who you lookin' for?

Just going up to
see a friend of ours.

Sure you're
not the police, huh?

MAN 3: Look like
Five-O to me.

Ask blondie
where she goin'.

Who she goin' to see?

Who you goin' to see?

Let's take the stairs.
Come on.

Where you all
goin' there?

(WHlSTLlNG)

Heads up, people!
Five-O comin' up
the back door! Police!

lt's okay.
They think we're cops.

They're not
going to follow us.

Hang on.

Look at this.

Oh, this is great.

(CAMERA CLlCKlNG)

BERNADETTE:
"Sweets to. . ."

HELEN: "The sweet."

"Sweets to the sweet."

Hurry up, Helen.

Let me just
get the door.

(BARKlNG)

Sorry.

Jesus, Helen.

Here it is.

Don't go in there.

Come on, come on.

Jesus, it stinks.

See, l was right.
The layout is identical.

Which means
that the bathroom
is over there.

Helen. . .

What's the problem?

A woman died in there.
Leave it.

lt's all right.
There's nothing to see.

(CAMERA CLlCKlNG)

God.

Wait a minute.

This is where
he crawled through,
right?

Yeah.

Well, we found it.
Let's go.

Wait a second.

Okay. Hang onto this.

What?

l'm just gonna
go through,

and when l get back,
we're out of here.

You gotta be kidding.

Oh, come on. lt's just
a derelict apartment.

What if somebody's
packing drugs in there?

You're just gonna apologize
and give them your card?

Huh?

All right.
Let's listen.

HELEN: There's nobody
in there.

Okay.

But hurry up.
Be careful.

Give me the camera.

You got five minutes.

Okay. Five.

(CAMERA CLlCKlNG)

(CAMERA WHlRRlNG)

Damn it.

(SlGHS)

Bernadette! Sorry.
(GASPS)

l ran out of film.
l've gotta go back.

No way.
You can't
believe what. . .

No way, Helen.
We're out of here.

(DOG BARKS)

Hey, what y'all
doin' in there?

We're just leaving.

You here for the sweet?

HELEN: No.

We're not cops.

We're from
the university.

Well, you don't
belong here, lady.

You don't belong
goin' through people's
apartments and things.

My name is Helen Lyle
and this is Bernadette Walsh.

We're doing a thesis,

and we were wondering
if we could just talk
to you for a few minutes.

Here. This is my card.

(BABY CRYlNG)

My baby. Come on.

Come on. Let's go.
Come on.

You know,
whites don't
ever come here,

except to
cause us a problem.

Believe me,
that's not what
we want to do.

(SOFTLY) Let's go.

So you say
you're doing a study?

What you gonna say?

That we're bad? Hmm?

We steal?
We gangbang?

We all on drugs, right?

We ain't all
like them assholes
downstairs, you know.

l just wanna
raise my child good.

He's a beautiful
little boy.

He's all l got.

What's his name?

Anthony.

l'm Anne-Marie.

Anne-Marie McCoy.

Nice to meet you.

l'm sorry
we disturbed you.

We'll just get out
of your way.

lt's okay.

l don't mean
to be rude. lt's. . .

The white folks
that come round here

ain't too handshakin'
with us, you know?

(BABY GURGLES)

Hey, what you doin'?
HELEN: Let me help you.

Oh.

Making a mess here, huh?

Thank you. Thanks.

You got kids?

No, but l'd love one. Hey.

Got my eye on
this one, big time.

Yeah. They're not
gonna get him.

You wanna know
about Ruthie Jean?

They all been here,
you know.

Newspapers,
cops, case workers.

They all wanna know.

l heard her screamin'.

l heard her right
through the walls.

l dialed 91 1 . Nobody came.

Nobody came.

Everybody scared.

He can
come right through
these walls, you know?

l'm scared.

Scared for my child.

They ain't never
gonna catch him.

Who?

Candyman.

(PURCELL LAUGHlNG)

(lNDlSTlNCT CHATTERlNG)

lf they saw something
they liked, they'd point.

They thought
it was rude to point.

What did they do?
They went. . . (GRUNTS)

Spat over people.
lt's quite extraordinary.

Be nice.
l am being nice.

l'm being very nice.

So how are
the two most beautiful

graduate students
getting along, then?

Trevor tells me
you've been dabbling
in my favorite subject.

Well, l can't wait
to review your data.

l think
l can fit you in
tomorrow morning.

We're not ready yet.

That's precisely the moment
at which l can be of
greatest assistance.

Before you disappear down
a path to academic Bolivia.

(BOTH LAUGHlNG)

TREVOR: l think
l've been there.
(PURCELL LAUGHlNG)

Actually, Purcell,
we're about to
bury you.

Helen. . .
What?

(MOUTHlNG)

l'm sure we're gonna have
something for you in
a week or so.

lt's just that we only
went to Cabrini today. . .

PURCELL: Ah !

Cabrini-Green.

Candyman country.

Well, if you're after
the hook man, Helen,

you really must
read the paper l wrote
about him 1 0 years ago.

You do know the story,
don't you?

No.

(LAUGHlNG POMPOUSLY)

Then how are you
going to bury me?

The legend first
appeared in 1 890.

Candyman was
the son of a slave.

His father had amassed
a considerable fortune

from designing a device
for the mass-producing
of shoes

after the Civil War.

Candyman had been sent
to all the best schools,

and had grown up
in polite society.

He had a prodigious
talent as an artist

and was much sought after

when it came to
the documenting of
one's wealth and position

in society,
in a portrait.

lt was in
this latter capacity

that he was commissioned
by a wealthy landowner

to capture his daughter's
virginal beauty.

Well, of course,
they fell deeply in love,

and she became pregnant.

(SCOFFS)

Poor Candyman.

The father executed
a terrible revenge.

He paid a pack of
brutal hooligans
to do the deed.

They chased Candyman
through the town to
Cabrini-Green,

where they proceeded to
saw off his right hand
with a rusty blade.

(SAWlNG)
(MAN SCREAMlNG)

And no one came
to his aid.

But this was just the
beginning of his ordeal.

Nearby,
there was an apiary.

Dozens of hives
filled with hungry bees.

(SCREAMlNG CONTlNUES)

They smashed the hives
and stole the honeycomb,

and smeared it over
his prone, naked body.

Candyman was stung
to death by the bees.

They burned his body
on a giant pyre

and then scattered his ashes
over Cabrini-Green.

Hello.

Anne-Marie ain't in.

Are you sure?

Yeah. She said you'd be back.

(BARKlNG)

What's your name?

Jake.

Well, listen, Jake,
maybe you can
help me out.

l wanted to find out
about that woman
who got killed.

Do you know
anything about that?

Her name
was Ruthie Jean.

l don't know nothin'.

Did anybody else
talk about it?

You know, it's okay
to talk to me, Jake,

'cause l'm not a cop.

So nobody's
gonna get in trouble.

l can't say nothin',
or Candyman'll get me.

Candyman, huh?

You scared of him?

l ain't scared of nobody.

But you're crazy
walkin' here on your own.

lt ain't
safe around here.

Yeah, l know.

But l don't scare
too easy either, Jake.

You know,
you don't have to tell me.

You could just show me.

And if you show me
where Candyman is,
l'll make you a promise.

lt'll be our secret.

Unless you're too scared.

Somebody building
a bonfire?

Yeah, for the party.

ln there.

Candyman's in there?

My friend Charlie
says so.

A boy got killed there.

Who was he?

Ain't sure.

Charlie tell me
he was weird.

He was crazy?

No, a retard.

(CAMERA CLlCKlNG)

His mom was
in the store.

And the boy needed
to go to the bathroom.

His mom was
takin' her time,

choosin' this,
lookin' at that.

So the boy
started moanin'.
His mom get mad at him.

Sent him
across the street.

His mom was
at the checkout.

She hears
her boy screamin'.

BOY: (SCREAMlNG) Mommy!

Mommy!

There's a big tough guy.

He runs over
to check it out.

(WOMAN SCREAMlNG)

JAKE: Come out of there
shakin' and cryin'.

He only been
in there five seconds.

Come out of there and
his hair turned white.

l mean, it turned white,
just like that.

Was the boy murdered?

Worse.

He's lying on the floor
in a pool of blood,
holdin' himself.

(BOY SCREAMlNG)

Mommy!

They found it floating
in a toilet.

Can't fix that.
Better off dead.

Did Candyman do this?

Listen, you wait here
for me, okay?

Okay.

(CAMERA CLlCKlNG)

Hello?

(GASPS)

(COUGHlNG)

(BUZZlNG)
(HELEN EXCLAlMS)

(COUGHlNG)

Candyman.

Oh, excuse me.

l'm done here.
l'll just get out of your way.

Listen, l don't want to
interfere with your business.

l'm not a cop.

l'm from the
University of lllinois.

l'll just get out
of your way.

Hey, come on !
Let me go!

Look, you're not
being very smart.

My colleagues know where l am
and they're expecting me back.

Now let me go!

l hear
you're lookin'
for Candyman, bitch.

Well, you found him.

We hear
you're looking
for Candyman, bitch.

VALENTO: Step back.

Number four,
step forward
and say the line.

We hear
you're looking
for Candyman, bitch.

VALENTO: Step back.

Number five,
step forward
and say the line.

We hear
you're looking
for Candyman, bitch.

VALENTO: Step back.
Take them out.

He's number five.

Good work.

(SlGHS)

How'd you catch him?

We swept the place.

We start
from the top floor
and work our way down.

That way you can
flush them all out.

Whole of Cabrini's
locked down now.

You're very lucky
to be alive, Ms. Lyle.

Did he kill
Ruthie Jean?

No question.

Killed that
poor kid as well.

He ran the Overlords.

Oh, we knew everything
about him.

Only reason
why we didn't
bring him in before

because we couldn't
find anyone to testify.

We can't protect them
down at Cabrini-Green,
and they knew that.

What about
the little boy, Jake?

We don't need him.
We have you.

Hey, Jake.

Listen, l just wanted to
thank you for saving my life.

l wanna go home.

We'll get you out of
here right away, kid.

You did good.

You said
it was our secret.

You lied.

lt still is, Jake.

You won't have to
go to court.

(WHlSPERS)
Candyman will get me.

Candyman isn't real.

He's just a story.

You know,
like DracuIa
or Frankenstein.

A bad man took his name
so he could scare us.

But now that
he's locked up,
everything's gonna be okay.

Candyman ain't real?

No.

(DOOR UNLOCKlNG)

Hey!

Slow down !

You're supposed to
be the invalid here.

No, it's much better.
Look. See?
lt's much better today.

Yeah, it looks great.

Come sit down.

(CHUCKLES)

You haven't eaten already,
have you?

No, of course not.

Okay, good.

BERNADETTE: Hey,

welcome back.

Thanks.
Let me see.

l'm so glad you're okay.
l would've totally freaked.

Yeah, but you know
what bugs me about
the whole thing?

Two people
get brutally murdered
and the cops do nothing.

Whereas a white woman
goes in there and
gets attacked,

and they lock
the place down.
Yeah, l know,

but this was a bad guy.
You got him put away.

That's all that matters.

Oh ! l've got
a surprise for you.

What?

You're not
gonna believe it.

The pictures.
A friend of mine

in the photography department
managed to save most of them.

l'd written them off.
The camera was smashed.

That's not all.

l've been talking
to some publishers,

and there's a lot
of interest since you
made the local section.

We're gonna be published.

All right. So l'll
come over tomorrow at 9:00,
and we'll get started, right?

Yeah.
Okay.

(HORN HONKlNG)

CANDYMAN: Helen.

Yes?

CANDYMAN: Helen.

Who is that?

Helen.

l came for you.

Do l know you?

No.

No, but you doubted me.

l'm sorry.
l have to go.

No need to leave yet.

But l'm late.

You are not content
with the stories,

so l was obliged to come.

(SlGHS)

Be my victim.

l am the writing on the wall,

the whisper in the classroom.

Without these things,
I am nothing.

So now, l must
shed innocent bIood.

Come with me.

(ANNE-MARlE SCREAMlNG)

(ANNE-MARlE MOANlNG)

(ANNlE-MARlE SOBBlNG)

ANNE-MARlE: No!

(ANNE-MARlE SCREAMlNG)

(SOBBlNG)

Anthony!

No, no! No! No!

Anthony!

(CONTlNUES SOBBlNG)

Anthony!

Anne-Marie?

(YELLlNG) No!
You bitch ! You bitch !

Stay back! Stay back!
Where's my baby?

Where's my baby? No!

My baby!

You murderer!

You. . . No!

Stop!
Please, stop! Stop.

(SCREAMlNG)

Now, stop! Stop!

Police! Open up!

All right,
hold it right there!

Back away! Now!

(SCREAMlNG)

Look out, look out!

(HELlCOPTER HOVERlNG)

Remove your sweater.

(SOBBlNG)

Drop it and
slide it over to me.

Take off your brassiere.

Can l please
take a shower?

(GROANS)

Oh, God.

Drop it,
slide it over to me.

Lift up your arms.

Lift your left breast.

Your right.

Remove your underwear.

Can l please speak
with Detective Valento?

Remove your underwear.

Frank.

Ms. Lyle,
you're under arrest.

Do you understand?

Please let me explain.

Do you understand?

Yes, but. . .

You have the right
to remain silent.

Do you understand?

This is crazy.
l was attacked.

Respond to
the question !

l understand.

At approximately
1 0:00 p.m. ,

Anne-Marie McCoy
returned to her apartment.

She discovered her dog
with its head cut off.

She cried
for assistance,

at which point
you attacked her
with a meat cleaver.

You were still
in possession
of this weapon

when the arresting
officers came to her aid.

DETECTlVE:
Where's the baby?

l don't know.

You're sick.

VALENTO: Before l ask
any further questions,

would you like
to have counsel?

(BANGS TABLE)
Yes or no?

(STUTTERlNG)
l would like to
make a phone call.

(RlNGlNG)

(ANSWERlNG MACHlNE CLlCKS)

TREVOR: I'm sorry,
we can't take your caII.

PIease Ieave a message
after the tone.

Trevor, are you there?
Pick up.

lt's an emergency, Trevor.
Pick up the phone!

I've been arrested.
I'm at the 1 8th District.

Can you pIease
come pick me up?

That's it.

Do you know
what time it is?

3:00 a.m.

(DOOR SLAMMlNG)
(KEYS JlNGLlNG)

(BABY COOlNG)

(ANNE-MARlE WAlLlNG)

(DOOR OPENS)

Oh, God.

(CROWD CLAMORlNG)

There's gotta be
another way out of here.

ATTORNEY:
Cover her face.
Don't say anything.

Just have to
walk to the car.

TREVOR: Okay? That's it.

All right.
Here we go.

You'll be fine.
Stick with me.

REPORTER:
There she is!
There she is!

Just keep
your head down.

(ALL CLAMORlNG)

All right, people.
Back off. Back off.
We have no comment.

Absolutely no comment.
Nothing to say.

We have absolutely
nothing to say!
No comment!

My client has not been
charged with a thing !

FEMALE REPORTER ON TV:
...some information
has indicated

that baby Anthony
was abducted and
may stiII be aIive.

The bIood may have
come from the dog.

A suspect was reIeased this
morning after questioning,

and I guess
we'II just have to
foIIow this one as it...

Well, at least they didn't
mention your name.
That's good.

Now, they haven't
charged you

because they think
they'll find the body.

Which means, l'm afraid,
they're shooting
for murder one,

but l don't think
they have a chance.

Do you think l did it?

No, nobody believes that.

But it's crossed
your mind?

ATTORNEY:
ls there anything,

any detail,
however small,

that you can recall
that would help us

substantiate your
version of events?

l blacked out.

l don't know
what happened.

l just woke up
in that place

and there was
blood everywhere.

Can l get you anything?

Are you sure?

Look, honey,
l was supposed to
go over to the campus

and pick up some work.

l'm concerned about
leaving you alone,
though.

l'll only be
about 20 minutes.
Trevor?

Where were you last night?

l was here.
l was fast asleep.

l thought you were
with Bernadette.

Look, honey,
l'm gonna stand by you.

We're gonna get
through this, okay?

l'll be right back.

(DOOR OPENS)

(DOOR CLOSES)

(SCREAMS)

Believe in me.

Be my victim.

Come on.

Please.

Do you believe in me?

Keep away from me!

l have the child.

Allow me to take you,
or he will die
in your place.

No!

Your disbelief
destroyed the faith
of my congregation.

Without them,
l am nothing.

So I was obIiged
to come.

And now
I must kiII you.

Your death
will be a tale
to frighten children,

to make lovers cling
closer in their rapture.

Come with me
and be immortal.

(GROANlNG)

Helen?

Bernadette.

Bernadette, go.

Helen?

Helen, honey, it's. . .

He's here.

Bernadette.

Go!

Helen !

Helen?

Go on ! Get out!

Oh !

(SOBBlNG) Oh, no, no, no.

(SLASHlNG)
(BERNADETTE SCREAMlNG)

(CANDYMAN GRUNTlNG)

(SLASHlNG)

(FOOTSTEPS APPROACHlNG)

Trevor. . .

Trevor, he's here.

He's here.
He's here.

Don't Iet him kiII me.

Trevor?

Trevor!

(GRUNTlNG)

Trevor. Trevor!

Hey, hey.
Trevor!

(GROANS)

Take her outside.

Trevor.

Hold me,
Trevor, please?

(BUZZlNG)

(POLlCE RADlO CHATTERlNG)

CANDYMAN:
Why do you want to Iive?

If you wouId Iearn
just a IittIe from me,

you wouId not beg to Iive.

I am rumor.

It is a blessed condition,
beIieve me.

To be whispered about
at street corners.

To Iive in
other peopIe's dreams,
but not to have to be.

Do you understand?

(BABY CRYlNG)

HELEN: PIease, God,
don't Iet him kiII the baby.

Trevor!

Trevor?

Trevor!

Where are you going?

No, you can't
leave me here!

l can't defend myself!

(GRUNTlNG)

No.

What do the good know,

except what
the bad teach them
by their excesses.

Murderer.

Allow me
at least a kiss.

Just one exquisite kiss.

(CRYlNG)

Murderer!

Help!

Listen,
he's under the bed !

Bring me 1 ,000 mills.

Listen. He's here.
He's under the bed !

No. Don't.

(BABY COOlNG)

(DOOR OPENS)

(HELEN COUGHlNG)

She's coming around.
Morning.

l'd like to speak
to my husband.

(CHUCKLES)

So would l.

There we go.
What time is it?

Where are we going?

We're going
to Disneyland.

(WOMAN ANNOUNClNG OVER PA)

Clyde, open it up.

Winley?
Clyde, open it up.

(DOOR BUZZlNG OPEN)

What the hell are you
all doing back there, huh?

A little reading? Huh?

MAN: Freak.

Dr. Burke?
DR. BURKE: Yes.

Ms. Lyle,
l'm Dr. Burke.

l'd like to speak
to my husband.

l'm sure we can
arrange a visit.

A visit?

Have l been committed?

Do you really think
these restraints
are necessary?

Helen,

this is a writ
of detention from the
state attorney's office.

Now, for the past month. . .
Month?

Yes.

We've been stabilizing you
on a heavy dosage
of Thorazine.

You probably remember
very little, or nothing.

Get me my attorney.

l'm working
for your defense.

We have to assess
your ability to
stand trial.

Helen,

you've been charged
with first-degree murder.

Why don't you tell me
what happened in
your apartment?

(HELEN GRUNTlNG)

The night
you were admitted,

did the killer
appear to you?

Murderer! Murderer!

Murderer! HeIp me!

(GRUNTlNG)

He's here!
He's under the bed!

l don't understand.

HeIp! PIease!
He's here!

HeIp me!
HeIp me! PIease!

He's under the bed.
He's under the bed...

That's not possible.

MAN: Bring me 1 ,000 miIIs.

Bernadette.

(SNlFFLlNG)

l'm not capable of that.

No matter
what's going wrong,

l know one thing.
That no part of me,

no matter how hidden,

is capable of that.

l can prove it.

How?

l can call him.

Candyman, Candyman,

Candyman.

(GRUNTS)

(EXCLAlMS)

(CANDYMAN GRUNTlNG)

(SCREAMlNG)

(GRUNTlNG)

You're mine now.

Tonight our congregation
shall witness a new miracle.

(GRUNTS)

(ALARM RlNGlNG)

NURSE: Dr. Burke?

(BANGlNG ON DOOR)

Dr. Burke!

Dr. Burke,
please answer.

Dr. Burke!

(GROANS)

WOMAN ON PA: Code nine,
Ward B-5, stat.

Code nine,
Ward B-5, stat.

MAN: Check the west wing !

All clear!
Right!

Let's go! Go, go!

We have a direction
on this one?

HELEN:
Please be home, Trevor.
Please be home.

(PANTlNG)

Get out of my home.

(WHlMPERlNG) Trevor!

TREVOR: What's the matter,
sweetie pie?

Did you make
another little boo-boo?

What are you doing here?

l live here. Remember?

Call the hospital.

Don't touch the phone.

What's the matter,
Trevor?

Scared of something?

(SCOFFS)

l hate the color scheme.

What were you
gonna do, Trevor?

Wait till l got out
before you told me?

Helen.

You knew l was never
coming out, didn't you?

l think we should
call the hospital.

Okay.

(DlAL TONE)

Go on.

ls that what
you wanna do?

(SOBBlNG)

Call them.

(SOFTLY)
l'm not a murderer.

l'm not. . .

Trevor, you were all
l had left.

(BLEEPlNG)

lt's over.

RECORDED VOlCE:
If you'd Iike to make a caII,
pIease hang up and try again.

CANDYMAN:
They wiII aII abandon you.

AII you have Ieft
is my desire for you.

(PEOPLE SHOUTlNG)

(PEOPLE CHATTERlNG)

(HEAVY BREATHlNG)

(EXCLAlMS)

Helen.

You came to me.

The child. . .

We had a deal.

Surrender to me now,

and he shall be unharmed.

We have a bargain.

And l'm afraid.

Do you fear the pain,
or what is beyond?

Both.

The pain,
l can assure you,
will be exquisite.

As for our deaths,
there is nothing
to fear.

Our names
will be written
on a thousand walls,

We shall die together
in front of their very eyes

and give them something
to be haunted by.

Come with me

and be immortal.

(EXCLAlMS)
(BUZZlNG)

(SCREAMS)

No!

(SCRUNCHlNG)

(CANDYMAN SHUSHlNG)

You're mine now.

lt's time for
a new miracle.

(EXCLAlMlNG)

(PANTlNG)

CANDYMAN:
It was aIways you, HeIen.

It was aIways you.

(BABY CRYlNG)

(CRYlNG CONTlNUES)

(BABY CRYlNG)

He's here.

(CRYlNG)

HELEN: l'm coming.

(GRUNTlNG)

lt's okay.

BOY: Check it out, man.

Yes.

MAN 1 : What happened?

MAN 2: They got
Candyman out there!

JAKE: Candyman's in there!
l saw him go in there!
l saw his hook!

The Candyman's in there!
l saw his hook!

(SHUSHlNG)
(CRYlNG)

l knew you'd come.

Burn him.

(CHEERlNG)

(MUFFLED YELL)

Hush.

ALL: (CHANTlNG)
Burn him ! Burn him !

Burn him ! Burn him !
Burn him ! Burn him !

Help! Help!

Burn him ! Burn him !
Burn him ! Burn him !

Help! Help me!

You lied to me!

CANDYMAN:
We must be on our
way now, you and l.

Our bones will
soon be ashes,

and we shall never
be separated again.

HELEN: Let me go.

l cannot.
We are already dead.

(CRYlNG)

(SCREAMlNG)

Come back to me!

Come back!

(CRYlNG)

(SCREAMlNG)

PRlEST: We commend
to Almighty God,
our sister, Helen,

and we commit her body
to the ground.

Earth to earth,
ashes to ashes,
dust to dust.

The Lord bless her
and keep her
and give her peace.

God of holiness
and power,

accept our prayers,
on behalf of
your servant, Helen.

Do not count her deeds
against her,

for in her heart
she desired to
do your will.

May Almighty God bless you,
the Father and the Son
and the Holy Spirit.

MAN: My God.
Look at that.

PURCELL: Trevor?

STACEY: Trevor?

What is it?

Trevor,
are you all right?

Yeah, l'm fine.

Aren't you hungry?

No, l'm okay.
l'll eat a little bit later.

l was gonna make us
a nice dinner.

Okay. Whatever.

(SlGHS)

Hey, why don't
you help me
make the salad?

Okay. l'll be there
in a minute.

(EXHALES)

(SOBBlNG)

Helen.

Oh, Helen.

Helen.

Ow.

What's the matter,
Trevor?

Scared of something?

(GROANlNG)

(GURGLlNG)

Trevor?

My God, Trevor?

Trevor?

(SCREAMlNG)