Original subtitles

ANNIE: I am trying for Joy.

She needs the real me.

OFFICER: These yours?

JOY: Have you been taking your pills?

ANNIE: Yes. They gave them back to me.

I've got these things in my mind.

[ominous music]

People running around, memories.

I'm not right.

♪ ♪

JAMAL: 400 years she's been gathering speed,

heading for this place at this time,

and you think you can stop her?

Tomorrow at dusk, she returns.

‐ Go, go, go, go! [train horn blares]

‐ The train! Move!

[train siren blares]

AUGUSTIN: We'll give you a quiet end.

Entombed in one of us.

[gun clicks]

♪ ♪

NADIA: Pop?

Can you talk, Pop?

Come in, Pop!

[train horn blaring]

[disquieting music]

♪ ♪

[low moaning sounds]

♪ ♪

[engine shuts off]

♪ ♪

[bugs buzzing]

♪ ♪

[suspenseful music]

♪ ♪

AUGUSTIN: Amity returns at sunset,

and this is our world now.

♪ ♪

It is the world she gave us.

That he gave us.

We waited 400 years.

Now we know why.

People have forgotten

this land belongs to the Angel.

Now we take it back in his name.

♪ ♪

And when the prophet returns to us tonight...

♪ ♪

The real work will begin.

For first, we must protect our new place

in this old, rotting world.

Then we will take the rest of it

from those who would oppose us.

♪ ♪

The empty souls outside these walls have a purpose.

They will be her army.

His army.

We will see this fight through to the end.

♪ ♪

The end of them is the beginning of us.

♪ ♪

[ominous music]

♪ ♪

ANNIE: They all followed it to the house,

so if we get rid of it‐‐

ABDI: They'll snap out of the fucking trance they're in?

♪ ♪

We really doing this?

ANNIE: We get Joy out,

and you take down that‐‐ whatever it is.

‐ We still don't know what will happen

if we hit the statue.

‐ Oh, Christmas. What's your plan, then?

♪ ♪

‐ Right there.

[tape snaps]

That's where I fell.

♪ ♪

Just keep your finger off that red button

until I get Joy out of there.

‐ We only get one chance.

It's less than an hour until sunset.

‐ Just tell us when you have her, Anne.

‐ Let's fucking go.

♪ ♪

ABDI: [speaking Somali]

‐ For the people up there.

♪ ♪

‐ If they don't get her in time, we still have to do it.

♪ ♪

‐ Etienne, you look

well, better than he ever did,

even before the wasting took him.

‐ At first I wondered

why you chose such a diseased vessel.

Now I think I understand.

He knew things.

‐ That he learned from an apostate.

‐ The one who held our Angel prisoner,

this Warden Lacy?

AUGUSTIN: The warden wrote letters.

What did they say?

‐ They talked about a sound,

what they call the schisma.

‐ Yes, the sound of the Angel.

What else?

POP: Castle Lake.

‐ Something is special about the lake.

‐ Yes.

It's a door to other heres,

other nows, other dimensions.

♪ ♪

Our Angel travels between them

at his will.

♪ ♪

[Cat Power's "Troubled Waters"]

CAT POWER: ♪ I must be ♪

♪ One of the devil's daughters ♪

♪ They look at me with scorn ♪

♪ I'll never hear their horn ♪

♪ Sometimes ♪

♪ It's like chains ♪

♪ Sometimes I hang my head in shame ♪

♪ ♪

♪ When people see me ♪

♪ They scandalize my name ♪

♪ I'm going down ♪

♪ To the devil's water ♪

[squishing sounds]

‐ What the...

SINGER: ♪ I'm gonna drown ♪

[flies buzzing]

♪ In the troubled water ♪

‐ [speaking Somali]

♪ ♪

CAT POWER: ♪ It's coming round my soul ♪

♪ It's way beyond control ♪

♪ I must be one ♪

♪ I must be one ♪

♪ I must be ♪

♪ One of the devil's daughters ♪

♪ They look at me with scorn ♪

♪ I'll never hear their horn ♪

♪ Sometimes it's like ♪

♪ Being in chains ♪

♪ Sometimes I hang my head ♪

ABDI: [speaking Somali]

CAT POWER: ♪ In shame ♪

♪ ♪

♪ When people see me ♪

♪ They scandalize my name ♪

♪ I'm going down ♪

♪ To the devil's water ♪

♪ I'm gonna drown ♪

♪ In that troubled water ♪

♪ It's coming round my soul ♪

♪ It's way beyond control ♪

[moaning sound]

[wind howling]

[suspenseful music]

♪ ♪

VERA: No.

No.

‐ Shut the fuck up. ‐ No.

ALL: No, no, no!

No, no, no, no.

No, no, no, no...

‐ Give me the gun.

ALL: No, no, no...

[ominous music]

♪ ♪

‐ They caught Chance.

[static]

Joy is‐‐she's still in there.

You can't‐‐ you can't set it off.

♪ ♪

Hello?

[static]

VOICE: You have to save her.

‐ N... VOICE: A good mother

would never let this happen.

‐ [gasping]

‐ [groans]

‐ And what were you planning on doing with this?

‐ Thought I might shove it up your ass.

[knock on door]

ANNIE: They're underneath the house!

You've got to get Joy out!

Get Joy out!

♪ ♪

‐ Anne, come in.

Anne! ‐ [shushes]

Anne?

‐ [grunts, pants]

♪ ♪

They're in the tunnels!

‐ Who's in the tunnels?

‐ What?

‐ Who is in the tunnels?

‐ Nadia and Abdi, and they've got dynamite.

They're gonna blow this place...

‐ Shut the fuck up!

‐ You've got to get Joy out of here!

Get her out! No!

Let me‐‐let me go! ‐ Go down into the tunnels.

Kill anything that isn't one of us.

Go.

‐ I'll go with them.

♪ ♪

NADIA: Anne? Anne? [bugs buzzing]

‐ Drop your weapons!

♪ ♪

‐ Pop?

MARSTENITE: Where are the other bombs?

Tell us or he dies now.

[suspenseful music]

♪ ♪

[gunshots]

‐ Hey, Abdi! It's me!

‐ What the fuck?

‐ Yeah, it's me for now.

This French asshole's been hollering

in the back of my head.

Probably only got a few more minutes.

Better make 'em count.

‐ You took the Haldol? ‐ Yeah.

Before that fucker shot me.

Then I gave them just enough from Lacy's letters

to get them to trust me.

These bombs, you got others?

‐ In the crypt and under the statue.

‐ Good. Get up and blow them.

‐ So what are you gonna do?

‐ I'm going up. You got a walkie?

When I get upstairs, you blow the first two.

I'll get Chance out.

When she's clear, you blow this motherfucker, all right?

But we've got to hurry.

He's coming.

NADIA: Who's coming?

POP: Go! Go now!

♪ ♪

[moaning sound]

♪ ♪

[wind howls]

♪ ♪

[low moaning sound]

♪ ♪

[low moaning sound]

♪ ♪

‐ [pants]

♪ ♪

It's me, Pop. ‐ What?

‐ [pants]

[beeps]

[low moaning]

[detonator beeps]

AUGUSTIN: No!

[bugs buzzing]

[crowd screaming]

[somber string music]

♪ ♪

‐ Take this.

‐ Thank you.

[screaming]

♪ ♪

[fleshy thud] ‐ [grunts]

♪ ♪

[moans]

♪ ♪

‐ Joy!

[handcuffs click] [people yelling]

♪ ♪

‐ Abdi, come in.

NADIA: Pop, it's me.

POP: Okay, do it.

‐ Pop?

♪ ♪

POP: Please, you've got to do it now, Nadia.

I'm already done.

This thing inside's nearly got me.

Do it!

I deserve it. Do it!

♪ ♪

‐ Joy!

♪ ♪

Joy!

♪ ♪

Joy!

♪ ♪

‐ [groans]

♪ ♪

HENCHPERSON: All the way down at the end of the hallway.

Look down the basement.

POP: Nadia

do it. HENCHPERSON: I don't know.

They could be anywhere.

HENCHPERSON: Over here!

♪ ♪

‐ No...

[ominous music]

♪ ♪

ANNIE: Good morning, Little Love.

‐ [sniffles]

[somber music]

♪ ♪

ANNIE: Can I read to you?

JOY: Okay.

‐ "Misery Chastain had resided in Little Dunthorpe

"for all of her 16 years,

"and now, on the cusp of her 17th birthday,

"she wanted more.

"True to its name,

"Little Dunthorpe was meager in scope

"and bereft of possibility.

"Someday, she'd have occasion to reconsider her wanderlust,

"even to regret it.

"But today, the Sunday her Uncle Percy

"was destined to die

"and her exploits fated to begin,

was not that day."

Hmm.

Good beginning.

"'Aye, m'lady,' said Mrs. Ramage,

"face pale as the moon.

"'They took the lad, Ian, to the sawbones,

"'struggling as he was.

"Surely he'll be dead by now.'"

"Pushed forward, trusting their own resources,

in the stark dark..."

"You're right, my lady, so let's go..."

[Annie's voice fades]

♪ ♪

[inaudible]

♪ ♪

Little Love?

Need anything?

♪ ♪

Do you want to talk about‐‐ ‐ No.

♪ ♪

[gas pump clicks]

[disquieting music]

♪ ♪

‐ Won't you just look at this place?

‐ What about Montreal?

‐ Only an hour from here.

And Joy, the patient is bedridden,

so it's basically a whole house to ourselves.

It's like Dunthorpe.

Almost like a storybook house.

INTERVIEWER: Looks like you've worked all over.

Where are you from originally?

‐ Nowhere, really. Military brat.

My father, that good old guy,

God rest his soul‐‐ he moved us around a lot.

INTERVIEWER: Is this okay?

‐ Perfect. Thank you.

‐ Take any room you like, dear.

‐ Oh, take the room next to mine, Little Love.

‐ The hormones hit.

It's like a stranger's living in your house, eh?

[door closes]

ANNIE: "Gregory had come back from the Crimea

"a different man.

"It wasn't just the soldier's beard

"or the crosshatched scar on his left forearm.

"It was his eyes.

"They didn't look out at Misery anymore.

"They looked in at something only he could see,

something war and time had written on‐‐"

‐ [groans]

♪ ♪

[breathing machine hisses]

‐ Beautiful, isn't it?

I really think this could be it, Joy.

The Laughing Place.

[sighs]

I was thinking next time I go into town,

I can get you some hair dye.

Get it back to normal.

‐ I like it this way.

[ominous music]

♪ ♪

[actor speaking French]

[actor sobs, continues speaking French]

‐ That's enough of that.

[suspenseful music]

♪ ♪

[phone beeps]

MYSTERIOUS PERSON: Tomorrow then.

I'll be waiting.

JOY: Tomorrow.

♪ ♪

[knock on door]

‐ Joy? ‐ Yeah?

‐ Who were you talking to?

‐ What? ANNIE: On the phone.

You were talking to someone.

‐ Uh, I wasn't on the phone.

‐ Was it... ‐ What?

‐ Someone from back there?

‐ Are you feeling okay?

Are you running low on pills again?

‐ This isn't about me. Who‐‐who were you talking to?

‐ I wasn't on the phone.

What do you want me to say?

‐ [sighs]

[somber music]

♪ ♪

VOICE: Annie...

♪ ♪

That filth will never come out.

You make her clean.

[washing machine rattles]

‐ I need to ask you something.

‐ I told you, I wasn't on the phone.

‐ No.

You said that you don't want to talk

about what happened at that house,

but I need to know, Joy.

What they did to you, those people,

that...man,

before we got there.

‐ I don't know.

‐ What do you mean?

‐ I don't remember.

‐ You don't remember? ‐ No.

‐ Joy‐‐ ‐ What?

[sighs]

[shower running]

[ominous music]

♪ ♪

‐ [whimpering] My Joy...

♪ ♪

[ominous music]

♪ ♪

‐ Thought you might want some.

‐ I'm all right.

‐ Since when do you not like ice cream?

Since when does anyone?

‐ Okay.

♪ ♪

‐ Do you like it?

‐ It tastes weird.

[disquieting music]

♪ ♪

Is there some‐‐

did you put something in that?

‐ Medicine.

‐ What medicine? ‐ Haldol.

‐ What the fuck?

‐ Such dirty words,

not like my Joy.

‐ You drugged me? You're crazy!

‐ You didn't think I'd know?

My own girl, my own sweet girl,

and you didn't think I'd know that you were one of them?

‐ You're the one who needs medicine!

You're the monster! ‐ Shut your mouth!

‐ Mom, no!

‐ But I'm not your mom, am I?

‐ Mom, stop, stop! Help!

Stop it!

‐ Guess you need a bigger dose! ‐ [muffled grunt]

‐ [yells]

‐ [pants]

♪ ♪

‐ Come back here!

You think you could just take my Joy?

‐ Wait, wait, wait, wait, wait!

[both panting]

‐ [screams]

[gasps]

‐ [pants]

[somber music]

♪ ♪

[panting]

JOY: Mom, I'm sorry.

I hope this isn't forever, but right now,

I have to go.

I know you won't understand. I hope you don't hate me.

I don't want you to hate me.

I just need to be someone else for a while,

because I don't know how to be your little girl anymore.

It's not about what happened in Maine.

I don't remember a lot of that, to be honest.

I'm actually working on forgetting it.

The truth is, what happened to us happened before Maine,

before Rita.

Maybe I don't know who I am yet,

but I know I can't figure it out with you.

I lied about the phone. I had to.

I didn't want to make you feel crazy,

but I had to talk to a lawyer about getting emancipated,

how to make it all legal, like Chance did.

[frantic orchestral music]

Please don't try to find me.

I'll find you someday, I promise.

When I'm ready.

♪ ♪

‐ Joy!

♪ ♪

Joy! Joy!

[pants]

Joy!

[pants]

[breathes]

Joy.

[sobs]

Please!

I would never hurt you. Please...

[pants heavily]

Joy. Joy!

Come back, Joy.

Please, come back.

Please!

‐ [coughing, sputtering]

‐ Joy! Joy!

Oh, little‐‐ my Little Love.

[both sob]

‐ Mom.

Mom.

What... [coughs]

What‐‐what happened?

What happened?

‐ You fell in the water.

You fell in the water. You almost drowned.

‐ [coughs]

You‐‐you saved me.

[both sob]

RUFUS WAINWRIGHT: ♪ Coming through the fog ♪

♪ Your sons and daughters ♪

♪ ♪

♪ Let the river run ♪

♪ Let all the dreamers ♪

♪ Wake the nation ♪

♪ Come, the New Jerusalem ♪

♪ Silver cities rise ♪

♪ The morning lights ♪

♪ The streets that meet them ♪

♪ And sirens call them on ♪

‐ One for one, Little Love? ‐ Okay.

‐ Hey!

RUFUS WAINWRIGHT: ♪ It's asking for the taking ♪

[laughter]

♪ Trembling, shaking ♪

♪ Oh, my heart is aching ♪

‐ Hey, I call shotgun.

RUFUS WAINWRIGHT: ♪ Coming through the fog ♪

♪ Your sons and daughters ♪

♪ We the great and small ♪

♪ Stand on a star ♪

♪ And blaze a trail of desire ♪

♪ Through the darkening dawn ♪

‐ Can you believe we're really here?

‐ I'm so excited.

[gentle music]

♪ ♪

‐ Would you look at all these people?

♪ ♪

‐ Are we gonna get to meet him?

‐ I hope so.

He's very busy with all of his readings.

♪ ♪

‐ Do you think I could draw the covers for him one day?

‐ Of course I do.

‐ You really think I'm good enough?

‐ Joy, I think you're the best artist in the whole world.

FAN: Is this seat taken?

‐ Of course it is, Mister!

Sorry about that, Little Love.

‐ It's okay, Mom.

I'm just happy we're here together.

‐ Me too.

‐ [gasps] Look!

♪ ♪

Oh, we have to get him to dedicate a book to you.

♪ ♪

‐ Of course he will.

I'm his number one fan.

[ominous music]

♪ ♪

CHILD: Bad Robot!

[sharp click]

[fanfare]

[jingle]