All language subtitles for Waris Hussein - (1972) The Possession of Joel Delaney

(dramatic instrumental music)

(instrumental music intensifies)

- [Joel] Thank you.

(elevator door closing)
(elevator whirring)

- I nearly gave up on you.

- I had to buy a tie.

- That's a tie?
(Joel laughs)

(elevator clinging)

(party guests chattering)
- Oh Mrs. Benson.

Good evening. How lovely to see you.

Let me take your coat.
(acoustic guitar playing)

- Norah, how are you? Good to see you.

Joel.
- Hi.

- A nice surprise. I
didn't expect to see you.

Wait just a minute.
Hans, Carol...

(party guests chattering continuing)

- [Woman In White Dress]
Noel, how are you?

Make yourself at home.
Get a drink.

- [Party Guest] Hi!

- Norah. (laughs)

- [Joel] I'm gonna get a drink.

- [Woman In White Dress]
How are you, Joel? - I'm fine.

- Of course, it depends on
the position of one's moon.

But as a generality,

Leo's are far more aggressive
and unpredictable, really.

But I would say the
same for a Sagittarius.

(party guests chattering)

- [Party Guest 2] ...Mahler were the only
composer of any consequence,

but actually, you know, I
think he's quite shallow

and image conscious.

Really doesn't know much about music.

His ideas of relevance ended around 1910.

- I told my butler that I took a bus,

he was simply appalled.
(man laughing)

(party guests chattering continues)

(acoustic guitar playing in background)

- You've got something to drink, have you?
- I don't like your place here and I don't like--

(man laughing)
- Oh, well,

it's all a question of taste.

- [Norah] But the Black Panthers
aren't natives of this country,

but the Young Lord...

(acoustic guitar playing)
(party guests chattering)

- [Amos] She looks terrific.

- [Woman in Purple Sweater] Some women bloom
after a divorce.

- I must say, I never thought
she'd go that route though.

- What route's that, Amos?
- Young lovers.

I hate to see an attractive
woman go that way.

(party guests chattering loudly)

(acoustic guitar playing)

(men laughing)

(Erica laughing)

- Erica, what a fabulous party.

- Thanks darling.
- And I love your gown, isn't that gorgeous?

- I thought you weren't coming.

- Oh, I changed my mind.

- You've been doing a lot of that lately.

- I may do some more.

(guests laugh loudly)

- Woo hoo, well, let's
help yourself, darling.

- [Party Guest 2] Beautiful.

- [Party Guest 3] Oh, you
brought us 10,000 miles for this.

- [Sherry] I'm so...
- Well, hello, hello, hello.

- Sherry?

- How've you been?

- Fine, thanks.

How was Europe?

- It was wild.

But I'm glad to be back.

(acoustic guitar playing)
(party guests chattering)

(bus motor rumbling)
(bus braking)

(bus brakes screeching)

(cars honking)

(vehicle engines sputtering)

(Norah laughing)

- I know. (laughs)

No, to host a splendid party like that

and be up early with patients even

before I've had my breakfast.

I don't know where she gets the energy.

And I always did admire that
about Erica, even in college.

(laughs)
Ancl particularly,

because she doesn't have to work.

(laughs)

Just a moment, Veronica's here.

Just a moment.
(phone buzzes)

- I'm sorry to be late, Mrs. Benson.

I went to a party last night also.

- Please, just bring the coffee, Veronica.

Hurry, get the children's
breakfast ready first

or they'll be late. Would
you please hurry? Thank you.

Yes, Justin.

Well, tell Erica I'll call her later,

and thank her again for the
lovely party, would you?

Thank you, goodbye.

Carrie, Peter, time to
get up or you'll be late!

- [Carrie] I'm asleep!
- [Peter] Me too!

- Come on, cut the comedy.

Up you go now and get dressed.

- [Carrie] Okay.
- [Peter] All right.

- Can I make it from
Riverdale to Midtown Manhattan

in 20 minutes?

- Here's your coffee, Mrs Benson.

- Oh, don't put it down there, Veronica.

Bring it over here.

You know, I can't function in
the morning without my coffee.

And will you see to it that the children

are dressed and ready in 15 minutes?

They'll be late for school.

- Breakfast will be ready shortly.

- Thank you.

- I'll fix some eggs

for the children.
(curtains opening)

And, uh... I'll have

wheat germ for you.
(curtain opening)

- Good.
(grunting)

- (sighing) D0 you want
anything special for dinner?

- Yes, Mr. Delaney will be here.

Let's have, umm, let's have veal

and white wine sauce with
mushrooms. He'd like that.

(woman laughing)

(upbeat carnival music playing)

- Wait for me!

What's the matter, don't you like me?

- Of course I like you.

Come on, let's dance.

- Hey, what are you doing? (laughing)

(Joel laughing)

- Oh, not so fast!

Oh, slow down!

- Joel, be careful!

(bodies thudding)
- [Joel] Ow!

You Okay?

Hey, how about going out
for a drink or something?

- That's not fair, we came to skate!

- Are you all right?

All right, I'll tell
you what we'll arrange.

Skate here a little while longer,

and then we'll go home
and have a very special dinner, all right?

- I can't tonight, no, I'm sorry.

- Why not?

- Well, I got a meeting, that's all.

- What kind of a meeting?

- Just business.

- [Norah] A business meeting, with whom?

- How about tomorrow night?

- Well, I hadn't planned
on tomorrow night.

I'd planned on tonight.

- Well, you didn't ask me.
Just went ahead and planned.

You can't always go ahead
and plan like that, y'know.

- Is he coming for dinner tonight?

- Tomorrow night.

- He doesn't skate as good as Dad.

(upbeat carnival music continues)

(footsteps pattering)

- [Carrie] Mom, I'm hungry.

We still waiting for Joel?

- [Norah] Yes, it won't be long.

Did you finish your homework?

This will tide you over.
- Not yet.

Veronica, would you mind staying

a little later tonight?
(alcohol pouring)

I'd appreciate it.

And let's not use those glasses.

Let's use the crystal, they're much nicer.

(phone ringing)
Oh, that must be Joel.

Stop fooling with your
hair like that, Carrie.

(phone ringing)

Hello? Oh, it's you James.

No, I was just expecting someone else.

No, I can't do it Friday night.

I'm going to a meeting
of the Legal Defence Fund

and Saturday night to a benefit.

Why don't you call me later in the week?

Perhaps I could hold Sunday open for you.

Yes, thank you very much.

Goodbye.
(phone receiver clicking)

- I'm starving, do we
have to wait for Joel?

- All right, I'll call him.

(rotary phone dialling)

Stop doing that to your hair, Carrie.

Carrie sighing)
(phone ringing)

Joel?
(upbeat jazz playing)

Joel? (laughs)

Joel.

(phone receiver clicking)

I think I had the wrong number.

(rotary phone dialling)

(chuckling) It's all right.

(upbeat jazz playing)

Joel?

Joel answer me, are you there?

(jazz music intensifies)
(Joel gasping)

(phone receiver clicking)

I'm going down there.

- [Peter] I'll come with you.

- No, Peter, I'll be fine.

- Well, he can get here
by himself if he has to.

- Why don't you call daddy?

- I don't need your father, Carrie.

Now you to begin dinner, huh?

And I'll bring Joel back
in time for dessert.

Go ahead, I won't be long, Veronica.

Go ahead.

(boots walking)

- Come on, Peter, let's eat.
- All right.

(door closing)

(suspenseful instrumental music)

(suspenseful music intensifying)

(people chattering)

- [Norah] What's happened?

- [Officer] Ma'am, Ma'am, Ma'am.

- No, what's happened?

- It's okay, okay, nothing happened.

- [Norah] What is it?

(Joel yelling in agony)
- Nothing happen, it's okay.

(Joel gasping)
- Joel!

(men shouting)

- He tried to kill me!

I'll kill this son of a bitch!
(Joel gasping)

- [Norah] N0, officer!
(men screaming)

Officer, that man is my brother!

- [Person In Crowd] That's her brother.
(people chattering)

- I'm Mrs. Norah Vincent.

My husband is Mr. Vincent.

Don't treat him like a common criminal.

He hasn't done anything!
(Joel struggling)

He's Joel Delaney, I've
got cards here to prove--

- Lady, clear the way!

- Where are you taking him?
- [Officer] Bellevue, where do you think?

- Joel!
(doors thudding)

Joel!
(siren wailing)

Joel!
(engine revving)

(phone ringing)
- I'm Mrs. Norah Benson,

I'd like some information.

- Excuse me, Miss.

- I'm anxious about--
- Admissions.

No, we don't have that information.

We don't have that information, I'm sorry.

- I'm anxious about the condition of my brother.

- Everybody's anxious, lady.

Just have a seat over
there like everybody else.

- Look, I'm Mrs. Norah Benson.

My former husband, Ted
Benson, is the surgeon here.

- No, you're kidding?

My former husband is Joel
Crenshaw, the plumber.

Maybe they know each other.

- See here, I want information

about my brother, Joel Delaney.

Now, if I don't get it from you,

I shall have to report
you. Do you understand?

- You want to report me? Use the payphone.

(waiting room people chattering)

(phone clicking)

(rotary phone dialling)

(phone ringing)

(mellow flute music playing)
- Hello?

- Hello, Marta.

This is Norah, I'm terribly
sorry to disturb you.

Is Ted there, it's an emergency.

- Oh, Norah, just a minute.

Ted.

- WhO iS it?

- It's Norah, another emergency.

(glass clinking)
- (sighs) Thank you.

Yes, Norah, what is it this time?

- [Norah] Ted, I'm sorry
to disturb you but Joel--

- Joel?
- [Norah] ...is in trouble.

He tried to attack a man--

- He tried to attack whom?

And where did they take him?

Bellevue?

All right, but only for a minute,

we're going out.
(phone clicking)

(woman whimpering and shouting)

(door clanging)

(woman shouting and crying in Spanish)

Norah, are you sure this is an emergency?

We have tickets to the theatre.

Now look, with Peter it's an emergency.

With Carrie, it's an emergency.

With Joel, it is no urgency.

- I wouldn't have called you--
- I'll see what I can do.

- I wouldn't call you if
it weren't an emergency.

(door squeaking)

Ted.
- Wait here for me.

- I do apologise, Marta, but
after all, Joel is my brother.

- Yes, I hope my husband can help him.

(waiting room people chattering)

- Yeah.

Right.

All right, thank you.
(phone receiver clattering)

- Oh, I think he means me.
(boots clacking)

- He's under sedation,
apparently there's no danger.

They don't know what it
is, and they won't know

until they get a chance to run some tests.

He's on his way to the psychiatric ward?

- What could have happened to him, Ted?

- Drugs possibly, bad trip?
- No, no, not Joel, impossible.

- Look, Marta and I are late.

You and I have talked about Joel before.
Enough is enough.

- Don't you have some opinion?

- I really don't know at all.

- Did he say anything about anything?

(phone ringing)
- They'll find out, just let them handle it.

- His keys, did they take his keys?

- They take all his personal effects

and they return them when he's released.

We've got to go.

- But you see, he has a cat.

A stray cat he found in the rain!

- That's wonderful, I'll call you.

(door clicking)

(upbeat music playing)

(woman shouting in Spanish)

- [Woman] Maria!

(door squeaking)

- I'm Mrs. Norah Benson.
- What you want?

- My brother Joel Delaney
lives in Apartment 5A.

Could I have the key to
that apartment please?

(door squeaking)

- You stay here.

- You're the man who said my
brother tried to attack you.

Why did you say that?

He never would've done such a
thing unless he was provoked.

(eerie dramatic music playing)

- Here, take it.

(door slamming)
(woman shouting in Spanish)

(man laughing)

(footsteps thumping)
(men speaking in Spanish)

(woman shouting in Spanish)

(door clicking)
(cat meowing)

(fridge clanking)

(objects crashing)
(sirens wailing)

(knife clicking)

(eerie instrumental music)

- Hello, Norah, what are you doing here?

What's happened to your finger?
- Oh, nothing. It's just an accident.

- Where's Joel?
(objects clanking)

- [Norah] He's had some trouble.

- What happened?

- Police say he tried to attack a man.

- [Sherry] The police? Is he in jail?

- No, he's in Bellevue.

- Really?

I doubt if Joel would try to attack anyone.

He probably tried to kill himself.

That's much more like Joel.

- [Norah] What do you mean?

- Oh, Norah,
(cat meowing)

you know how Joel is.

- No I don't know how Joel is,

but apparently you do,
so would you please tell me?

- Sometimes he threatened, that's all.

When his dark side showed.

He used to call me up and I'd come over.

(engines rumbling and horns
honking in background)

Why don't you pull up a chair, Norah,

and I'll tell you a little
bit more about Joel.

- Thank you, I'm late for lunch now.
Just give me the cat please.

(cat meowing)
- My car is in the street.

I'll give you a lift, if you like?

- Thank you. What is that?

- That was done by the kid

who used to hang around with Joel.

He left all this stuff here.

Jesus, he was weird.

- What does it mean?

- Joel told me once, but I've forgotten.

It's Puerto Rican, I know that.

- [Patient 1] Stop it,
no, no, don't touch, no!

(patient shouting incoherently)

Stop it, no, no, don't do that, no!

I want to go!

I want to go!

- Hi, Norah.

(patient crying)

Let's go over there.

- I went down and got
your cat and took it home.

- You went all that way?
(Norah snickering)

Tell me what happened?

- You tried to attack a man, Joel.

- What?
- Mr. Perez.

- Who?
- The super.

- The super?
- Mm-hmm.

- Why would I want to even hurt him?

- I don't know.
- Norah, that's ridiculous.

You know me, I wouldn't hurt anyone.

- Have you been taking drugs?

- Norah, I'm so square I
don't even smoke grass.

The only drugs I've taken are the stuff

they pumped into me when I got here.

- Well, then what's wrong with you?

- I don't know.

- [Norah] Why did you attack the man?

- I didn't do it.

- Joel.

Don't lie to me.

I know I didn't arrive
in time to help you,

but I saw it with my own eyes.

- Norah, believe me.

I don't remember any of that.

- I don't think you should.

(chair shuffling)

(sirens blaring)

- [Norah] Joel, why do you live down there
with those people?

- Oh Norah, that's another
life. You wouldn't know that.

- (laughs) Look, I'm not naive.

I know there's poverty around,

but one doesn't have to seek it out.

I don't have to.
And you don't have to either.

And you know it.
- You only see what you want to.

- Who else was with you the other night?

- Nobody.

Nobody, I was, I was getting dressed

to go to your house for dinner.

And then I was here in bed.

In this ward with all these people around.

- You know you must've taken something.

- No, I didn't.

- The doctors think you took LSD.

Now, all you have to do is admit it

and you could walk right out of here.

- They'll let me go?

- In the care of a private
psychiatrist, Erika Lorenz.

You've known her since
you were a little boy.

All I have to do is call her,

and tell her that you've
admitted to taking drugs,

and that's the end of it.
(sniffling)

(Joel sighing)

- Okay. I took some acid, call her.

- And you'll stay with me.

Oh, it'll be like old times, Joel.

We'll have such fun together.

(classic piano music)

- Oh Mr. Delaney.

Do come in now, so glad to see you.
- Oh hello, Charles.

How are you, let me help you.
- Oh, that's all right. I can do it.

- Oh, it's a pleasure Mr. Delaney.

It's a pleasure.
- Well, thank you.

Just go on into the living room

and make yourself at home.

I'm sure Dr. Lorenz will be
with you in just a minute.

- Thank you, Charles.
(gentle classical flute music)

(tense ominous music)

- You know, I'm only here because

they said they'd keep me in Bellevue
unless I agreed to see you.

- Well, 1 know how you feel Joel,

but you see, we do have to spend an hour
a day together for a while.

- Oh, come on now, you know,
there's nothing wrong with me.

(jacket bristling)

- Look, Joel, Justin
still sees a few patients.

Would you feel more comfortable with him?

- As long as I've got to do it,
it doesn't matter to me.

I still don't see why we have to go through
with this whole thing.

- Joel, you were committed
because you tried to kill a man.

Now I know that you have
no recall of this episode,

but we're here to try and find out why.

(laughing)

- Well, what am I supposed to tell you,
if I can't remember anything?

- Why don't you bring me up to date?

Now, I was always
intrigued why you went back

to live in the East Village
when you came back from Tangiers.

- Oh, for Christ's sake, Erica.

You and Norah are really
two of a kind. You know it?

- No, seriously.

I'd like to know why.

- It's very simple.

I feel at home down there.

- [Erica] Why?

- I don't know.

I never feel alone.

There's always somebody to talk to.

Some people down there
are really fantastic.

Like this friend of mine,

Tonio Perez,
the guy that gave me his apartment.

We used to spend hours just
sitting around and talking

and listening to music, you know?

- Puerto Rican?

- Yeah.

- [Erica] What did you talk about?

- Everything.

Life.

That's about the only really
close friend I've ever had.

He stands for everything Norah hates.

(Joel humming in shower)

- [Norah] Joel? I have a robe here.

' [Joel] Huh?

(Joel laughing)
- [Norah] What're you doing?

- Joel, stop!
(Joel and Norah laughing)

Don't! You're getting
me absolutely soaked!

Stop it!
(Norah laughing in slow motion)

- [Carrie] Cut it out!
- [Peter] --strikes again!

- [Carrie] Oh, stop it.
(Norah laughing)

- [Carrie] Cut it out!

When is (indistinct) gonna
take us to the movies anyway.

- [Veronica] Right after“ Mrs Benson?
Yes?

[Veronica] Dinner will be ready in about
1O minutes. It will be on time.

(children complaining in background)

- (laughs) Thank you.

(chattering in background)
(towel rustling)

- Does she have any boyfriends?

" Who?

- Veronica.

- (scoffs) I wouldn't
have the vaguest idea.

- Why not?

- Well, she's very secretive
about her private life.

Anyway, she's taking a typing course,

so I'll very likely lose
her to some company,

where she'll meet a nice
young Puerto Rican man

who will make her quite happy.

- I think there's something
sexy about her.

- (laughs) Joel.

- Ah, Norah, don't be so serious.

I didn't know you kept this.

- Oh, I've kept lots of mother's things.

- Well, I didn't.
(hair brush rasping)

(objects clanging)

Do you have many lovers?

- Who? Me?
(laughs)

I have suitors.

Not the best of everyone.

(objects clanging)

(mattress squeaking)

- Do you go to bed with them all?

(laughing)

- Sometimes.

Anyway, that's my business.

(footsteps clattering)
(mattress squeaking)

How about you?

How's it been for you? How was Tangiers?

- I met a lot of women
like you in Tangiers.

- What do you mean?

- Women like you, who go all the way

to Tangiers to get laid.

And then when they come back,
they haven't changed at all.

(Norah scoffing)
(objects clanging)

Do you sleep with lots of people?

- Oh, Joel. Quit it.

- How many, how many a night?

- Joel stop.

- Two at a time?
You ever have two at a time?

- Will you stop. Get up and get dressed.

Dinner's almost ready.

(slow ominous music)
(alarms blaring)

(trumpet salsa music)

(trumpet salsa music intensifies)

(radio clicking)

(mattress squeaking)

(car engines rumbling)
(sirens wailing)

(window sliding and thudding)

(footsteps plodding)

Joel?

Joel?

(curtains clacking)

Joel, where are you? I know you're there.

(heavy funk music playing)

(loud party chattering)

♪ Yeah, a brand new day ♪

I May be the end of me ♪

(heavy funk music continues)

- [Sherry] Joel, you're hurting me!

(Joel panting heavily)

You're hurting...

You hurt me.

(Joel panting)
(cigarette lighter flicking)

(Joel laughing)
(cars honking)

What have I ever done to you?

(Joel laughing)

- Tomorrow's my birthday.
(both laughing)

Norah's having a party for me.
(Joel chuckling)

You're invited.

- I can't wait.
(both laughing)

(people clapping and cheering)

- [Carrie] Yay, Uncle Joel!

- [Peter] Yay, Uncle Joel!

(people clapping and cheering)

- Okay, get his presents now.

- You like it?
- Yeah, that's really swell.

- I like it
- This one's from Peter.

- Mom really bought it.
(Norah laughing)

- You didn't buy this for me?
- No, mom did.

- You let your mother buy it?

(Carrie laughing)
What the hell?

- Oh, Jeez...
(all laughing and clapping)

- Yay!
- Yay, Uncle Joel!

(all laughing)

- This is from Clancy.
- A present from a dog?

- You didn't tell me you got him that.

- What the hell, no I'm not gonna do it.

This is from you?
(laughing continues)

Okay.

[Peter] (indistinct) ...it blows up in your...

- It looks like a skinny candy bar.

(Norah laughing)
- What is it?

Oh, I see!
- It's a pen!

- Yay!
(Peter clapping and cheering)

- Happy Birthday, kid.
(kids clapping and cheering)

- Thank you.

- Oh, Happy Birthday, Joel!

Come on Carrie,
give your Uncle Joel a kiss.

- Thanks, kid. Thank you, thank you.

- Come on Peter, you too. Give Uncle Joel a kiss.
- Do I have to?

Come on, you too.
- No, he doesn't need one from me.

- Come on, Norah.
- Give him a birthday kiss, come on.

- Come on, we'll just shake on it.

- No, no, not a shake hands.

Give him a real kiss, go on.

That's a boy.
Veronica, let's have some more champagne.

- Peter, look at this.
- [Norah] It's so bad.

(laughing)
(cork popping)

- Yes, that's what I'd
like, some champagne.

Let me have a large,
fill 'er right up to the top.

(champagne pouring)
- Come on!

- I gotta have more--
- All right, that's enough.

- Oh, can't I have one more?
- No, no, no, no. Now a toast.

- Yeah, let's have a toast.

- To me?

To Joel Delaney,

the world's greatest freelance writer.

(children cheering)
- All right, cheers!

- To the world's greatest brother.
To the world's--

- To the world's greatest Uncle Joel! Yay!

(family laughing)
- Thank you.

- To the worlds--

- To the world's greatest lover.

- To the world's greatest Joel Delaney.

- Yes.
(glasses clinking)

[Norah] Speech, we want a speech.

- Aw, come on--
- Yeah!

- Come on, Norah!

- [Carrie] Who has a
birthday without a speech?

- All right. How about a poem?

' Yes!

- To the world's greatest poet.
- Yes!

- All right, a poem.

I know just the poem for ya, too.
- All right.

- A poem.
(Norah laughing)

- A socialite out of Nantucket.

- Joel, not that one.
(Joel and Carrie laughing)

Veronica, bring the cake, please.

- Yeah, hey, Veronica.
Don't burn the cake.

They'll say you're inefficient.

And Mrs. Benson would never
forgive with the (indistinct).

- You're just being silly.

(Norah laughing)

Sherry?
_

- Your earring is missing.

Did you know that?

Your earring is gone.

- I must've lost it, Norah.

- Wait a minute, Norah.

I, Joel Delaney

will conjure up your earring.

Earring, earring,

show thyself

to me.

(wind whooshing)
(xylophone playing glissandos)

Earring,

your light...

your light...

comes...

to me.

(eerie xylophone music)

(gong chimes)

Come on balloon, come with me.

(door squeaking)
(wind whooshing)

Come with me, we go to
search for the magic earring.

- Where are we going?
- (Joel singing da, da, da, da...)

- Joel, if you keep
those children out there

longer than two minutes...

- Da, da, da, da,

da, da, da, da...

- Joel, come back.

What are you doing?

- Earring,

I see your presence.

(eerie music and gong chimes)

- I wonder what he's doing?

- He got it.

- The magic earring!

- Give it to me.
(people chattering)

Give it to me!
Give it to me, come on!

(Xylophone music continues)
(people chattering)

- Wait, I'll attach it to the cord.
- Oh

And away!

[Sherry] Joel!
(Joel laughing)

- [Carrie] Flies into the sky.

- [Joel] Yes, yes, where does it go?

[Peter] To the moon!

[Joel] To the moon, yes!

- You bastard, how can I
tell the insurance company

that a balloon carried my earring away?

- Back to the house, come on!

Get the magic crystal!

- Come on, Uncle Joel, give it to us!
- Yeah!

(Joel dancing and singing)

-You're crazy!

(children chattering)

- Here, I could do a trick!

- Uncle Joel, come on!

- Come on, get it!
Get it from me.

Hey, give me some more
wine, will you, Veronica?

- Bring the birthday cake,
I think it's time now.

- All right, children, that's enough,
come on, take your places.

Sit. Time for the cake.
(Carrie laughing)

Take your places.

- I almost got it there, Peter.

(chairs thudding)

- All right, Veronica.

I Happy Birthday, to you ♪

I Happy Birthday, to you ♪

I Happy Birthday, Dear Joel ♪

I Happy Birthday, to me ♪

♪ (Joel singing) Happy Birthday to you ♪

I Happy Birthday, to you ♪

♪ Happy Birthday, Dear Sherry ♪
(suspenseful music)

♪ Happy Birthday, to... ♪
(suspenseful music crescendos)

- Joel, stop that! What are you doing?

- More wine, please.

- No, Veronica. He's had enough wine.

- Wine, dammit!

(Joel speaking in Spanish)

- I have a terrible headache.

Sorry, I'm going home.

(Joel speaking Spanish)

(dramatic music)

DOE“ Sherry!

(tyres screeching)
(car engine revving)

(dramatic music intensifies)

- Joel, what was that all about?

(car horns honking)

I didn't know you spoke Spanish.

- I don't speak Spanish.

- There's no need to lie to me, Joel.
- Just a few words.

- There's no need to lie.

- Why should I lie, for Christ's sake?

- Come on,
- I'm not lying

- Come in and go to bed.

(footsteps plodding)
(door slamming)

Veronica, forgive him,
he just can't take drink.

What did he say to you?
I didn't even realise he spoke Spanish.

- If you don't mind, I'd like to go home.

I'll clean up in the morning.

Here, she dropped that.
(footsteps exiting)

- I'll take it to her tomorrow.

(door shutting)

- I didn't even have
time to brush my teeth.

- Oh, I bet.
- You're the one that was in the bathroom

for an hour or so.
- Okay, the thing is

you have to get up earlier, that's all.

- But, you wake us up late--

- Well, you fool around in
the morning all the time.

Have a good lunch.
Maybe a movie tonight.

No peanut butter and jelly.
- Hey.

Okay, bye.
- Bye, mom.

- Hey, I'll race you to the bus.
- No... okay.

(footsteps running)
(children laughing)

(door creaking)

Sherry?

Sherry?

(chimes clinking)
(percussive beat tapping)

Sherry?

Sherry?

(Norah 98505)

(low pulsing music)

(dramatic music intensifies)
(sirens wailing)

[Veronica] Yes?

My name is Brady.

I'm with the police department.

I'd like to speak with Mrs. Norah Benson.

Are, uh... you Mrs. Benson.

- No, sir.

Please come in. She's very upset.

- Thank you.

Mrs. Benson?

I'm detective Brady.
- How do you do?

- This is my assistant.
- How do you do?

- I'm sure you're busy.
So we won't take up too much of your time.

Just a few questions about Sherry Talbot.

- Please sit down.
- Thank you.

- Well, don't get up, please.

Sit.

Now.

What can I do to help you?

- Well, Mrs. Benson, I'd
like to know what you know.

I understand that Ms.
Talbot was here last night.

- Yes, that's right.

- YES.

I understand you had a
little birthday party.

- Yes. You understand a great deal.

- I pick up a little here,
and a little there.

Where's Mr. Delaney?

- He's out at the moment.

- He's not back at Bellevue, is he?

- No.

- [Brady] All right. Sure like to see him.

Mrs. Benson, do you know if he has any

Puerto Rican friends?

- Possibly?

- Well, it's a funny thing

that all of a sudden here we have a case

just like three others we had last summer.

The same thing, you know,

head cut off, hair tied onto something.

Those girls were all Puerto Rican girls.

I suppose that's why they didn't get
much space in the newspaper.

We thought we hadn't
figured out at the time.

Some kid. Tonio, uh...

- Perez.

- Hmmm. Perez. But he disappeared.

And those people up in Spanish Harlem,

they just won't talk to us.

You ever been up there, Ms. Benson?

- I've driven through it.
(sirens wailing)

- You ought to go up
sometime to that big market

they have up there.

Took my wife up once,

she said she got some good bargains.

But she says you have
to be kind of careful

picking and choosing.

I suppose you women know
all about that, huh?

Where is he, Mrs. Benson?

Call him for me, will you please?

- Veronica, call Mr. Delaney.

- Do you have any children?

- (scoffs) Oh, detective Brady.
You even know their names.

- Joel Delaney?

My name's Brady.

This is my assistant.
We're detectives.

Why don't you come down
to the station with us,

where we can have a talk.

I don't want to bother
your sister here anymore.

I'm sure she has things to do.

Won't take long.

I'll have you back a couple hours.

That's a promise.

- Okay. If I can help.

I didn't want her to go last night.

(Joel sobbing)

- Joel.

- I'll be back in a little while.

- Thank you Mrs. Benson.

(low dramatic music)
(door shutting)

(low dramatic music continues)
(percussion rolls and riffs)

(dramatic piano and percussion music)

(rotary phone dialling)
(door squeaking)

- Hello?

- Carrie, is Uncle Joel home yet?

- No.

- Well let me speak to
Veronica, then, honey.

- She's gone.

- Gone, what do you mean
gone, gone shopping?

- No, she left a note
saying that she was gone

and she's not coming back.

Want me to read the note to ya?

' Yes!

- Dear Mrs. Benson. I'm very
sorry to have to write this,

but I can no longer work for you

and will not be coming back.

Please understand and give
my love to the children.

Yours truly, Veronica Savez.

Mom. Why would she go?

- (sighing) Oh, dear. I don't know.

Well, I'll find out.

I tell you what honey,

you and Peter stay there
and watch television

until I come back.

I won't be gone long.

Now don't worry, huh?

_ Okay.

(phone receiver clicks)

(door squeaks)

- [Radio Announcer] Today's air quality
is considered unhealthy.

Tomorrow's is expected to remain the same.

24 hour city-wide levels
(horn honking)

.095 parts per million sulphur dioxide.

(man speaking in Spanish)
(fire crackling)

(dog barking)
(car door slamming)

(engine revving)
(car radio playing)

(fire crackling)
(man continues speaking)

(footsteps clicking)

(couple speaking Spanish)
(salsa trumpet music playing)

(door knocking)

' Yes?

- Could I speak with Veronica please?

- Veronica? (speaking in Spanish)

- Mrs. Benson, what are you doing here?

- Why did you quit, Veronica?
Why did you leave?

- Well, I no longer work for you.

- I know that, but could we talk, please?

Please, won't you invite me in?

- No, wait here a moment.

(door shutting)

- Come with me please.
(door closing)

- Why couldn't I go in, Veronica?

- Mrs. Benson, there were some things

you kept me away from,

and there are some things
I keep you away from.

- What do you mean?
- It's quite simple.

You used to say,
“Veronica, leave this alone.

Veronica, leave that alone."

You know, you people are not the only ones

with things to keep to yourselves.

(children chattering)

- Veronica, I know I can't force
you to answer my questions,

and I know how you hate to see people beg,

but Veronica, you're human

and you must realise that I need help.

- Mrs. Benson. Do you have
your police, your hospitals,

your doctors?

Use them. You know them.

- Veronica, it's just
possible that the police

can't find out anything about this.

It's just possible that
the people in my world

can't get into your world,

that no one will talk to them, you know?

How will they find out about Tonio

and the Perez people and the killings.

But I have to find out

because I don't intend to lose my brother.

- And you want to find out through us?

(sirens wailing)
- Yes.

- But are you willing to accept
and believe what you're told?

Are you going to listen?

- I will do anything for
my brother. Anything.

_ Okay.

- There is a Botanica.
A man named Don Pedro will be there.

I'll write you the address.

- A botanica?

- If you can believe in Don Pedro,
he can help you.

If not, you're wasting your time.

- Will you come with me?

- No, I'm finished with all of this.

I've given you more than I should.

(car horn honking)
Now I've understood you.

You understand me.

- Thank you, Veronica.

(salsa trumpet music continues)

(children chattering)

(people speaking in Spanish)

I'm looking for Don Pedro.

(footsteps plodding)

Are you Don Pedro?

- Yes, I am Don Pedro.

- Veronica Savez told
me you would help me.

It's my brother.
He's in terrible trouble.

- Why don't you go to the police?

They will help you.

- No, Veronica said you would help me.

- Well, I don't know.

- I'll pay whatever you want.

I'm willing to pay.

- Our practises are not for sale.

You can't buy belief.

- I'm sorry, I didn't mean to offend you.

(paper clinking)

- People like yourself,

you try to buy God.

And your mind is closed.

(Speaking in Spanish)

All you have open is your eyes

and they're full of concern.

Your brother means much to you, huh?

- Everything.

- Can you bring him to me?

- No. No, I couldn't do that.

- Come to this address tomorrow morning

and bring something that belongs to him.

Mrs. Benson...

we know all about Joel
Delaney and Tonio Perez.

We will help.

We see you tomorrow.

- YES.

Thank you.

(car engines revving)

(women speaking in Spanish)
(clogs barking)

(dramatic percussive music)

(People speaking in Spanish)

(sirens wailing)

(children chattering)

(people speaking in Spanish)

Please, would you take
me to 74th and Park?

- I'm off duty, lady.

- Please? Please, 74th and Park?

(car door slamming)

(car engine running)

(door closes)

Carrie?

(footsteps walking)

Peter?

(man laughing)

(man speaking in Spanish)

(man laughing)
(footsteps plodding)

(door shuttering)

(hand knocking)
Joel?

- Norah? What is it?

- Joel, let me in.
Who's in there with you?

- Nobody.

What is it?
What's the matter with you?

- Joel
(hand knocking)

- What is it?

- Let me in Joel.
(door handle shuttering)

(door opening)

Who was in here?

- Nobody's in here.
- Who were you speaking to?

- NO one.

- Why is this window open?

Aren't you cold then?

- No.

- Where are the children?

Where are the children?
- I don't know, they went out,

took the dog
for a walk or something.

(cat meowing)

- Joel, what did the police say?

- They said they knew I was
in Tangiers last summer,

so they let me go.

- Listen to me.

Do you still see that Tonio Perez?

- I got a headache, Norah.
Leave me alone, will ya?

- Go on, get out of here, will ya!

(cat meowing)

(door shutting)

(relaxing piano music)

- Oh, darling.

I came as soon as 1 could.

I tried to call you when
I heard about Sherry

but the phone was busy.

How did Joel take it?

- Very badly.

Very badly. It's been just terrible.

- Jerry, may I have a
martini on the rocks?

[Jerry] Certainly, Dr. Lorenz.

- Has Joel ever mentioned

a Puerto Rican friend of
his named Tonio Perez?

- Yes, a number of times.

- Tell me about him,
Erica. I have to know.

- Joel and Tonio have been close friends

for some time, Norah.

What?

- The police think that
perhaps Tonio Perez

is the person that killed Sherry.

They believe he's the killer of those girls

in Central Park last year.

They can't find him.

They say he's disappeared.

- Well Norah look, you can't
assume that Tonio is a killer,

just because the police
find him suspicious.

We leave those matters to the authorities.

[Jerry] Your martini, Dr. Lorenz.

- I want Joel to stop seeing him.

I want the relationship
between he and Tonio to end.

- Norah. You know,

I really think that you should
make an effort to understand

why the friendship between
Joel and Tonio exists.

Joel and Tonio have a
great deal in common.

Now, although Tonio came from

an entirely different environment,

he seems to have had a similar
psychological background.

You know, I don't think that you realise
how deeply Joel was affected

by your mother's breakdowns
and her final suicide.

He felt totally abandoned.

- Erica, after mother killed herself,

Joel was not abandoned.

I did not abandon him.

Every time he wanted me, I was there.

Whenever he needed me, I was there.
He was not abandoned.

- Norah, now that's not entirely true.

You see, previously he'd
been dominated by your mother

and then by you.

So the contrast was so severe,

it produced a deep hostility in Joel.

Apparently, Tonio harbours
similar hostilities.

- I don't wanna hear your theories.

ljust don't want to hear
any of these theories.

Just tell me how I can help my brother.

- Norah. Tomorrow we'll get into this

much more deeply during Joel's session.

Now please leave these things to me

and don't do anything foolish.

You promise?

- Promise.

(Erica sighs)

(radio playing)
(door closing)

- Let me have your coat,
Mrs. Benson, please.

(chair clambering)
(footsteps pattering)

Through here, please.

(radio playing)
(car horns honking)

Mrs. Perez came to see
me about her son Tonio.

(window shades shutting)

- I know all about your son, Mrs. Perez.

'(Speaking in Spanish)

- It is good that you
understand, Mrs. Benson.

Things are much simpler when you believe.

- Believe, what do you mean?

- When you believe what you say

that Tonio is influencing your brother.

- Yes, and I would prefer that Tonio

not see Joel any longer.

If he does, I shall
have to report your son

to the police, Mrs. Perez.

- Then you would be
reporting your brother.

- Mrs. Perez came to me

because her son's spirit has
entered your brother's body.

- (laughing) What?

- Tonio is dead.

Six months ago. He died.

- (laughing) 0h.

This is absurd.
Tonio was in my house just recently.

- Well the spirit of Antonio.

- Tonio's spirit.

- Oh, not his spirit. In the flesh.

(laughing)
Oh, this is ridiculous.

- Have you seen my son?

- Please.

- This is my son.
(paper crinkling)

- Please sit down Mrs. Benson.

Please?

(car siren wailing)
(car horns honking)

- That is Tonio.

He died before his time.
(weeping softy)

He never had a chance to be good.

I was never with him.

(Speaking in Spanish)

His father abandoned us.

Antonio had to live with his grandma.

I never see him.

I work hard.

His grandmother died.

Antonio became...

bad.

He became so evil.

He did so many evil things.

He tried to kill me.

- Those girls. Did he kill those girls?

- YES.

His father find out and he killed him.

He killed my son to take
this disgrace from us.

Tonio's restless spirit needed a home.

Your brother and Antonio
were close, close friends.

And the spirit of Antonio

entered your brother's body.

A restless spirit.

(Speaking in Spanish)

- There is a common sorrow here.

(fists pounding)

(clothing flapping)

Mrs. Benson, will you
please come over here?

(Speaking in Spanish)

Mrs. Benson, these
people came to help you.

Did you bring the, something
that belong to your brother?

Give it to me please. Thank you.

(Speaking in Spanish)

Will help us catch Tonio

to lift him from your brother.

Tonio's restless spirit will
enter one of us in this room

and I will try to throw it out.

(intense eerie music playing)

(female singing in Spanish)

(man and woman singing in Spanish)

(man speaking in Spanish)

(singing in Spanish continues)

(rhythmic percussion and
vocal ensemble continues)

(pulsing music crescendos)

(man mumbling incoherently)

(Don Pedro chants loudly in Spanish)

(man laughs and cries out loudly)

(man shrieks loudly)

(man wails loudly)

(man shrieks and wails loudly)

(man yells wildly)

(man laughs crazily)

(loud drumming crescendos)

(man gasping and sighing)

[Woman in Room] One! (hands clap)
One!

One!

[Man In Room] Please, please, please!

(man speaking in Spanish)

(hands clapping loudly)

(man gasping heavily)

(Don Perez speaking in Spanish)

(man sighing heavily)

(man coughing)

(man speaking in Spanish)

- No, no, no, no, it's okay.

(man speaking in Spanish)

- Senora, Tonio don't want to come out.

You must bring your brother.

Then we do it again.

But you have to believe.

I feel that you don't believe
and you have to believe.

- Should I take this?

Thank you.

- Bring back your brother Mrs. Benson,

and please believe.

Believe, that's the only way out.

You have to believe.

That's the only way we can help you.

But if you don't believe we can do nothing

to help you out, or your brother.

(car engine whirring)
(car horns honking)

- Mom, mom!
- (brakes screech)

Joel's going crazy!

- Mom, mom! It's Joel, he's freaked out!

- What's the matter?
Thank you.

- Hurry, hurry mom!
- What?

(kids frantically describing an attack)

- It was just terrible!
(dog barking)

- What do you mean?

Is he in the house?

- [Peter] He was screaming and yelling in Spanish!

- Mom, what are we gonna do?
(man screaming loudly)

- Joel, let me in!
(objects clattering)

Run away, go on, go on.

(Joel shrieking loudly)

- Joel!
(loud banging)

Joel! Let me in!

Joel!
(Joel yelling, banging)

Open the door!

(door latch banging)

Joel, please!
(Joel shrieking frantically)

Joel! Joel please!
(glass shattering)

(Joel shrieking in Spanish)

Charles, where are they?

- In the bedroom packing.

- Okay, take the children
please and the dog.

- But Mrs. Benson, you'll have to wait.

- I want to talk to them privately.

- I'm afraid they won't be
able to speak to you just now.

- Charles, something
terrible has happened.

Now take the children into the kitchen.

Erica, Erica?

Where are you going?

You can't leave.

- I'm just going to Chicago
to deliver a lecture.

What's wrong, Norah?

- I think I'm going out of my mind.

Something terrible has happened.
(sobbing uncontrollably)

- My God, Norah. What's wrong?

- It's Joel.
- Joel?

- They say Joel is possessed.

- Who's they? Who's been telling you that?

- I didn't want to tell you,
but I went to an Espiritismo meeting

this morning.

They know all about Joel.

They know all about Tonio.

They know all about the relationship.

And then they started
sympathising with me.

And you know why?
(sobbing)

Because Tonio Perez is dead!

Mrs. Perez told me herself,

Tonio Perez was killed by his father
six months ago.

Now they're telling me

that his spirit is in Joel.
(sobbing uncontrollably)

- Tonio Perez is dead?

- I know it sounds silly,

but I went by my house just now.

Joel... was babbling in
the hallway in Spanish.

I don't know what to think...

how can this be possible?

(crying and sobbing uncontrollably)

Please help me!

- Norah, listen.

Norah...
(suspenseful music begins)

Instead of saying, as I would,

that the person has a fragmented ego,

identity problem or what have you,

these people say that a
spirit has entered him.

If he's weak, vulnerable,

but in the last analysis

call it insanity or possession,

it adds up to the same thing.
- Insanity? No!

Possession, insanity, fragmented ego.

- Are you trying to tell me
that my brother

is so weak and so vulnerable

that he can be invaded from the outside

by a maniac who is dead?

I refuse to believe it! I won't believe!
- Norah...

- Norah, please listen to me.

Joel is not possessed.

Now, that's ridiculous.

He is extremely disturbed

and he should be hospitalised immediately,

but there's no time to discuss that.

Now the important thing is your safety

and the safety of the children.

You can't go back to the house, Norah.

You must leave the city and
take the children with you.

- (sobbing) I don't have
any place else to go.

- What about the beach house?

- All right. What will you do to Joel?

- I'll arrange that Joel is taken care of.

Now, please, don't worry.

Norah, we just have no time now.

Now please go.
- You won't hurt him.

- You have to trust me,

- You have to trust me, Norah
- You won't hurt him?

- Look, I'll call Ted.
I'll tell him you're leaving.

I'll make arrangements for a car.

- You won't hurt Joel?
- Of course not.

Charles, would you call
a taxi for Mrs. Benson?

- Thank you.

- All right, children. Come on.
Out you go.

Come on, guys.

Carrie in the front seat.
Peter in the back.

- [Man in Green Jacket]
Whatever insurance you have.

[Rental Attendant] All right.

[Man In Green Jacket] Okay.

- Okay, if you'll sign on the red line
and initial inside the two circles.

- Thank you.

(suspenseful percussion music)

(footsteps clunking)

- Ah, thank you, Charles.

I knew I should forget something.

(car door banging)

(suspenseful music continues)

(car engine running)

(wind blowing)

(car doors banging)

(footsteps stamping)

(waves crashing)

(footsteps scraping)

- Come on, Peter.

Take the bar off for me, honey, would you?

(door thudding)

(children squabbling)

(waves crashing)

(door closing)

(paper bag crinkling)

Oh, It's nice to be back.

- Can we go fishing tonight?
I've got the bloodworms.

- Oh, yeah, could we mom?
- No, sweetheart. It's too late.

- Then can we at least
go down by the beach?

- Yeah, please?
- No, no. Maybe in the morning.

It's too late now.
Now off with your clothes.

Hang them up in the bedroom.

Keep it neat.
Take the sheets off, Carrie.

That sheet off the other sofa, too.

Wooooh...

- [Carrie] Hey mom, look, here's a postcard.

- Who from?

- [Carrie] It's from Molly.
She must have written it last summer.

- Oh, yes, you left it here.

We'll take the boards
off the windows later.

Why don't you feed Clancy, dear.

He must be starving.
- Okay.

And I'll make some sandwiches, also.

Veronica showed me how.
- All right.

- Good, I'm starving.

What kind you gonna make, Peter?

(waves crashing)

(Norah moaning)

(board falling)

(waves crashing)

(object clunking)

- Who's there?

(waves crashing)

Carrie! Peter!

Where are you?

(waves crashing)

Carrie!

Peter!

(waves crashing)

Carrie!

- [Carrie] Hi, mom!

- Mom, look, we caught a fish!

(children yelling excitedly)

- Why did you go and not tell me?

- But mom, you were sleeping.

- Yeah, we didn't think you'd mind.

- What you got in there?

- A flounder.
(laughing)

- Oh!
- We got a bag, too.

- Come on, let's go back to the house.

- But can't we go get Clancy?

He ran off somewhere.
- No, he'll be all right.

- But he'll get lost, he doesn't
know his way around, Mom.

- He'll come back. Come on.

(waves crashing)

(chattering quietly)

- Carrie!

- Oh, no, Peter, stop!

Stop it, Peter!

- Take off your slippers and your boots.

Put them in the corner of the room.
What do you want for breakfast?

(children chattering)
(low morbid music playing)

Eggs, huh? You want boiled or fried?

(suspenseful music intensifies)

- Joel?

Children...

(Joel singing in Spanish)

(door locking)

(knife snapping)

(worms slapping)

(Joel yelling in Spanish)

- Ahhh! Mommy!

- [Peter] Help!
(Joel yelling in Spanish)

Let me go!

[Norah] Stop it, Joel! Stop!

Don't you ever do that to me, you hear?

(body thudding)

(shouting in Spanish)

Pick 'em up.

(breathing heavily)

Hah!

(screaming)

(Speaking in Spanish)

- Pick it up.

(Peter whimpering)

(Speaking in Spanish)

(chairs sliding)
- Sit there. Come on.

(Speaking in Spanish)

I'm a house guest.

Don't forget that.

Be nice, and I'm nice.

Be bad, and I'm angry.

(Speaking in Spanish)

Have you ever cut fish?

I cut a lot of fish when I was your age.

(Speaking in Spanish)

Go ahead. Cut it!

(knife cutting)

Hey, stupido! Give me that.

You take it like this.

Watch.

(Speaking in Spanish)

You see? And then... ah?

You open it up.

YOU see?

You wanna eat that? Huh?

No.

Not yet.

Okay.

We eat later.

(laughing)

No one's hungry, yet.

Now we play a game.

Where I come from,
we make our own games.

No television.

Lady, you see them dominoes?

I wanna play dominoes.

You play?

Get the box, ah?

(Speaking in Spanish)

Go back.

Give me seven and you take seven.

(Dominoes clinking)

Hey, (speaking in Spanish).

Come on.
(Carrie whimpering)

You got a pretty neck.
Just like your ma.

- Joel, please don't hurt her.
Please stop.

- Lady, you better believe it.

- Please don't do that, Joel. Please.

- Rich people don't beg.

(Carrie whimpering)
(percussive music drumming)

(Joel singing in Spanish)

You're losing that game.

A smart, rich kid like you?

Your mommy's not training you right.

She's not giving you the right education.

How come you're not giving
him the right education?

Can you wipe yourself?

- YES.

- YES.

She teach you to say yes?

[Peter] Yes.

- You say “yeah" to me. You hear me?

(chuckling) You say "yeah" to me.

- YES.

(Joel screams in Spanish)
(Carrie shrieks)

(Joel speaks frantically in Spanish)

- Mommy!
- Joel!

Stop it!
- Mommy!

- Come on!
(classical music playing)

- Joel, get off me!

(Joel grunting and yelling in Spanish)

- Mommy!
- It's all right.

(classical music continues)

- They've come to see us dance.

(Speaking in Spanish)

Hey, tell them to watch.

Tell them not to be stupid.

(waves crashing)

- Please don't shoot.

He's got my children.
- Okay.

- It's all right.

It's all right.
(Joel singing in Spanish)

(children panting)
- [Joel] Are you getting tired?

- Too warm?

We must do something about that.

Take off your clothes.

(Speaking in Spanish)
Do what I tell you.

Tell him, (speaking in Spanish)

- G0 ahead baby.

It's all right. D0 it.
We'll be all right.

- Come on, take 'em off.
(speaking in Spanish)

Are you cold?

I was always cold.

(Speaking in Spanish)

You never been cold in your life.

Dance, dance!

Come on, take 'em off.

Dance! All of you, dance!

See, dance! All of you!

(Joel speaking in Spanish)

- It's all right.
- Let's give them a good show out there.

Mommy!

- Hey take them things.

Throw them out there.

Dance, dance.
(speaking in Spanish)

(classical music continues)

Dance!
- Let him cover himself.

He's just a child.

- Bueno. Now we go in the kitchen and eat.

(Norah gasping)

I'm hungry-

(Norah gasping)

Come on, come on.

(Speaking in Spanish)

What do you got to eat?

No, in that shelf.

(Norah 98505)

(suspenseful music playing)

- Corn.

- What else?

- Sweet peas.

- What else?

- Dog food.
(crying)

- (laughing)

Bring the dog food here.

(chuckling) Give it to the kid.

You open it.

- But it's Clancy's.

- He won't be needing it.

- He killed him. He didn't have to do that.
(sobbing)

- He's freezing! Let him get a blanket,

he's freezing!
Go on honey, get a blanket.

- Come back soon or your
mommy's gonna get it.

(dish clanking)
Put the food in the dish.

_ ow!

- Are you hungry'?

- No. No!
(crying)

- We all gotta eat.

But you first, okay?
- (sobbing) No!

Get down and eat.

(speaking in Spanish)
(body thudding)

- (crying) How can I use my hands?

I can't eat without my hands!

(Joel speaks loudly in Spanish)

- Ahhh!

(Carrie gagging)

(body thudding)

Ahhh!

- I'll kill you!

(hand slapping)

Ahh! Ahh!

Oh...

Oh!

Oh!

Run, run!

Children, run!

(Joel screaming in Spanish)

- Daddy! Ah!

- Joel!

- Get away from him, God!

- Joel!

No!
(gunshots firing)

(body thudding)

Joel!

No, no!

- Norah? Norah?

- Oh, Joel.
(sobbing)

(dark ominous music)

(knife snapping)

(waves crashing)

(wind howling)