All language subtitles for Ghost_eng

This is great.

That's incredible. There's got to
be seven or eight feet up there.

- And eighty years of dust.
- Look at all this height.

We could put our bedroom upstairs,
and get all this space.

- For what?
- Just space.

One.

Two.

Three.

- And four?
- Come on.

And five?

- Watch, watch.
- God, this place is huge.

- It's beautiful.
- God.

- You guys, it's absolutely incredible.
- Incredible.

- A little paint.
- Sell it tomorrow, double your money.

Carl, you're obsessed.

A little bit.

Look.

Hey, it's an Indian Head penny.

1898.

It's a good omen.

You're the good omen.

It's so great.

I had Rose move your 3 o'clock
with Bob Kahan to 4 o'clock.

Gary Alan called. He has to see you
about the painting bids for the loft.

3 o'clock is the only time
he can make it. Is that OK?

Sam?

- I'm sorry.
- Relax, man.

You're not having brain surgery.

Pitching these Japanese guys
makes me so nervous.

Sam, you're going to be great. OK?

What am I supposed to say? I can't
really tell them my Swedish girl joke.

Great. Where did you get those?

Molly. What do you think?
Are they me?

Man! Look at that, a Testarossa.

Pay off your Mustang first.

How are you?
What did the doctor say?

He said that it was contagious.
That it was really...

- No?
- Yeah.

I shouldn't even be coming in today.

What about the rash?

The rash?

The rash is also incredibly contagious.

- He said they've both been spreading.
- No?

On your genitals again?

Yeah, yeah, right on the genitals.

Basically everywhere.
He said that I shouldn't touch anyone.

Excuse me, I'm sorry.

- You're sick.
- I know.

- Morning, Paul.
- Morning, Carl.

Save it, Paul.

- Morning, Mr. Wheat.
- Susie. You're looking good.

- Sam.
- Yeah, yeah, yeah.

- Here it is.
- Thanks.

- Morning, Sam.
- Morning, Rose.

- Listen, the Kobiashi people...
- They're already here.

- They're early.
- I know.

- Come here.
- Andy Dillon called...

- How long have they been here?
- Ten minutes.

Andy Dillon called. He needs $900,000
transferred to Albany by ten.

- By ten?
- Yes.

- Carl?
- Yeah.

Carl...

Dillon needs 900,000 in Albany by ten.
Can you transfer it to his account?

- Yes, but I need your MAC code.
- OK.

- Discretion, right?
- Got it.

- You bet. I'll do it right now.
- Thanks.

Bill, I'll call you back.

OK, that's fine.

That's fine.

This is too far out.

Can you get this, man?

Are you guys from
the New York City Ballet?

Almost...

- Saved your life.
- You shit.

Why do you scare me to death?

It's better than seeing this gorgeous
body splattered all over the place.

Look out.

- Grab it.
- Sam, Moll. Are you guy's home?

- Did you invite Carl?
- Slave labor.

- Carl.
- Hurry, help.

- Oh, my God.
- Grab the bottom.

- Now, go there.
- Here?

- Right here?
- Watch your toes.

- Where do you want this?
- In the bedroom.

- God, this place looks great.
- You like it?

Like is hardly the word. I had no idea
it would be this beautiful. It's incredible.

- What about her?
- Leave her until the other stuff is here.

- What are these?
- Let me show you.

Will you help me lift this up?

- Just finished it. What do you think?
- I love it.

Sam, what's this chair doing here?

- I love that chair.
- I know, but we discussed this.

I've had it forever.

- When I watch TV, I sit in it.
- This chair is ugly.

- And it doesn't go with anything.
- It goes with me.

You're right, it does.

- We'll paint it.
- We'll what?

Are you OK?

I'm fine.

What's the matter?

Nothing.

Are you worried about the promotion?

No, not really.

Then what - moving in together?

No.

I don't know.
It's a lot of things.

I just don't want the bubble to burst.

It seems like...

...whenever anything good in my life
happens, I'm afraid I'm going to lose it.

I love you.

I really love you.

Ditto.

The pilot's first report of trouble was
he blew the number two engine...

Oh, Jesus.
Another one?

Don't watch that.

I should cancel my LA trip.
These things always happen in threes.

Sam, get serious.

- Besides, you lead a charmed life.
- Yeah, so did they.

It's amazing.
Just like that...

Blackout.

What are you doing?

I couldn't sleep.

Boy...

I really must have passed out.

- What time is it?
- It's 2 a.m.

Oh, no.

I hope it wasn't a masterpiece.

Well, it's not now.

- Can I help?
- Yeah.

Put your hands here...
Now get them wet.

Let the clay slide between your fingers.

Oh, no.

- What's the matter?
- A glitch. What's up?

The Greenberg and White accounts,
I can't get in. The macro doesn't work.

- I changed it.
- Why?

- I just want to nose around a bit.
- Is something wrong?

Can you keep a secret?

Yeah, sure. What's up?

There's too much money
in these accounts.

That's impossible.

Sam, this is going to take you hours.
Let me do this.

- It already has taken me hours.
- Let me figure it out for you.

No, it's OK.
It's like a vendetta now.

Thanks, though, I appreciate it.

- If you start to go blind, give a shout.
- OK. Adios.

Listen, what are you and Moll
doing tonight?

We're going to the theatre.
She wants to see Macbeth.

I think she likes the guys in tights.

- You want to go?
- No. I want a full report, though.

- Later.
- Yeah.

Well, I loved it.
I was spellbound the whole time.

I could tell, and so could the rest of
the audience, with that snore of yours.

- Did I tell you what Marcia said?
- About six times.

It wasn't six times.
Quit being so blas� about this.

This was really important. I'm going
to have two pieces in her gallery.

The New York Times
reviews her gallery all the time.

The New York Times is a frustrated
critic with pimples on his ass...

who flunked art school.
Who cares what they think?

About 8 million readers, that's who.

No, they're just reading
the sports page.

Your work is really beautiful.
It really is.

It shouldn't matter what anyone else
thinks, just what I think.

- I want to marry you, Sam.
- What?

- What?
- Yeah, I've been thinking about it.

I've been thinking about it a lot.

I think we should just do it.

- Are you serious?
- Yeah.

What's that look for?

You never wanted to talk about it.

- Do you love me, Sam?
- What do you think?

- Why don't you ever say it?
- What do you mean?

- I say it all the time.
- You say "ditto." That's not the same.

People say "I love you" all the time,
and it doesn't mean anything.

Sometimes you need to hear it.

I need to hear it.

Let's go.

- What should we do?
- Let me handle it.

- What do you want?
- Your wallet.

Sam, just give it to him.

Just take the money. Just leave...

No. Sam.

You son of a bitch.

Somebody help us.

Somebody. Somebody help us.

Stop it, Sam.

Molly?

Molly. You got...?

Baby, hold on.
You're going to be OK.

Somebody? Somebody.

Somebody help us.

Oh, my God.
Sam, come on. Come on, baby.

You're going to be OK.

Somebody? Somebody help me.

Please, anybody.

OK, lady, take it easy.

We'll help you.

Molly? Molly?

Molly.

What shall we do?

What's happening? What's...

Is he breathing?

Oh, goddamn, hold on.

Here we go.

Sam, don't you leave me. Hold on.

If you would just step this way.

- So, what happened to you?
- What?

You're new? I can tell.

- Are you talking to me?
- Relax, it ain't like before.

It's a whole new ball of wax.

- Who are you?
- I'm waiting for my wife.

She's in the cardiac wing.
She's fighting it.

Shot? That'll do it every time.

Poor bastard.

You may as well get used to it -
you could be here for a long while.

I'll tell you a secret.
Doors ain't as bad as you think.

Zip-zap - ain't nothing at all.
You'll see. You'll catch on.

He ain't going to make it. I've seen it
a million times - he's a goner.

You see? Here they come.

Lucky bastard.
It could have been the other ones.

You never know.

Who are they?

No.

God help me.

Help me.

"I am sunk in the abysmal swamp
where there is no foothold.

"I have reached the watery depths.
The flood overwhelms me.

"I am wearied with calling."

As we say farewell to our friend,
Sam Wheat,

we are reminded of his kindness,

his generosity,

his buoyancy of spirit.

All that we treasure,

our loved ones,
our friends, our body...

...our mind,

are but on loan to us.
We must surrender them all.

We are all travelers on the same road,
which leads to the same end.

As our loved one enters eternal life,

let us remember
that love, too, is eternal.

That although we will miss him,
our love will light the void...

and dispel the darkness.

I picked up your shirts today.

I don't know why.

Mr. Reynolds told me to tell you "hello.'

I broke into tears.

It's like I think about you every minute.

It's like I can still feel you.

I'm here, Moll.

What's the matter, kitty?

What's the matter?

Crazy cat.

Sam?

It's really stupid.

I love this picture.

It's great. Office.

Let me see that.

Sam's address book.

- Dave Brubeck, should I toss them?
- No.

No? Molly, we hated that concert.

You wanted to save those?

Rolaids? Molly, what are you doing?

I just miss him, Carl.

Me, too.

Carl? Wait a minute.

Not that one.

I'm sorry.
I didn't mean to put that on there.

Hey, Moll. Why don't you come?

- It's like summer outside.
- No. I'm really not up for it.

- It would be good for you to get out.
- I don't want to.

You can't stay in here all day.
It's not healthy.

I can't do it.

You're not the one who died.

- I'm sorry.
- Don't apologize.

Shit.

- Maybe you're right. Just a short one.
- That a girl.

I'm sorry.

Molly?

What are you doing here?

You bastard.

You son of a bitch.

What do you want?

Molly?

Molly, get out.

No, Molly.

No, please?

He's got a gun, Molly.

Hi, kitty.

You hurt her, I'll...

Shit.

Is somebody there?

Hello?

Let go. What are you doing?

Like trains?

Stay out. This is mine.

Shit.

It's me. I couldn't get it.

She came home.

Give me a couple of days. I'll go back.

Relax. I'll get it.

Get what?

Who are you?
What do you want from us?

No. You stay away from her.

Do you hear me?

You stay away from her.

Rosa Santiago?

Please be seated.

Our sister will be with us soon.

Sister Oda Mae,

grant us the gift
of your all-seeing presence.

Appear before us now.

Mrs. Santiago?

- Buenos d�as.
- I'm Oda Mae Brown.

You wish to contact your husband.
I believe he'll be with us today.

Thank you.

But you know, Mrs. Santiago,

there's no telling
about that other world,

so you've got to be a believer.
Are you a believer?

S�, I believe, I believe.

Then let us begin.

I can't.

It's too difficult.

I just can't seem to make contact.
No - wait.

I'm feeling something.

Did he know someone
by the name of Anna?

Consuelo?

Lucita? Julietta?

Josephina? Linda? Maria?

S�, s�. His Mama, she is Maria.

Yes. Praise God.
I knew he was with his Mama.

Oh, my God...

It's too difficult. It's two of them -
I'm not sure I can do that.

I pay more. How much?

- How much?
- Twenty dollars.

Way to go. Milk her for every penny.

Yes. I believe we can start again.

Praise the Lord. Thank you, Jesus.

Welcome, Mrs. Santiago. You are
fortunate, the spirits are churning.

- My husband?
- Mercy.

Yeah, where?

- Julio?
- Yes.

I feel his vibration.

- I see him.
- How is he? How does he look?

He's a handsome man.

Handsome?

Mrs. Santiago, in our Father's
Kingdom, we're all handsome.

Julio.

Julio is coming towards us.
I see him. He's coming.

He's there.

He's dressed in a black suit.

Black suit?

- Could be blue.
- What a crock of shit.

Who is that?

Where are you?

Did you hear it?

Where are you?

- Who are you?
- Who?

- You can hear me?
- Can't you hear him?

I don't believe this. My name
is Sam Wheat. Can you hear me?

- Say my name, "Sam Wheat.'
- Leave me alone.

- Talk to me, Oda Mae.
- Sam Wheat.

- Jesus....
- Sam Wheat?

I swear, no more cheating. I'll do
anything, just make that guy go away.

No way.

It's OK.

- All right, sister?
- Yeah, you're all right.

My mother had it, and her mother.
They both had the gift.

They always said I had it,
but I never did, I never had it.

They told me all about it, but now that
I've got it, I don't think I want it.

Just go away. Find somebody else.

- You're out of your mind.
- I'm getting there fast.

She hit her head hard.

She was talking to somebody
before that.

Sister can do that.

- Where exactly are you?
- Standing right beside you.

- You're standing right beside me?
- Honey, we're right here.

- Are you white?
- What?

- White?
- You're white, aren't you?

- You know what?
- I'm calling the doctor.

- I knew it, a white guy. Why me?
- You're going to help me.

There's a woman who is in terrible
danger. The man who killed me...

is going back to our apartment.
You've got to warn her.

- Why would she listen to me?
- It's just a phone call.

Look...

...you're all I've got. I'm not leaving
until you help me.

I don't care how long it takes,
because I can talk forever.

- Hello.
- Hi, is this Molly Jensen?

My name is Oda Mae Brown,
I'm a spiritual advisor.

I have a message for you.

It sounds crazy, but it's not. You've
got to believe me, don't be afraid.

- Who is this?
- I've got a message from Sam.

- What?
- Sam Wheat asked me to call.

- I told you.
- You've got to go there.

I'm not going anywhere.

Second verse, same as the first.

I'm Henry the Eighth, I am
Henry the Eighth I am, I am...

I got married to the widow next door,
she's been married seven times before

Henry the Eighth I am, I am
Henry the Eighth I am

Second verse, same as the first

I'm Henry the Eighth, I am
Henry the Eighth I am, I am...

- I got married to the widow next door.
- All right. Stop singing.

I'll go anywhere you want to,
just don't sing any more.

I can't believe I'm doing this. What
am I doing here? I hate downtown.

She's probably not even there.
Where are you?

Which building is it?

Push 3.

- See, nobody's there.
- Just wait.

I did everything I said I would.
She's not there. I'm going.

I'm sorry.

All right, don't sing.

- Hello?
- Hi... She can't hear you.

I called you last night
about your friend, Sam Wheat.

I told you.

Hey, Molly. I know you're up there.

I know you hear me.
Sam wants to talk to you.

This is for real.

Remember the starfish at Montego Bay?

How would I know that?

I know about the underwear
you wrote your name on.

I won't forget that.

I know about the picture in Reno.

Hey, Molly.

The sweater she knitted,
in the closet, that's too big.

He just told me about the sweater
that you knitted that's too big.

Four sizes.

- Do you hear me?
- I hear you.

- Nobody's talking to you.
- Hear of the phone?

Want to kiss my butt?

- I won't stay here all day.
- Thank God.

Shut up.

Molly, I'm going to count to three,
and then I'm out of here.

One-two-three.

- No, wait.
- No.

It's Molly.

Molly?

I'm Oda Mae Brown.

I don't know you or Sam,
but let me tell you what he did.

He kept me up all night singing
'I'm Henry the Eighth, I am.'

That's how he got me
to go out with him.

Look, I'm sorry.

I just don't believe in this
life after death stuff.

- Tell her she's wrong.
- He says you're wrong.

- You're talking to him right now?
- Yeah.

He asked me to tell you
that you're wrong.

- Where is he?
- I can't see him, I can only hear him.

- I'm right here.
- That doesn't help, Sam.

- I'm holding her hand.
- He says he's holding your hand.

What are you doing?
What do you think you're doing to me?

If you think I'm here for
my health, you're crazy.

Sam's dead. He's dead.

- Tell her I love her.
- He says he loves you.

Sam would never say that.

- Tell her "ditto.'
- What is "ditto'?

Ditto.

I don't know how I'm doing this.

Confidentially - nothing like this
has ever happened to me before.

Now I can't turn it off.

- Is this him? Is this you?
- Yeah.

Cute. White, but cute.

What I don't understand is,
why did he come back?

- I don't know.
- Why's he still here?

He's stuck, he's in between worlds.

Sometimes the spirit
gets yanked out so quick,

the essence still feels
it has work to do.

- Stop rambling.
- I'm not, I'm answering a question.

- He's got an attitude.
- I don't.

Yes, you do.
We're having a little discussion.

If you didn't, you wouldn't
have raised your voice.

- Goddammit...
- Don't take the Lord's name in vain.

- Would you relax?
- You're the dead guy.

If you want me to help,
you'd better apologize.

That's it, I'm leaving.
Nobody talks to me like that.

- Now, you'd better apologize.
- I'm sorry. I apologize. OK?

Now would you sit down?

- Please?
- He's apologized.

I need you to tell Molly
what I'm saying,

but you have to tell her
word for word, all right?

Yes. He wants me to tell you
what he's saying word for word.

- Molly, you're in danger.
- You can't blurt it out like that.

Quit moving around - you're making
me dizzy. I'll tell her in my own way.

Molly, you're in danger, girl.

- What are you talking about?
- He knows the man who killed him.

His name is Willie Lopez,
and I know where he lives.

His name is Willie Lopez,
and he knows where he lives.

- Write it down.
- I ain't no secretary.

Just do it.

He's so testy.

- What do I write?
- It's 303, Prospect Place, apt. 4D.

303 Prospect Place?

- It's my neighborhood.
- Molly, he's got my wallet,

he's got my key, and he was in here.

- He was in here.
- Yesterday, when you came back,

you went upstairs,
you talked to Floyd...

When you came back he was here.
He saw everything.

Molly, go to the police.
It was a set-up. I was murdered.

He says go to the police.
It was a set-up, he was murdered.

- Somebody else is involved.
- Forget it. I don't want this.

- Where are you going?
- I'm leaving.

I did everything I said I would.
Don't follow me, because I'm finished.

Have a nice life, have a nice death,
goodbye.

There's no one on earth who'd
want this to be true more than me.

You've got to be rational about this.

Sam is no more in this room than...

I understand the need
to hang on to him, I really do.

- But this is absurd.
- It seems absurd, but it had to be real.

How could you believe
a fortune-teller from Brooklyn?

- I watched them have a conversation.
- I don't buy it, not for a minute.

- What about the things she knew?
- What things?

The photo Sam took of me
on our trip to Reno. We were alone.

And the green underwear
that I wrote my name in.

She said Sam knew who killed him.

- That he was set up.
- This is getting deranged.

- She had a name and an address.
- Good, Molly...

Willie Lopez,
303 Prospect Place, apt. 4D.

- This is sick.
- Carl.

Molly, I don't understand
how you could...

...swallow this crap.

This guy may not even exist.

Maybe she's using you
to set someone up.

You're right. You're absolutely right.

- That's what I've got to find out.
- How are you going to do that?

She said Sam wants me
to go to the police.

Sam wants you to go to the police?
Jesus, Moll....

What are you going to tell them?

That some storefront psychic lady
has been communing with the dead?

Do you know how that sounds?
You're talking ghosts here.

I'm sorry,

this really gets to me.

- It's OK if you don't believe me.
- I'm trying to, Molly.

Look...

...if it'll make you feel any better,
I'll go check this out.

I want you to try and get some sleep.

OK?

I'll call you in the morning.
Goodnight.

Be careful.

Carl. What the hell
are you doing here?

- Who have you been talking to?
- What do you mean?

Some woman knows all about you.
Where's she getting it from?

- I haven't said a word to anybody.
- She knows your name and address.

- How do women know where I live?
- She knows about the murder.

Now, I want you to find this bitch,
whoever she is,

and I want you to...

Just get rid of her, OK?

I've got 4 million dollars
stuffed in a goddamn computer.

If I don't get those codes, if that
money is not transferred soon...

...I'm... dead. We're both dead.

Tell them you only launder money
on the first of the month.

What the hell is wrong with you?
Is everything a joke?

You killed a man.
You were supposed to steal his wallet.

I did you a favor, man,
that was a freebie.

Look, these are drug dealers, OK?

Just don't blow this for me, Willie.
I'd lose my job, go to jail.

$80,000 of that money is mine.

Let me have the keys
to Sam's apartment.

I'll get the address book myself, OK?

You goddamn bastard. Why?

You were my friend.

I had a life, goddamn you.

I had a life.

I don't even believe
in this stuff myself.

But she was real.

Do you think I'd come here
if it wasn't real?

You told me if I had any new
information, that I should come.

So, here I am.

I know how this sounds. I hear myself
saying it, and I want to cringe.

But she knew things she couldn't have
known. Things Sam only said to me.

According to this psychic lady,

there are ghosts and spirits
all over the place?

Watching us all the time?

I'm never going
to get undressed again.

Excuse me.
I've got more important things to do.

The guy's name is Willie Lopez.
All I'm asking is for you to check it out.

OK. You wait here and let me see
if the guy's got a record.

Right.

- Where's the file on Willie Lopez?
- There's no file for Willie Lopez.

He was probably some old boyfriend
she was trying to get even with.

This psychic woman's
got a long record.

1967, Shreveport.

Forgery, selling of false ID.

Served one year in 1971.

Arrested for fraud,

numbers racketeering,
served ten months, 1974.

- Look, this is impossible.
- It goes on and on.

She knew things - private things.
How could she have known all that?

A lot of times they read the obits.

All she had to do was see
the word "banker". Boom.

They even go through your garbage
to find things they can use.

Letters, old papers.
It doesn't take much.

No.

It was real.

She knew about a sweater I knitted.

And songs we sang.

The trip to Montego Bay.

I'm sorry. I know this is hard.

People want so much to believe.

They're grieving, they're vulnerable.
And they will give anything...

for one last moment. Believe me,
these people know what they're doing.

I know how you must feel,
but you know you can press charges.

No.

Thank you.

Oh, God, let this be it.

Yes.

- Hello.
- Eddie, it's Carl Bruner.

Everything's fine. We're all set.
What do you want me to do?

I want you to transfer the money
into a single account...

under the name "Rita Miller.'

Tomorrow, at five minutes
before closing, 3.55 pm,

transfer the full account to
the First Island Bank of Nassau,

registry number 486-9580.

- Call us when it's done.
- OK, I've got it.

Just tell Mr. Balistrari that there
won't be any more problems, OK.

Yeah, I'll do that. Good work.

Molly, why can't you hear me?
I need you.

- Who is it?
- It's Carl, Molly.

No, don't open the goddamn door.
He's a murderer.

Listen, I know it's late.
I'm sorry to disturb you.

I've been thinking about you all day.

I feel really lousy about last night.

- This supernatural thing...
- Don't worry about it, really. It's OK.

It's not. You needed me
to hear you, and I didn't.

I wasn't there for you,
and that was wrong.

It's just... I just...

I want you to know
that I'm your friend.

- Thanks, Carl.
- You were never her friend.

- That means a lot to me.
- Me, too.

I've brought you some
Japanese apple pears.

- Thanks, that's very sweet.
- Could I come in for a second?

I won't stay long,
it's just been one of those days.

- Yeah, come on in.
- No, Molly.

You seem a little tense. Are you OK?

No, I'm fine. It's just...
What can I tell you? It's been tough.

It still hurts so much.

- You lying snake.
- On top of it, there's stuff at work.

They've given me my own accounts,
which is good.

But I just haven't really
had time to adjust,

to absorb everything.

It's no big deal.

- Can I have a little more cream?
- Yeah.

Shit.
Jesus, I can't believe I did that.

- Are you all right?
- I'm fine.

- Let me throw that in the washer.
- Don't worry about it. It's OK.

- Can I get you another shirt?
- No, it'll dry in a minute.

Where were you today? I thought
you were coming into the bank.

I was supposed to, but I didn't
have time. I went to the police.

You did? What did you tell them?
What did they say?

It was awful.

I felt really stupid.

They brought out a file on this woman
at least ten inches thick.

- Rip-off artist?
- No, Molly.

You know, the sad thing
is that I believed her.

Molly...

...sometimes we need to believe.

Why? What's the point?

It's not easy to face the realities of life.

Sometimes you've got
to give yourself that.

You've got to remember
the love you guys felt. That's real.

Remember how good Sam was,
how much he loved you.

You were everything to him, Molly.
You were his life.

I feel so alone.

You're not alone, OK.

You've got your work - you're talented.
You're young.

You're fantastically gorgeous.

I don't know what's real anymore.

I don't know what to think.

Just think about Sam.

Think about the time you two guys
had together. How wonderful that was.

Let your feelings out, it's OK.

Life turns on a dime.

You know...?

People think they're forever, that there
is always tomorrow. That's bullshit.

Sam taught us that.

We have to live for now.

For today.

- I can't. I'm sorry.
- It's OK.

- I can't, it's just too soon.
- It's OK.

You've been great, Carl.

- But I need you to leave.
- It's OK, I understand.

Please...

Could we just have dinner tomorrow?
Just talk.

- Yeah, sure.
- Great.

Hey.

- Get off my train.
- No.

Get off.

Get off. Get off.

Get off. Get out of here.

- Get off.
- No.

Show me how you do that.
I'm not leaving till you teach me.

Get off.

- No.
- Get off.

You stubborn asshole.

What the hell are you doing? You're
trying to move it with your fingers.

You can't push it with your finger.
You're dead.

It's all in your mind. Your problem
is that you still think you're real.

You think you're wearing those clothes?
That you're crouching there?

Bullshit. You ain't got a body no more.
It's all up here now.

You want to move something, you've
got to move it with your mind. Focus.

- How? How do you focus?
- I don't know how you focus.

You just focus.

How did you do that?

You take all of your emotions,
all your anger, love, hate.

Push it, down here
into the pit of your stomach,

and then let it explode, like a reactor.

Don't laugh.

- Way to go, kid.
- I did it.

I did it.

Way to go.

From your gut, like I told you.

Give it time.
What else have you got?

How long have you been here?

Since they pushed me.

- Someone pushed you?
- Yeah.

- Who?
- You don't believe me?

You think I fell? You think I jumped?
Well, fuck you.

It wasn't my time.
I wasn't supposed to go.

I'm not supposed to be here.

I'd give anything for a drag.

- Just one drag.
- Are you all right?

Who are you? Why are you
hounding me? Who sent you?

Who sent you?

Leave me alone.

Concentrate, and you'll
probably rouse him.

- What's his name again?
- Orlando.

Orlando, Orlando.
Is there an Orlando here?

- I'm here.
- He's here.

- Sam.
- I'm Orlando. The line's over there.

Where did these ghosts come from?
You can hear them, too?

In the morning and in the evening.
They come into the shower.

Did you tell every spook in the world
about me?

I got spooks from Jersey. There's stuff
going on you wouldn't believe.

- It's amazing. You're really doing it.
- Can you please hurry this up?

Chill out.

I need your help again.
There's something we need to do.

I'm not doing anything else with you.

You're holding on to a life that doesn't
want you anymore. Give up the ghost.

- Are you speaking to me?
- Does it look like I'm speaking to you?

You're supposed to be concentrating.
Are you going to try it?

Are you going to get out?
I've got work to do.

Fine, then stay there.
Excuse me, are you ready now?

Let's do it.

Listen, I've got to talk to you now.
I've got a plan.

Oda Mae?

Oda Mae?

Ortisha.

- Orlando. Is that you?
- Where are you at? I can hardly see.

- She's here.
- In front of you. I'm right here.

Damn, baby, what did you do
to your hair?

Orlando, do you like it?
Its autumn sunrise.

Get out of me, you son of a bitch.

- Don't ever do that to me again.
- Orlando...?

I can barely move.

You should know better.
Jumping into bodies wipes you out.

- Everybody out.
- What happened to Orlando?

Are you deaf? I said everybody out.

Everybody out. Get out, get out.
Everybody get out.

Get out.
- Are you the fortune-teller?

- Who are you?
- That's an interesting question.

- Why don't you tell me?
- Willie.

Willie?

- Prospect Place Willie?
- Get out of here fast.

I'm all right.

- We're in trouble. You have to help.
- Who's we? You're already dead.

- They're trying to kill me.
- And they'll be back.

Why don't you find a house to haunt?

Get some chains and rattle them.

I have a plan.
You've got to get some fake IDs.

- Forget it.
- If you do this, they'll leave you alone.

Scout's honour.

All right.

What exactly do I have to do?

Have you got a nice dress?

- What's wrong with my clothes?
- I made a joke. I love your shoes.

I'm going home. I don't know anything
about banking. I don't know if it'll work.

- Just relax.
- I'm nervous.

I know you're nervous,
but I'll get you through it.

I don't think I should do this.

- We're going to New Accounts.
- I'm giving them no money.

Do what I say, and don't talk.

You're here to fill out a signature card
for a new account.

- Can I help you?
- Yes.

I'm here to fill out
a card for a new account.

Do you know your account number?
- 926-31043.

926-31043.

- Rita Miller.
- What?

Tell her Rita Miller.

Didn't you sign when you
opened the account?

Tell her Carl Bruner did it by phone.

Carl Bruner opened that account
for me by phone,

and he's asked me to come in today.

- Is that right?
- Yeah.

Just sign this card
on the bottom line, please.

May I use your pen?

No. Rita Miller.

I'm so sorry.

I need another one.
I signed the wrong name.

Tell her to send it up to the third floor
file, you have a transaction to make.

Make sure this goes to the third floor,
I have a transfusion to make.

Let's go.

You know what I mean....
Can I keep this pen?

- Yes, sure.
- Thank you so much.

Bye-bye. I love these pens.

What do you want to keep the pen for?

Carl Bruner speaking. Mr. Balistrari?

Balistrari? It's me, John.

John... Sorry.

What's up?

I've got the info
on the Bradley portfolio.

- I'll pick it up later, all right?
- I'll be here till six.

I couldn't talk you into losing the hat?

Keep messing with me,
you'll be here by yourself.

You're here to see Lyle Ferguson.

- I'm here to see Lyle Ferguson.
- Do you have an appointment?

- No, I'm here for my health.
- Tell him Rita Miller's here.

- Tell him Rita Miller's here.
- Just one moment, please.

- Don't embellish.
- Jawohl.

Excuse me?

This guy Ferguson is a real jerk.

I've known him five years.

- Why are you whispering?
- Just listen.

He's a social moron,
you've got nothing to worry about.

Tell the guard Ferguson knows you,
from the Brewster's Christmas party.

What is this in regards to?

He doesn't remember me? We spent
time at the Brewster's, last Christmas.

He and his lovely wife, Shirley. It was
beautiful. A big old tree and presents...

Gas.

I get a little gas from time to time.

- Quit poking me.
- Well, don't overdo it.

Ferguson was so drunk, he could've
met Tina Turner and not remember.

Here we go.

Hello.

Of course.
Well, it's been a long time.

- A long time.
- Ask about Bobby and Snooky.

- How are Bobby and Snooky?
- Fine... fine.

Thank you for asking.

And how is your...

...family?
Couldn't be better.

Well, wonderful.

Ask how they did
on the Gibraltar Securities.

I was wondering, how did you do
on the Gibraltar Securities?

Gibraltar Securities? Well, it looks like
we topped out on that one.

- We sure did.
- That was a very useful tip.

Good old Randy.

Got a good head on his
shoulders... her shoulders.

- Her shoulders.
- Randy.

So, what brings you here today?

I'm closing an account.

Do you have your account number?

Yes? Yes.
- 926-31043.

926...

..31043. Is that right?

Well, Rita, it looks like you'll be
withdrawing four million dollars.

- Four million dollars.
- Say yes.

- Is that correct?
- Yes.

Yes. That's correct.

- How would you like that?
- Tens and twenties.

- Pardon?
- Tell him a cashier's cheque.

- A cashier's cheque.
- Cashier's cheque. Fine.

Of course, you know
we require identification.

It's a procedural thing.

Thank you. I'll be right back.

Four million dollars.

Get me the First Island Bank
of Nassau. It's on the Rolodex.

Now, we have some things
for you to sign here.

This officially closes the account.

Sign "Rita Miller.'

Miller - that's my name.

My name - Rita Miller.

My name.

I'll be right back.

- Just anywhere?
- Right here.

Fine.

The cheque...

...here you are.

Mama took the money
from the oil wells,

and she sunk it into gas pumps.

And those gas stations have five
or six of those things, so it's lucrative.

- Oda Mae, we've got to go.
- Got to go now.

It's been a pleasure doing business.
May I keep the pen?

Say goodnight to Bobby
and Snooky for me.

Bye-bye.

What is wrong?

Excuse me - Lyle?

Molly Jensen.

The woman you were doing business
with. What did she want?

Did it have anything to do
with me or Sam?

- Sam? No.
- That was Oda Mae Brown, right?

Her name was Rita Miller.
She was closing an account.

Is there a problem?

No. I guess not.

Carl? Is something wrong?

Did somebody play with the computers?

- One of my accounts is closed.
- What's wrong?

- Do you want me to call someone?
- It's OK.

Four million dollars. What am I
going to do with this money?

I'm going to buy the building.
No, I'll buy the block.

I'm going to make
my sister go to a fat farm.

Wait, Oda Mae.
Take the cheque out of your purse.

You're right, I'll put it
where nobody can get it.

No. Endorse it.

No, if I drop it,
then somebody will get it.

It's not yours.
I never said you would get the money.

This is blood money. I was killed
for this money. Endorse the cheque.

- What are you going to do with it?
- Look over there.

To your left.

You don't think I'm giving this
to a bunch of nuns?

Otherwise they will track you down.
Your only protection is to get rid of it.

You're kidding me.

You'll go to heaven.

I want to go to a bank
and cash this cheque.

- Hello.
- You'll thank me later.

- Endorse it "Rita Miller.'
- I know.

Make it out to St Joseph's Shelter.

I don't believe
you're making me do this.

- Give it to her.
- I just want to feel it in my fingers.

- Just give her the cheque.
- I will.

- Give her the cheque.
- I will.

Bless you, child. Bless you.

Give it to her.

Let go. Let go.

- I'm proud of you.
- I don't care. Stay away from me.

What'll that nun do with it?
She can't go buy underwear.

Leave me alone.
Never talk to me again.

You're wonderful, Oda Mae.

Go ahead, search. You'll never find it.

They're going to kill you and Willie.
You're going to be fertilizer.

They're going to bury
you next to Jimmy Hoffa.

Who's doing that?

Who's doing that?

Hi. Where were you?
I thought we were having dinner.

- Things got a little crazy, I forgot.
- A little trouble at the bank.

I wish you'd have called.
I've been worried.

- I've got to ask you about something.
- He needs to borrow $4,000,000.

When you said you thought
Sam was talking to you,

what did he say to you?
Why?

Listen, I want to know exactly what
this psychic lady told you.

Carl, let me go. Stop this.

It doesn't matter. It wasn't real.

What the hell's happened to you?

Does this have anything to do
with her being at the bank today?

At the bank?

Ferguson said she closed an account.

Her name isn't even Oda Mae Brown.
It's Rita Miller.

Carl. Are you all right?

It's just my stomach.

Do you have some Pepto-Bismol?

- Cyanide.
- It's upstairs. Sit down, I'll get it.

What's wrong?
Does little Carl have a tummy ache?

Now do you believe in ghosts?

I'll set the place on fire.

- I'll cut her throat.
- Carl.

I swear to God. I'll cut her throat.

I need that money.
I want it tonight, at 11 o'clock.

If that psychic lady does not
bring it here, Molly is dead, OK?

Carl, who are you talking to?

Nothing. Molly, I have to go.

I can't explain it now,
but there's a problem at the bank.

- You're scaring me.
- I can't talk now, I'll be back.

- Why not now?
- I can't talk now.

I'll come back at 11 o'clock, OK?
I'm sorry, but it's really important.

- Eleven.
- Oda Mae.

I'm Arsenio Hall. Don't try
to adjust your television. I'm black.

- I want to watch "Love Connection".
- I love "Love Connection".

Leave that. That's Arsenio.

You love "Love Connection",
send your picture in.

- She did.
- They just haven't answered yet.

- Oda Mae.
- Sam?

We're in trouble.
They want the cheque.

The cheque you said
they would never know about?

- What's happening?
- They're here.

Get out of here, now. Go, go.

Knock on the doors.

Help.

- Let us in.
- Who are you kidding?

What are you doing?
The cat don't like visitors.

They're going to get us. Where's Sam?

- It looks like the bitch just left.
- I'll check downstairs.

Carl?

Willie.

You've got a serious problem, man.

Help me. Help.

That dude is dead.

You're dead, Willie.

Help me.

Tell the driver to hurry.

- Can you step on it, please.
- I'm driving as fast as I can.

Problems?

- Carl, is that you?
- It's me, Oda Mae.

I know what you think of me, but we've
got to talk. You are in serious danger.

- I've got Sam here with me.
- Get the hell out of here.

- I'm calling the police.
- Good. Tell her to do it.

Fine. We want you to call the police.
But you've got to let us in.

Don't you get it? Sam wasn't
accidentally killed, he was murdered.

He found out
that Carl was laundering money.

Carl is dangerous. He tried to kill me.

He's going to try to kill you, too.
You are in deep, deep trouble.

Why are you doing this to me?
Do you hear me?

Why are you doing this to me?

Oda Mae. Tell her she's wearing
the shirt that I spilt the margarita on,

and the earrings
I gave her for Christmas.

Sam says you're wearing the shirt
he spilt the margarita on,

and the earrings
he gave you for Christmas.

Don't you see?
I'm not a fake. Not about this.

- Give me a penny.
- What?

- Push a penny under the door, now.
- What are you talking about?

- Tell her it's for luck.
- Sam says it's for luck.

Between Green and Mercer on Prince.

It's the grey building
across from the post office.

Thanks, Sergeant. Please hurry.
We'll be waiting.

- They're on their way.
- Good.

- What do we do now?
- Just wait.

Is Sam here?

Sam?

I'm sitting beside her.

He's sitting right beside you.

Sam, can you feel me?

With all my heart.

He says with all his heart.

I'd give anything
if I could just touch you once more.

He says he wishes he was alive again,
so he could touch you.

Me, too.

OK. Look - you can use me.

- Use you?
- Use my body.

- Use your body?
- Quick, before I change my mind.

- Molly, are you home?
- Carl.

- Molly.
- Fire escape.

What's happening to me?

Molly?

Molly.

Come on.

Look.

Let's go.

- Molly.
- Get away from us, Carl.

- Molly.
- You're just a liar.

This woman's a thief.
She's a con artist.

Why are you doing this?

Stop.

Get away from us.
I've called the police.

Shit.

- Carl, why are you doing this?
- She's a thief.

Just give me the cheque.

Stay out of this, Molly.

Get off me.

Where is it?

- Where is it, goddammit?
- I gave it away.

You're lying to me.
Don't lie to me, goddammit.

The cheque.

I'll kill her, Sam.
I swear to God, I'll kill her.

Just give me the cheque, Sam.

I promise you I'll let her go
if you just give it to me.

Sam?

Carl...

What?

Are you two all right?

Sam?

Molly?

I can hear you.

Oh, God.

Sam?

They're waiting for you.

I'll miss you.

Your mother'd be proud.

I'm going to miss you too, Sam.
You're all right.

Bye, Oda Mae.

Bye, Sam.

I love you, Molly.

I've always loved you.

Ditto.

It's amazing, Molly.

The love inside - you take it with you.

See you.

See you.

Bye.