All language subtitles for Hammer House of Horror s01e06 Charlie Boy.eng

(Doorbell rings)

HeHo, Heinz.

Ah, Gwen.

Is SirJack at home? He is expecting me.

He's up on the roof, Hemz.

Up on the roof? At his age?

He's fixing the television aerial.
It came loose in the storm last week.

Crazy!

Would you like to sit down?

(Spanner clangs)

(Theme music)

You have decided to keep that one, eh?

Yes. I remember it from
when I used to stay here as a boy.

- Boring!
- You'll grow to love it, Sarah.

Can I pick something I like?

Certainly can.

ltell you one thing, my dear friend.

If you wish to realise the best price for
all these pictures,

you will have to have them cleaned.

All right. Anything you say, Heinz.

I presume you'll handle that for me.

But of course.
I have a dear friend who is a picture restorer.

Yes. I thought you might have.

Crazy fellow.
Do you know what he said to Picasso?

- Hey. Graham have you seen this lot?
- Yes Uncle Jack's African collection.

- is that what they are? They're fantastic.
- Do you like them, eh?

ldon't think "like" is the word, no.

- Would you all like some tea?
- Good idea. Thanks, Gwen.

Hmm. Poor Gwen.

She's not the same person
since your uncle died.

- Yes. Unfullilled expectations. I'm afraid.
- You think so?

She was expecting a big legacy?

She was always treated as one of the family.

When it came to the will.
Mark got the lion's share, as you know.

The house, most of the money.

I got the art department.

There's nothing left tor Gwen. eh?

(Hushed) The car and ?500.

It's not the money. I'm sure,

just the fact that she was
pretty well overlooked.

Perhaps Mark will keep her on.

Hmm?

I don't think she's Mark's speed exactly.

Hey. Graham. You know that feeling when
your eyes meet across a crowded room

and you go...

- "That's the one"?
- That one?

No question. Say hello to Charlie Boy.

Hello. Charlie Boy.

- Charlie Boy?
- Yes. that's what I'm going to call him.

An interesting choice.

You know what it is?

SARAH: No.
-|t's a fetish from central Africa.

- A fetish?
- Ah, yes.

You know. it was the same thing
in Europe, When the witches...

stick pins into dolls.

Yes.

Well. I know you've got something,

- haven't you. Charlie Boy?
- I think you are a witch.

You like living dangerously.

It's the beginning of a new era for us.
Sarah, my love.

I'll soon be working for myself.

Oh. at last!

Those things won't fetch that much,
you know.

WeIL with Mark and Phil.

You know. we've been talking about
setting up our own production company

for a couple of years now.

Phil's got no money.
and you haven't had any until now.

Mark will be rolling in it.

Personally. I wouldn't trust Mark any
further lhan I can throw this car.

It's just his style.

Actually. he had enough for his share
of the money a couple of years back.

OK, I believe you.

(Horn blares. tyres screech)

Whoops! I wasn't concentrating.
Sorry. chum!

No. ity�ust means
that I only have to find my share,

not all of the money.

What's he messing about at?
Bloody lunatic.

Come on, then. Come by!

Come on, then!

Come on!

SARAH: Shit!
GRAHAM: Bloody lunatic!

SARAH: Get out of the bloody way!

He'sy�ust narked because I cut him up.

Graham, watch it!

GRAHAM: What the hell's he doing?
- We could have been killed!

Come on, you stupid...

- He's going to have us in the ditch!
- l'll pull over and let him go on.

SARAH: Good idea.

I'll give him three minutes.

That should be enough.

Graham...

Graham, that's him coming back.

Is that him coming back?

It is.

Graham... he's going to hit us!

Graham! Jesus!

- Come on. Graham. do something.
- Yeah. Let's get out of it.

Lookout, Graham, he's coming again!

Christ, he's not going to let us go!

What are we going to do?

I'm going to talk to him,
that's what I'm gomg to do.

- No. Graham.
- l'll be all right.

Look. be careful. Graham.

0K.

(Engine idling)

Look, why are you doing this?

I apologise.

I didn't mean to carve you up.

Will you please back up and
let us get out?

We want to move our car away from here.

I can't get out if you're going to keep
coming down and closing in.

I've said l'm sorry.
What more do you want me to do?

Thank you.

Graham!

Graham...

Graham?

- Are you all right. love?
- l'm fine.

Do you want one?

No, thanks.

You're not still upset about
that berk. are you?

- He could have killed me.
- He was only trying to frighten you.

He damn well succeeded.

I don't think I'll use the car fora
couple of days.

Why not?

Come on, you saw the fellow...

dirty great scar down his face.

He was obviously some kind of villain.

Come on. Graham. you're so middle-class.
"Some kind of villain"?

I can't help being middle-class.
it's what I am.

All right, don't get stuffy.

Look, that fellow was just trying to
pull a fast one,

only you didn't let him get away with it.

So he got a bit choked and had a go
at you, that's all.

He's probably forgotten all
about it by now

I don't know.

Didn't look like he had "Forgive and
forget" engraved on his heart to me.

- Tell you what.
- What?

Why don't you set Charlie Boy on him?

Now you're being ridiculous.

That's right, just like you.

OK. l'm sorry.

Maybe I will have that drink.
(Graham laughs sympathetically)

You know, I thought a fetish was
something to do With high heels,

or suspender belts or something.

Oh. yeah. Well. you would, wouldn't you?
(Sarah laughs)

Anyway. they don't wear 'em
in the Congo.

Well. he's had a lot of customers.
by the look of him.

Do you think it really works?

Not in Barnes. I shouldn't think.

Not on characters like Scarface back there.

Scarface?

(Mimics Humphrey Bogart)
Yeah. baby, Scarface. Don't you forget it.

Public enemy number one.

You've just gotta realise...

nobody messes around with Big Graham.

Nobody.

0K, Scarface...

...this is where you get yours, sweetheart.

You dirty little rat.

(As gangster�s moll)
Are you feeling better how, big boy?

Do you know, I do believe I am.

(Romantic music plays;
Sarah laughs)

Much better, in fact.

I don't know whether it's Charlie Boy or you.

It's me, honey. and you'd better believe it.

(Sighing)

Certainly sorted things out fast,
haven't you. Mark?

Well, there's no point in hanging around,
is there?

- Right on.
- Watch him.

He's very nervous. Go on, get out.

Break your leg as soon as look at you,
wouldn't you?

l'm surprised you keep him.

There's no point in riding a docile dobbin.
With this fellow, life's never dull, is it?

He's a handsome animal, anyway.

Oh. he's a beauty. Aren't you?

You know, l'm going to rebuild all this lot.

Tear this rubbish down,

and get into breeding in a big way.

My God, there's a lot of money to be made
out of breeding these days!

It's a big capital investment, though.

(Chuckles) That's no problem now.

Good. That's why we've come, actually.

What about a cup of tea?
Why don't we go back to the house?

Her Ladyship should be
just about ready to dish up by now.

MARK: Come in.

Come in.

You know, I've been thinking.

They've asked me
if I'd like to have a meet here next season.

GRAHAM: Well, why don't you?

Ha, ha. Yes, I think I will.

- I think I will.
- How are you getting on with Gwen?

- Lady Macbeth?
- is that what you call her?

Well, I half expect to find her
sleepwalking up there one night.

GRAHAM: Oh, come on.
Gwen's all right.

Would you care to share this house
with hei�?

21 rooms between two people
is hardly what I call sharing.

Perhaps not, but it does tend
to cramp one's activities.

- I know what you mean.
- Anyway, I've given her marching orders.

Told her to leave as soon as possible.

(Sarcastically) Thank you, Miss Williams.

- Shall I pour?
- No, thank you. We'll manage.

Thanks, Gwen.

Uncle Jack spoiled her, that's the trouble.

Gave her ideas above her station.

Right...

I'll be mother.

Mark... I've found exactly the right place
for our new offices and studio.

Foubert's old place. Very handy, right, Phil?

- Right, yeah. Very handy.
- Ah, yes, the studio. I've been meaning

- to talk to you about that.
- Can you imagine how great it was

to get out of that agency.

Out? You mean you've chucked your job in?

Too true, I have!
I want to get going on ourthing now.

- No hanging around.
- I wish you hadn't done that, Graham.

We both have the money.
There's nothing to stop us.

It's different for me. l'm older
than you. Graham.

I've got to put this windfall into
something solid.

Yes. well... we'll make it solid.

No, it's too late now. I've committed
myself to this place and the stud.

And I've got to be blunt with you, Graham.

A commercial company...

Well. it's just a matter of fashion.
One month you're in and the next you're out.

You never said any of this before.

No, perhaps not. Sugar?

But I didn't make any firm commitment, either.

Mark. you said,
"As soon as we both have the money..."

One lump or two?

Phil?

No use looking at me, guv.
l'm only a ?lm director.

All I was offering was my talent.

You said...

It was an understanding.

I never thought you'd raise your half!

Oh. do help yourself to biscuits and things.

I hope you told him to get stuffed.

There wouldn't have been any point.

Anyway, I was too upset.

And Phil.

Oh, Phil... You can't blame Phil.

He never had any real financial stake
in the project.

Yeah? Well, he was going to be
your lead director, wasn't he?

Sure, but Phil's always in work, anyway.

Can't you start a company of your own,
just you and Phil?

No.

Even with selling every single thing
Uncle Jack left me,

I wouldn't have nearly enough.

Ah, the bastard!

If only he'd told me before
he'd changed his mind.

I'd never have left the agency.

If you drop out of this business for any time,
people forget you.

Ohh.

I don't know where I'll find another partner.

Look. why don't we go to bed?

- And you try and forget it for a while.
- I couldn't sleep.

Who's talking about sleep?

l'm sorry, darling.

l'm just too wound up.

You go and get your beauty sleep.

There's no point in ruining your
career as well.

0K.

But don't stay up too long.

Don't drink too much.

SARAH: Come on, Graham,
stop mucking about. Take it!

MARK: Hold on. You should be
in the picture, Graham.

We must have all the partners in.

GRAHAM: It's all right.
I'll set the delayed action.

MARK: What about Uncle Jack? We really
should have Uncle Jack. Where is he?

GWEN: He's gone inside.
PHIL: Well, let! him. Gwen.

We want to take his picture.

GWEN: Jack? Jack, dear?

Oh. look, he's probably gone to lie down.
It's best not to disturb him.

GRAHAM: Right, here we go.

Smile, please!

(Laughter)
Great!

SARAH: Is that it?
- Listen, just one more.

MARK: Oh, God. no!
PHIL: Come on, Graham! No!

No more!

On this historic occasion,
I would like to propose a toast.

- A toast!
- 0h, can I have caviaron mine?

- What's the toast, love?
- To Mark...

- to Graham...
- To Mark!

- and to Phil!
- Boo!

- Boo!
- Yeah!

To MGP Productions.

And all who sail in her!

- MGM. Er, MGB.
- MGP!

- I'll give you one in a minute!
- Drink to that.

Oh. God.

Well. you'd better hurry up and raise your
share of the money, Graham.

I can't wait for ever, you know.

(Echoing) ...you'd better hurry up and raise
yourshare of the money, Graham.

I can't wait for ever.

(Speech echoes)
...share of the money, Graham.

I can't wait for ever, you know...

Well, I'll see you.

Still here, Miss Williams?
I thought we had said goodbye.

- Goodbye, Richard.
- Bye.

Gwen.

(Birdsong)

(Horses whinnying)

Arrghh!

That's the last of the mourners gone.

Do you wanta drink?

Gwen?

(Mumbles) No.

Are you all right?

It's all so awful.

It's not your fault. though, is it'?

We parted so badly.

I feel so ashamed of myself.

- Why?
- I don't know what you've got to be ashamed of.

Why don't you have yourself a drink,
it'll make you feel better.

When I...

?rst heard about the accident,

at first...

My first reaction was to be pleased.

l was glad he was dead.

I shouldn't let that bother you.

I wasn't exactly heartbroken myself.

There, you see.
What have you got to be ashamed of?

I know.

Still, it's a horrid thing to think about
anyone, isn't it?

Maybe I...

I will have that drink.

That's more like it.

It's so awful.

This used to be such a happy house.

And now...

...it's not even going to stay in the family
any more.

You're sure you don't mind staying on
to close it down?

Somebody had to.

I'd rather it wasn't left to complete strangers.

Time enough for that when it's sold.

Oh, thank you.

No.

No, I don't mind...

spending a few days with my memories.

You're getting as bad as Gwen,
feeling guilty about being mad at Mark.

It isn't that.

It's this damn thing.

When I was annoyed with Mark the
other night, I stuck the knife in.

Oh. no. You can't believe that's what did it?

I don't actually believe it, no.

But I can't help thinking about it.

l was full of resentment, maybe even hatred,
when I stuck this knife in.

Now the poor beggars dead.

I can't get the damn thing out.

Blast!

Well, that doesn't mean
that Charlie Boy was responsible.

- No.
- I mean, Gwen could have fixed it.

- Gwen?!
-Yeah. she had the motive.

She was more or less left out of your uncle's
will. And she didn't like that. you said.

You said she was a bit funny
when you and Phil went to see Mark.

- Gwen wouldn't kill anybody.
- You never know.

And she was talking to that farmer
bloke just a couple of minutes before.

Sarah, that is ridiculous.

More ridiculous than blaming Charlie Boy?

Graham, it's just a lump ofwood!

Sorry, pet, but that's just what you are.

Is that what he is?

I don't think so any more.

I'll tell you why the shot is from up there.

William Tell and his little boy are Swiss, right?

And over there in Switzerland,
they have mountains, right?

MEN: Right.

And over here in Norfolk, we don't...

cos it is very flat, right?

- Right.
- So, we go up high,

miss the sky
and the nonexistent mountains, right?

Righto, guv.

(Sighs) God!

(Phone rings)

- Hello?
- Thank you very much.

Hello?

Could I speak to Phil Peters, please?

Yes. just a minute. I'll get him for you.

Phil?

- Telephone call for you.
- OK.

- It's Graham.
- All right.

- Who are you calling?
- Phil.

- Give him my love.
- Will do.

- What time will you be home?
- No idea.

Not late.

- 0K. Have fun.
-You too.

No brooding over him.

No. Things look better in the daylight,
don't they?

Put a bit more on his eyes, all right?

George. make sure the bows all work
and we're ready to go.

Oh, hello. darling.

Ooh, what lovely rosy pippins
you've got there.

SARAH: Bye. love.
PHIL: Was that for me?

No, not to you. How are you?

- Fine.
- What are you shooting?

- Apples.
- Adam and Eve?

Would you believe. William Tell?

- Not the crossbow and the apple on the bonce?
- You've got it.

- Very original.
- Listen, it pays the rent.

- Who can afford to be that choosy?
- Somebody with his own production company?

- Am I hearing you right, Smokey Bear?
-You'd better believe it. boy.

- You found some bread, after all?
- The estate's to be divided.

My share should be enough
to bankroll the company.

- Keep on talking. I hear you loud and clear.
- We ought to meet up.

Right on.

Mandy, we've found some bread.
Graham's come up trumps!

- Great!
- Right.

First poSitions, please.

Right, now, as we rehearsed it.
One little boy.

With one Swiss Delicious apple on his bonce.

Daddy Tell takes up his bow and aims.

And then move for the close-ups as the apple
splits in two. And you nibble with delight.

Nothing to worry about, son.
We're using a dummy head.

So there's nothing to worry about at all.

Are you all right, mister?

Two people I wanted to go into business with.

They've both been killed within
a matter of days.

Has to be a jinx.

You can't say Gwen
was responsible for Phil's death.

Uncle Jack never left him anything.

I never thought she killed him.

ljust wanted you to realise
how ridiculous you were being.

I just know that... that...

...object has something to do with those deaths.

I've never heard you talking like this.

l'm going to get undressed and ready for bed,
because I'm bushed.

Listen, I called Heinz about Charlie Boy.

What did he say?

He's going to pick him up Friday morning.

Well. I hope you didn't tell him about all this.
He'll think we're really

- crackers.
- No, I didn't say why I wanted rid ofhim.

ljust said I'd changed my mind.

Graham, this is really stupid.

You used to laugh at me
for not walking under ladders.

This isn't the same as walking under a ladder,
Sarah.

Two people have died.

Listen, love. I'll let Heinz get rid ofhim
and get a good price.

He says he already knows a likely customer.

Then I'll buy you something much nicer
with the proceeds.

0K?

Look. it can't just be all coincidence, can it?

Yes. it can.

Horse riding is a hobby, like shooting.
People do get killed doing it.

- And Phil? What about Phil?
- Stop it, Graham.

You can't start tying everything together.

It was an acCident. Accidents happen.

People who ride horses do get killed,

and villains do get bumped off.

Villains? What Villains?

What Villains?

I didn't mean to tell you that.

Tell me what? What villains?

"The body of Brian Edward Murray was found
in the of?ce of his club earlier this morning.

With knife wounds.

Murray was recently found not guilty on
charges of conspiracy to murder."

My God! It's Scarface, the man in that car!

It doesn't alter what I was saying.
Villains do get killed.

Don't you remember? You said,
"Why don't you set Charlie Boy onto him?"

- and I stuck the knife in.
- It's all in the mind. love.

Them people who killed him probably
planned it months before we got Charlie Boy.

But this happened over a week ago!
Why didn't you tell me before, Sarah?

Because I forgot.

And I didn't think it was important.

And then when we got all worked up about
Maik's accident, I just kept it to myself.

Because I still think you're wrong.

Mark wouldn't have had an accident
if I'd seen this picture.

How can you say that?

Because I wouldn't have...

What?

Come here.

l was looking at this picture
on the night I stuck this knife in.

So?

The order in which they died, one
after the other.

When I thought of Scarface
and stuck the knife in, he died.

Mark and then Phil have been killed

in the order in which they're
standing in this picture.

- Graham!
- Do you still think l'm wrong?

Well, that means...

if anything happens to Gwen...

l'm next.

Then it's you.

- Gwen's still at the house, isn't she?
- Yes. We should warn her.

Give her a ring.

It's ringing.

Perhaps she isn't there.

Come on!

(Phone rings)

- No.
- Give her time.

It's a big house.

No, she's probably asleep.

I'll try again in the morning.

She won't be awake yet. It's the
crack of dawn.

I know. I can't wait any longer.

(Phone rings)

Hello, Gwen?

Hello? Hello?

Hello, Gwen? Are you there?

What's the matter? Can't you get through?

She answered but she won't speak.

Hello, Gwen?

Look. are you all right? It's Graham.

Hello?

Something's wrong.

l'm going down there.

Are you sure you don't want me
to come With you?

No, I'll drive faster on my own.

Gwen?

Gwen?

Gwen, are you there?

Gwen, it's Graham!

Gwen?

Gwen!

Gwen, where are you?

Gwen! Are you in there, Gwen?

Ah, Graham.

Graham, my boy, what's the matter?

Heinz, you must tell me. How do I stop it?

Stop What?

- The magic, the voodoo, or whatever it is.
- Calm down, my dear boy.

I don't know what you're talking about.

The statue, the fetish... Charlie Boy.

Oh. Charlie Boy. Yes. Yes.

It works. Heinz.

It kills.

I can see you are upset.
But, you know, this is crazy.

These malevolent spirits
act only in their own environment.

- This kind of magic doesn't travel, you know.
- But it does, Heinz.

That's what l'm telling you.

I stuck a knife into it...

fooling around, really,

while I was looking at a picture.

You were looking at the photograph, yes.

There were ?ve people on that picture.

Three of them are now dead...

Mark,

Phil Peters,

and now Gwen.

Gwen?

Dead? But how?

Suicide.

She slashed her wrists.

Oh, poor Gwen.

Ach. l'm very sorry.

Yes.

But listen, Heinz...

the next two people on that picture
are Sarah and me.

0h!

So you have to tell me how to stop it.
There has to be another way.

You say...

you put the blade in?

Yes.

Then only you can break the spell.

H ow?

- You must put! the blade out and break it.
- I tried to pull it out. I couldn't.

Then allyou can do is...

...destroy the fetish.

Bum it.

But I warn you. it will not be easy.

You must build a pyre.

You set a light to it.

And you place the fetish on the
burning wood.

GRAHAM: Right.

Right, that's the lot.

Come on. Let's get going.

Come on, that's it, Joe. Keep it comin'.
Left hand down a bit. Lovely. Come on.

Keep it coming. Come on.

Won't keep you a moment, sir. Hold on.

That's it. Hold it there.

Thank you very much, sir.

Oh, no!

God!

(Hushed) Charlie Boy.

And you were out for about quarter
of an hour?

Yes, that's right.

I know it's a bit late to say it, but these
valuable pieces like your African sculpture

should be specifically insured, you know.

There are some things
you can't insure against, Inspector.

Right! Money's never going to replace
the sentimental value.

Or the aesthetic value.

But there you go. It can be a consolation.

GRAHAM: l'm not interested in consolation.

SARAH: We just want Charlie Boy back.

Ah!

You've christened that piece, right?

OK... I see two basic premises here.

One, the thief has a specific home in mind
for Charlie,

knows a collector who's after a piece like,
that and Willing to

pay the price, no questions asked.

- It's quite rare...
- What's the other premise?

Well...

if he isn't a specialist, he'll hang onto it for
a bit then flog it round the dealers.

In which case we should get onto it
without too much dif?culty.

- That could take weeks!
- Possibly.

But you can't put a time limit
on these operations.

- We have to.
- How do you mean?

Isn't there any other way?
I don't care What it costs, I'll pay anything.

A reward might help, I suppose.
But we won't hang about.

Right.

You really should have a word
With your crime prevention officer.

Yes. lwiII.

It's locking the stable door
after the horse has bolted, but...

No, I'll get in touch with him.

Good. That way, there won't be
any more tragedies like this one.

I hope you're right.

I hope so too.

To the left.

Who are you calling?

- Heinz.
- Why didn't you tell him about Charlie Boy?

How could I? You saw him.

"Right, sir. Yes, voodoo, right.

And tell me, sir. do you suffer
from the mummy's curse, sir?"

No, this is outside anything the
law can handle.

They'd simply translate it into
their own terms.

Here's Graham Elder, 32,
involved in a number ofdeaths,

and trying to explain them away with some
insane story about a malevolent spirit.

Come on, come on!

He was there earlier on.

I'll go round there and wait.

But will he be able to help?

There has to be another way.
There has to be!

If Heinz doesn't know, then he'll
know who does.

Well, I hope you're right,
because I'm next on that photo.

Don't do anything stupid.

Heinz, I've got to talk to you.

HEINZ: Eustace, my dear fellow.

Pressing business. I'll telephone you.

Heinz, I've got to talk to you.

Certainly, my dear fellow.
But not in the street, it you don't mind.

Heinz... he's gone.

Gone?

Stolen.

I've been cleaned out!
They've taken Charlie Boy.

0h.

Oh. dear.

You've got to tell me what to do, Heinz.

There's nothing you can do.

Oh, my God.

There must be something!

A witch doctor, anything!

Without the fetish, nothing.

But...

I shouldn't be saying this but...

I think I have an idea
Where Charlie Boy might be.

You know Where he is?

Someone telephoned me before lunch.

Somebody knows where he is?

Possibly.

He told me about a fetish like yours.

- It seemed strange.
- Where is he?

Leave it to me.

But it may take a little time.

Time is what we haven't got, Heinz.
I've got to have him now!

So tell me Where this man is.

He's a very dear friend of mine.

He's a crazy boy, does crazy things.

Where, Heinz?

He worked, you knoW, for a Mafia...

collector.

He hired my friend to buy him things
In Nigeria.

Heiriz...

I don't want stories.

- I just want Charlie Boy. Now, where is he?
- Yeah, but...

you must understand. When he was in
Nigeria, he did one of these crazy things.

He spends the money
that this collector had given him.

And the next thing we know,
this man is threatening him.

Break the legs... kill him.

Unless he pays the money back,

-?12,000.
- Heinz...

are you saying your friend stole
Charlie Boy?

No, he came to me... for help.

- He wants a fetish like yours.
- And you told him I had Charlie Boy?

Yes, I...

- I thought...
- Never mind What you thought.

Just tell me Where to find him.

Here.

Peter Mercado.

69 Queen's Drive, Maidenhead, Berks.

You bring no charges, huh?

(Phone rings)

Hoffman.

Heinz? Oh, thank God.

Have you seen Graham yet?

- Yes. he was just here.
- Did he tell you?

Yes. yes, yes...

- Can you help?
- I hope so.

But, Sarah, l'm very concerned
about Graham.

I think he might do something...

something crazy.

Look, I told him that I thought! knew

- where your fetish could be found.
- 0h, Heinz, thank God!

But he might make great trouble.

Look. will you please go very, very quickly
and prevent him from doing anything foolish?

I give you the address.

(Rings doorbell again)

- Yeah?
- Peter Mercado?

Who wants him?

l'm a friend of Heinz Hoffman. He sent me.

- Oh, you knoW Heinz?
- I've just come from there.

He says you've got an African statue
belongs to me.

- l'm afraid you're mistaken.
- No, you are.

What the hell are you doing?

Are you crazy or something? That's
private! Are you some kind of nut?

Aargh!

(Grunting)

There you are. Come on, you.

Bring him back.

Argh!

(Groans)

Got you. you little bastard.

You just stay there, you little bastard.

We're on our way.

Easy. You'll have to do better than that!

Not good enough, Charlie Boy.
Not nearly good enough.

Anyway...

it's me going to get you,
not you going to get me.

Sarah?

I've got him!

l'm taking him to the boiler house!

Come and watch him burn!

0W!

You can do better than that,
you little bastard!

That'll make you burn, however hard you are.

Argh!

(Flames crackling)

(Groans with effort)

Aghh!

Arghh!

(End theme music)

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