(TRAIN RUMBLES) (TENSE MUSIC) - # Where are you? # Where have you gone # without me? # I thought you cared # about me. # Where are you? # Where's my heart? # Where is the dream # we started? (INDISTINCT CHATTER) # I can't believe # we're parted. # Where are you? # When we said # goodbye, love. # What had we to gain? # When I # gave you my love, # was it all in vain? # All life through, # must I go on # pretending? # Where is my # happy ending? # Where are you? - Hello? - # Where are you? # - So, how was the job? - It was fine, you know, until I figure out` - What to do with your life? No one ever does. (ROCK MUSIC PLAYS) - OK, what the hell is that? - I found it on the train. I'm just gonna drop it off tomorrow. - Oh, you're gonna drop it off tomorrow? Are you insane? - No, Erica. Where I come from, that's what we do. - OK, this is Manhattan; you find a bag, you call bomb squad. - Don't open that. - Gross. A lottery ticket. Weird-looking pills. 'Greta Hideg.' Let's see. - No. - Oh, here we go. - Uh-uh. - Yes. A spa day. Or... we could do a colonic. Come on. It'll be fun. - Will it be? - Yeah! They jet asparagus juice up your ass. And it's not just about cleansing your body. It's also very good for short-term memory. - Really? - Mm-hm. Jason Largo was dyslexic, and since he's been doing them, now he can say the alphabet backwards. - Look, we're not taking her money, number one, and number two, I don't want asparagus juice shot up my butt under any circumstance. - Never say never. Have you called your dad yet? - (MOVIE PLAYS) - (SCOFFS) Do I have to? - Just don't want him to think I'm not giving you the messages. - Yeah, I know. I'll call him. (SNIFFLES) - Hey. Come on. Movie hasn't even started yet. - I know. It's just... It was our thing, you know? Some crappy movie. Just... Mom and I. - Come on, Frankie. Let's get ya home. - You could always give me your mom. - Ha! Please, take her. (BOTH CHUCKLE) - Thank you. (TRAIN RUMBLES PAST) (SIREN WAILS DISTANTLY, RAIN PATTERS) (DISTANT PIANO PLAYS LISZT'S 'LIEBESTRAUM NO. 3') (MUSIC CONTINUES) (DOORBELL RINGS) - WOMAN: Who is this? - Oh, uh, it's Frances McCullen. I have a bag that I found that I think belongs to a Greta Hideg. Oh, uh, hi. Here you go. - Oh, bless your heart. I've been looking everywhere. Where did you find it? - Uh, on the subway. - Oh, darling, you brought it all the way in this rain. Will you like a cup of coffee? It's already on the pot. It would mean a lot to me. You've been so kind. - (CHUCKLES SOFTLY) Yeah, sure. Why not? - You can put your umbrella here. - OK. Thank you. - Are you from New York? - Uh, no, I'm actually from Boston, but I'm living here with a friend. Thank you. - Boyfriend? - No, my roommate from Smith. Her dad bought her a loft in Tribeca for graduation, so we're breaking it in. - Oh, that must be tough. - (CHUCKLES) (MUFFLED BANGING) - The neighbours. I'm sorry. Remodelling. A little courtesy, please! A little quiet! (BANGING STOPS) Thank you! I swear they are building an ark. - (BOTH CHUCKLE) - Is this your husband? - Yes. Christof. When he was young. - Mm. And is that your daughter? - Yes. Nicola. He taught me how to play. My husband. Liszt was his favourite. (PLAYS LISZT'S 'LIEBESTRAUM NO. 3') Then he began fluffing the notes. His left hand. He thought it was arthritis. Six months later, he was gone. They are with you, and then they are gone. The ones we love. Liebestraum. Do you know what it means? A dream of love. Because that's all love leaves us with. A dream. A memory. (SIGHS) I'm sorry. It's my only company these days. - Is that your dog? Oh, yes. Jojo. Long gone as well. - Well, have you considered getting another? - Oh, no, I couldn't. (CHUCKLES) I wouldn't know how to choose. - Well, I could help you. If you wanted. - Are you a dog person? - A little bit. My mom actually used to breed them. - Thank you, sweetheart, but I don't think I could manage a dog right now. I hope you are not offended. - Not at all. But if you change your mind, just, uh, let me know. - Do I have your phone number? - No. (CHUCKLES) (CELL PHONE BEEPS) - I never know how to work these things. - Here. Let me help you. (PHONE BEEPS) - (ROCK MUSIC PLAYS) - It was actually a really spiritual experience. They cleanse your soul, not just your butt, to the sound of shamanic singing bowls and pan flutes. - Please be kidding. - You should come with me next time. - Nope. - I ordered takeout. - (CHUCKLES) Wait. While they were up your...? - No! God! Gross. For now, for dinner. - Oh. (PHONE RINGS) - Thank God. I'm starving. Yeah, apartment 4B. Uh, Greta? - Oh. (MUSIC STOPS) Hey. - Sorry to bother you, sweetheart. Am I calling at a bad time? - No, no, not at all. How are you? - I've been thinking about what you said about the dog, and... I thought, if you wouldn't mind coming, it... it might not be such a bad idea after all. - Yeah, of course. When do you want to go? - Saturday morning? Is 10 o'clock too early? - Uh, no, 10's fine. I'll see you then. - Did I just snort crystal meth, or did you just offer to go dog shopping with an old lady? - I know. - This city is gonna eat you alive. - (CHUCKLES) - So, how long do you keep them here? - (DOGS BARK) - Five days. - And then? - If nobody claims their dogs, they're PTS. - PTS? - Put to sleep. - Oh. What a dreadful euphemism. And so, which of these is next for the... PTS treatment? - Um... This is Morton. Today is Morton's last day. - Oh. May I come in? - Mm-hm. (DOGS CONTINUE BARKING) Come on. Come on, Morton. You don't want to end up a euphemism, do you? Morton, I'm taking you home. (MORTON WHINES) (SOFT MUSIC) - Smile. - (CAMERA CLICKS) (CHUCKLES) Great. - Oh, goodness. (CHUCKLES) I had no idea it could do this. - I know. The, uh, wonders of technology, huh? Oh, um, if you wanna send it to your daughter, it's actually pretty easy. You just click this, and then share. - Oh. You're close to your mother, I can tell. - Mm. She actually passed away. Last year. - Oh, Frances. - Yeah. - Why didn't you tell me? - It's like you said. I'm left with this... this dream of her, and I don't want her to fade. - It won't. If you keep it... here. In your heart. (SOFT, TENSE MUSIC) (MORTON SNUFFLES) (MORTON WHINES) (CELL PHONE VIBRATES) (MUSIC CONTINUES) (MUSIC CONTINUES) - It's OK to light a candle, even if you don't really... practise. - I'm sure it is. - Christof used to play the organ here. Every Friday. - Today's a Friday. - I know. For the ones that are gone. Yes? Nothing has changed. Still the same racket from the window. Listen. (OPERATIC SINGING, CHATTER, CLAMOUR) Love you too. Ciao. Nicola, she used to go here. - Mm. - The youngest-ever winner of the Little Mozart. - And where is she now? - Paris. I would have loved Juilliard for her. Still, the Conservatoire de Paris is not to be... How do you say that? Sneezed at? - (CHUCKLES) Uh, you must miss her terribly. - Oh, I get by. One way or another. (PLAYS LISZT'S 'LIEBESTRAUM NO. 3') - You don't have to be lonely. - Oh, my dear. Even you'll be gone soon. - You know, my friends say, uh... I'm like chewing gum. - (STOPS PLAYING) Chewing gum? - I tend to stick around. - You promise? - I promise. - So, remember Simon Porter? - Uh... Um... - Chin fuzz, sideburns, dad works at The New York Times? - No, absolutely no clue. - OK, well, he remembers you. He's having a party tonight, and we're going. I am wearing these. - (SIGHS) - What, are they bad? - No, they're great. - They're disgusting. You wanna puke. - Erica, they're perfect, OK? I just can't go. I already made plans with, uh, Greta to have dinner. - Seriously? You'd rather have dinner with Cruella than your friends? - That's mean. And they're not my friends. - Hey. I am. - Well, I'm sorry, but I made these plans last week, so... - Come on. Please. I'll call her. Do you want me to call her? - Erica, I can't go. I have to be there in, like, 30 minutes, so no. - (SIGHS) - What? What? - I wasn't gonna say anything, but this is just... it's getting weird. You've, like, totally adopted this woman. - She's my friend. - You hardly know her. OK, I'm gonna call her. That's it. And we're putting her on a serious taper, starting tomorrow. - No, Erica. What the hell? Why do you always think that you can just tell me what to do? - Right, I'm just some superficial bitch. But I don't see how making some random lady your surrogate mom is normal. - Excuse me? - You're gonna pretend that that's not what's going on here? It's so obvious it's sad. She's not your mother. - I'm gonna try and forget that you just said that to me. - I'm gonna try and forget that you just said that to me. * (CLASSICAL FRENCH MUSIC PLAYS) - Careful. It's hot. - Mmm. That's delicious. - Soupe de poisson. And the risotto? - Ah. Courgette and basil. (CHUCKLES) A recipe my mother taught me. - Mm. - Is it good? - Delicious. Hm. (MUSIC CONTINUES PLAYING) - Where are the candles? - Uh, in the cabinet. The little cabinet. - OK. Hm. (DRAMATIC MUSIC) (GASPS SOFTLY) (MUSIC BUILDS) (CORK POPS, SONG CONTINUES) - Did you find them? - Yeah, I found them. - Mmm. Wonderful. I wish I had met your mother. It's good, no? - It's delicious. - So... tell me about your friend. This friend of yours. Um, Erica is her name, no? (CLOCK TICKS) What's wrong? You seem upset. - I'm really not feeling well. - Oh dear. Are you sick? - Maybe. I don't know. It just kinda came over me. - Would you like to lay down? - No. I think I should just go home. - (SCOFFS) We haven't had dessert. - That's OK. - I'll pack you a plate if you want. - No, no, it's totally fine. - It's no bother. - Greta, really, it's fine. - Are you sure? It will just take a moment. - I'm sure. (UNSETTLING MUSIC) - Is there anything I can do? Tell me where it hurts. - I just need to go home. (DOOR RATTLES) (MUSIC CONTINUES) - Use the key. In the bowl. (MUSIC CONTINUES) - Oh my God. - I know. I mean, I guess she's been, what, purposely planting them around the city? Just hoping someone brings them back to her? - And you did. - Yeah, I did. - Mm. That's the creepiest thing I've ever heard. (CELL PHONE RINGS) (INDISTINCT CHATTER) - Here you go. Table five. Hurry up. (TENSE MUSIC) (DIAL TONE) - Hey, she's really freaking me out. - Yeah, tell me about it. - She called there too? - Only, like, 80 times. I had to unplug the phone. - Oh my God, I just want her to go away. - Yeah, well, unfortunately, it's not that easy, especially if they don't wanna go. And do you wanna know the kicker? - What's the kicker? - The crazier they are, the harder they cling. - Don't tell me that. - I also won't tell you that I tried to warn you about her. - I know. God damn it, why didn't I just listen to you? - You never do. Well, from now on, I swear to God, I'll do whatever you tell me to do. - There's somebody asking for you. - Who? - A woman. - Oh my God, Erica, I think she's here. - Shit. - I'll call you later. (SOFT PIANO MUSIC PLAYS, PEOPLE CHATTER) (UNSETTLING MUSIC) Can you get rid of her? - I tried. She said she needed to see you. - I don't wanna talk to her. - Look, Francine... - It's Frances. - I'm not your public relations manager, understand? Just get rid of her. And I don't want a scene. - (SIGHS) Greta, what are you doing here? - I was worried. You didn't answer your phone. I left you some messages. - I got them. What do you want? - Sweetheart, I` - Don't. - What? - Don't call me that. - What's wrong? What is it? Ma cherie. - Stop calling me that. - Tell me what's wrong. - Come on, Greta. I saw them. The bags in the closet, Greta. I saw them. What, you go planting them around, hoping some lost soul's gonna bring them back to you? Trying to find the biggest sucker in New York City? Well, congratulations. You found her. - Frances. - God, you're good. You're really, really good. You totally had me. Thank God I opened the wrong closet door. - Will you let me explain? - No, I won't let you explain, because it's over. And I never wanna see you again. - Frances, please. - Do not come back here. (SOFT MUSIC) (MORTON WHINES) (PHONE RINGS) (RINGING CONTINUES) (RINGING STOPS) (CELL PHONE VIBRATES) - Frances? If you would only let me explain. What I did was wrong. I know that now. And it will never happen again. But since Nicola left, I have been in this well of loneliness, this black hole. Maybe it drove me a little mad. We were meant for love, Frances, not this terrible isolation. And if you don't call me, I don't know what I will do. - Wanna work Saturday, 6 to close? - Uh... yeah, sure. - Ah. (TUTS) OK, go. - Sorry. - Go, go, go. (KNOCK AT DOOR) - (GASPS) If those are mine, I'm gonna dry-hump you right here. - (CHUCKLES) I wish. Frances McCullen? - I can't accept those. - QUIETLY: White lilies. - I'm sorry. (INDISTINCT CHATTER) (DRAMATIC MUSIC) (GLASS SHATTERS) - Uh... - I'm so sorry. Um, did any of it get on you? I will get you a new glass immediately. I'm very, very, very sorry. Um, I'll be right back with your other glass. (MUSIC CONTINUES) Call the cops. This is not a problem? So she can just stand there and stare at me all day, and that's not a problem? Everything's cool? - Across the street? Yeah, pretty much. - How is that not harassment? - Ma'am, technically, she can stand there with a telephoto lens and a tripod and take your picture if she wants to. Public area? Her rights are protected. - Awesome. - Ignore her. She's just looking for attention. The more you give her, the more she'll want back. - Well, that was easy. - Ma'am. (SIGHS SOFTLY) (UNSETTLING MUSIC) (MUSIC CONTINUES) (MUSIC CONTINUES) (MUSIC CONTINUES) (MUFFLED CHATTER) (DRAMATIC MUSIC) I said I was sorry! Please talk to me! I said I was sorry. Just tell me what you want` (INAUDIBLE) (SIREN WAILS NEARBY) (FIRE TRUCK HORN BLARES) - (EXHALES HEAVILY) (DRAMATIC MUSIC) - Please. Jesus! What`? God, what do you want from me? - I want to talk. - Then talk to your daughter. - I can't. She does not understand. - What? What doesn't she understand? - I'm lonely. - Greta, everybody's lonely. That does not mean that you get to follow people around and terrorise them. - Everybody needs a friend. You have your Erica. - No. No, you leave Erica out of this. - (CHUCKLES SOFTLY) You said you always stick around, like chewing gum. - Are you insane? - Please. Let's try and start again. I love you. - You don't even know me. - I tried to talk to you. I tried. But you wouldn't listen. People can't keep doing this to me. (SUSPENSFUL MUSIC) - (GASPS) - Ugh, I can't believe she did this. (INDISTINCT CHATTER) - Harassment restraining order can be applied for in certain circumstances. Is there any physical assault? - She threw gum in her hair. - Chewing gum? - A restraining order. How could I apply for one? Once the filing fee is paid, it's forwarded to the judge for review. The judge may then schedule a hearing. - And how long could that take? - (SCOFFS) It's Manhattan. The courts are overcrowded. - How long? - It could take months. Instructions for filing are online. Instructions for filing are online. * (TRAIN RUMBLES PAST) (TENSE MUSIC) - WOMAN: In order to remove a dog from the home, SPCA would need proof of mistreatment, like photos or witness statements. - What if I don't have any proof but I'm worried about the dog's safety? - Are you talking about that sweet French lady that you came here with? - I'm just frightened. For the dog. (MUSIC CONTINUES) (DOORKNOB RATTLES) (MORTON BARKS, WHINES) (MUSIC CONTINUES) I thought you were in Paris. - OPERATOR: The customer you have called is unavailable to take your call. Please leave a message after the tone. - (BEEP) - Hi. This is Frances McCullen. I'm trying to get in contact with Nicola Hideg, Greta Hideg's daughter. Uh, you see, I helped her adopt a dog, and I'm worried. (UNSETTLING MUSIC) (ELEVATOR BELL DINGS) (BREATHES HEAVILY) (CREAKING) Erica? (CREAKING CONTINUES) (EXHALES HEAVILY) God. (CELL PHONE RINGS) Hello? - ERICA: Hey, where are you? - Where should I be? - Chester's. - (SIGHS) Crap. I totally flaked. I'm sorry. - We're still here. Come hang out. - No, it's OK. I'm gonna stay in tonight. - Are you OK? - (SIGHS) Yeah, I'm fine. Just, uh... I'm tired. But I'll see you when you get back. - OK. Bye. - (SIGHS) (CHATTER OUTSIDE) (PHONE RINGS) (RINGING CONTINUES) (SIGHS) (RINGING CONTINUES) Hey, Papa. - You haven't called me that in a while. - Uh... (SIGHS) Sorry. It, uh... It slipped. - Maybe I should quit while I'm ahead. - Maybe you should. - (CHUCKLES) How are you doing? - (SIGHS) I don't know. Been thinking about maybe going away. Might be good to think some things over. - Can I come too? - Just you and me? - You're just mad at me because I found a way to move on. - Is that what it's called? - Did it ever occur to you that your mom might have wanted it that way? - Come on. - I mean for both of us. So that we could just get on with our lives. - Is that supposed to make this better? - I'm not a perfect man. - Which is fine, except now you're quoting Bill Clinton, so... (CELL PHONE CHIMES) - Look, we've both been through so much. This hasn't been easy on either of us. And I miss her as much as you do. Frances? - Dad, I gotta call you back. - Right now? - Yeah. I'm sorry. (UNSETTLING MUSIC) (DIAL TONE) (GASPS) - Frankie? - Erica, Jesus Christ. - What's the matter? - Greta. She's there. She's sending me pictures of you. - What? - You've got to get out of there. Actually, no, no. Don't go alone. Is anybody with you? - I've looked around. Nobody's here. - Where are you? - Don't worry. I'm leaving. It was a bore fest anyways. - (CELL PHONE CHIMES) - Oh my God, Erica. No, no, no. She's still following you. She's literally going out the door right now. - She can't be. I slipped out the back. - Are you sure? - Yes, I'm sure. - Take a deep breath. Relax, OK? - (EXHALES HEAVILY) God, this is such bullshit. She can't do this. I'm gonna go to the cops tomorrow, and I'm gonna hire an attorney. - Go, Frankie Mac. - I mean, it's one thing to harass me, but to threaten my friend... She can` - (CELL PHONE CHIMES) - You there? - She's still following you. Turn around. - I don't see anyone. - You're in an alleyway, and there's some big billboard behind you, and you're still on the phone. - That's right in front of me. - (CELL PHONE CHIMES) - Jesus Christ. You have to get out of there. Erica? Hello? - OK, calm down, Frankie. I've gotten out of there. - Where are you? - I'm taking the goddamn subway. - She's right behind you. Turn around. - She can't be. - You bitch. She's still following you. - I don't see her. I'm just gonna take an Uber, OK? A bus just pulled up. I can't believe myself, but I'm getting on. - Go. Run. - (BUS DOOR OPENS) - Erica? - I'm on. - Watch for her. - I will. OK, we're good. - (CELL PHONE CHIMES) - Erica, she's on the bus. - What? (CAMERA CLICKS) (CELL PHONE CHIMES) (DRAMATIC MUSIC) - You need help. - Erica, don't talk to her! - You're pathetic! Excuse me. I have to get off. - Erica, get off the bus. - OK, I'm off. - Where are you? - Uh, I don't know. Somewhere on 33rd. Uh, there's a bar up ahead, the Copper House. - Copper House. It's a left on 33rd from here. And hurry, please. (MUSIC CONTINUES) (CAMERA CLICKS) - You sick bitch. - (TYRES SCREECH) - Oh my God! Erica! (GASPS) Erica. Oh my God. Hi. - This chick is seriously disturbed. I do have to admit, though, she takes a good photo. I mean, I look badass. - Erica, come on. * (CELL PHONE VIBRATES) - Hello? - WOMAN: Hi. Um, this isn't gonna be easy, but maybe we should meet. - (EXHALES HEAVILY) (SOFT MUSIC) Sorry. - Frances? - Um... Yeah. - You called me about Nicola. I'm Alexa. Alexa Hammond. Do you wanna...? Nicola Hideg is dead. She killed herself four years ago. I knew her from AA. I was her addiction counsellor and then her partner for six years. But, uh, I could nev` - Um... I'm sorry, but... what about Paris? - Paris? - Yeah. Greta said that she studied at the conservatory there. - Nicola had never been to France. Listen, that whole French shtick of Greta's is an affectation, all right? She's from Hungary. - You know, Greta... she still pretends to talk to her. On the phone. - She's a very ill woman. - So, Nicola never studied the piano or anything? - She used to play till her knuckles bled. You can't save people. You know, I couldn't save her from... whatever it was that had been done to her. You know, maybe she just couldn't survive the box. - The box? - I used to think it was a metaphor. You know, the box in which she was confined as a child or whatever. But I came to realise, before the end, that maybe I was wrong. - I was speaking with Erica. - Dad. - She told me what's been going on. You keep telling me everything is OK. - I am OK. I... I'm an adult, so talk to me like I'm an adult. - OK, like an adult. This woman is unstable. You need to cut her off entirely. - I already have cut her off. (INAUDIBLE) (SIGHS) Look, Dad, I'll call you back later. (SOFT CLASSICAL MUSIC PLAYS, PEOPLE CHATTER) Hi. I'm Frances, and I'll be your waitress for the evening. - A Kir Royale and some sparkling water, ma cherie. - No. I... - (LOUD CRASH) I'm sorry. I-I can't do this. - But I have reserved, my dear. What do you mean you can't? - Is there a problem? - Yes. this woman has been harassing me. You need to ask her to leave. - I'm afraid she has a reservation. - What kind of service is this? - How can I help you, madam? - A Kir Royale and a sparkling water. She has my order. - Want some Valium with that? - Yeah. Wouldn't work. - Is she your stalker? - Yeah. - Good luck. - (SIGHS) - I'll start with the crab bisque and a small green salad. - Why are you doing this? - Because we have to talk. - I have nothing to say to you. - Nothing? After all we've been through together? And the sea bream to follow. It's palatable? - It's excellent. - A glass of something white and dry. - The pinot grigio. - No. Something French. - The Chablis. - If you say so. Cherie. - Do not call me that. - Et pourquoi pas? It's what you are. My darling. Ma cherie. - Why are you speaking French? - Miutan mindent megtettem erted. - Was she talking Klingon? - Call the cops. - Henri won't like that. - I don't care. Just call them. - Your funeral. (INDISTINCT CHATTER) (FAST-PACED CLASSICAL MUSIC PLAYS) - The Chablis. - May I? Hm. A bit like you. Promises a lot then disappoints. - OK. - I deserve better! (GLASS SHATTERS, PATRONS GASP) - Oh my God. I'm so sorry. - You can't do this to me. To us. - Are you a child? - No, you're the child. You need someone to love. You need a mother to hold you. You lost someone, and you're afraid to love. We both know it's true. - Don't you dare talk to me about my mother. - Darling, don't you understand? She had to die. She had to die for us to meet! - Are you out of your mind?! - You just can't accept it! Look at her! She's full of loss! Of grieving! She's gone, Frances! Just accept it! It's called moving on! (SHOUTS IN HUNGARIAN) Leave me alone! She's gone! Leave me alone! Leave me alone! Ah! Leave me alone! (SIREN WAILS) (POLICE RADIO CHATTER) I should just try to ignore her, right? And how am I supposed to take precautions when you're not even gonna tell me whether or not she's been released? Oh my God. You already released her, didn't you? OK, yeah, yeah, I'm gonna take that as a yes. God damn it! My dad wants to come pick me up. - OK. - OK? - I think you should go. - What, just leave? - Come away with me, then, if the family thing's too much. We can go to Baja. It's cheap. - Yeah, but she'd still be here the minute we got back. - Well, then... guess you'll have to try the slow fade. - What's that? - You apologise, tell her the problem is you, not her, and that you have to go and deal with your, um, issues. By the time that you're back, she'll have moved on to someone else. - So... lie, in other words? - Right to her face. I'll take you through it. I'm the master of the slow fade. - It's Friday. Greta, I'm sorry. - I know you are, dear. - You were right. I do care. I've just been so upset about my mom, and I was blaming you. I'm gonna go away tomorrow, just for a little bit, to think some things over. You've been such a help. A friend when I needed one the most. - Everyone needs a friend. But we're more than friends, Frances. We're connected. We're family. - I know. - And what does every child need? A mother. So we'll meet when you come back? You need packing help? - No. - You wouldn't lie to me, would you? - No. - So it's not goodbye, darling. Don't I deserve a hug? (UNSETTLING MUSIC) * (UNSETTLING MUSIC) - Maybe that was goodbye, Morton. (ST VINCENT'S 'THE STRANGERS') - # You showed up with a black eye, # looking to go start a fight. - # Paint the black hole blacker. # Paint the black hole blacker. - # Playboys under your mattress. # Like I wouldn't notice. - # Paint the black hole blacker. # Paint the black hole blacker. - # What do I share? # What do I keep # from all the strangers # who sleep where I sleep? # (MICROWAVE DINGS) (WATER DRIPS) - Erica? (TENSE MUSIC) Erica, did you water the plants? (BREATHES HEAVILY) (GASPS, GRUNTS) (PANTS) (GASPS) - (HUMS TUNE) - (GRUNTS, GASPS) - Erica isn't here, dear. But thank goodness... ECHOES: 'I am. 'It seems you forgot to pack. 'Now, which shoes would you like to bring?' (DRAMATIC MUSIC) Sir, can you help me? My niece, she's very ill. - Sure. Sure. I'll grab her. - (GRUNTS) - Thank you. I'm gonna put you right to bed when we get home. (MUSIC CONTINUES) (MUSIC CONTINUES) - (GASPS) (GRUNTS, PANTS) (GRUNTS) - Here we are. Toys for you to play with. Even if you don't deserve them, telling me one big lie like that. But we'll have our little holiday. Here. Hm? - (GASPS) (ST VINCENT'S 'THE STRANGERS') - # You showed up with a black eye, # looking to go start a fight (MICROWAVE DINGS) - # Paint the black hole blacker. - # Playboys under your mattress, # like I wouldn't notice. - # Paint the black hole blacker. # Paint the black hole blacker. # (MUSIC STOPS) - Erica? - Shouldn't you be packing? - Yeah. Yeah, right. (INAUDIBLE) (MICROWAVE DINGS) Daddy's here. Is he afraid to come up? - I don't know. Maybe. Kinda been on his case a lot lately. - Give him a chance. He loves you. Oh, I'm gonna miss you. You OK? - I don't know. - I love you, but you gotta go. Call me. - I will. - Send pictures, OK? - OK. (TENSE MUSIC) (ELEVATOR RUMBLES) (PRESSES BUTTON REPEATEDLY) (RUMBLING GETS LOUDER) What the hell? (CONTINUES PRESSING BUTTON) (METAL CREAKS, GLASS SHATTERS, ELECTRICITY CRACKLES) - Oh my God! Help! Oh my God! - No! No! Ah! Oh my God! Help! Please! Oh my God! (SCREAMS) Help me! (GROANS SOFTLY) (TOY SQUEAKS) What? (TOY CHATTERS, TOY SQUEAKS) - (THUD) - (GRUNTS) (THUDS) Huh? (THUDS, WHIMPERS) (PANTS, CONTINUES THUDDING) Help me! Please. No! Please let me out! Please let me go! No! No! No! Please, somebody help me! (PANTS) - This is the bed of lies. You were not even packed. - (SOBS) - You were not going anywhere, were you? - Please. - Just trying to get rid of Greta. - Please. (GASPS) Please don't close it! Don't close it! Don't close it! Don't close it. Please don't close it. - You want out? Come on, then. Just like Nicola. Can't make up your mind. (UNSETTLING MUSIC) - (WHIMPERS) (DOOR CLOSES, LOCKS) (SOBS) (PIANO PLAYS LISZT'S 'LIEBESTRAUM NO. 3') (BREATHES SHAKILY) (PANTS) Come on. Come on. Please. (DOOR RATTLES) God, let me out! Let me out! No. (MUFFLED BANGING UNDER MUSIC) (MUSIC STOPS, BANGING CONTINUES) (MUSIC RESUMES) - (SOBS) God. (PANTS) (WHIMPERS) What? What did you do to her?! (MUSIC CONTINUES LOUDLY) (SCREAMS) Where is she?! (SOBS) (CONTINUES SOBBING) Please. (SOBS) Please. (MUSIC STOPS) (MUSIC STOPS) * (WOMAN SPEAKS INDISTINCTLY) - Frances? I've been going through some old photos. You remember that place we rented in Martha's Vineyard? God, I hate voicemails. Just call me, will you? (SONG PLAYS THROUGH PHONE) - # Salt sticks to your skin. - Oh. How sweet. - (SPEAKS INDISTINCTLY) - (SONG CONTINUES) (CELL PHONE CHIMES) - 5.63 metres. - # Bless our foolish hearts. # How could we know? # How could we have known? - I got three 'X's. - WOMAN: What was that? - My daughter, uh... She's on vacation with a friend. - # In this quiet place. (CELL PHONE CHIMES) - # I'm hiding # in your warm embrace. # I'm lost # in this quiet place. # I'm hiding # in your warm embrace. # Never-ending blue. - Frances... Thanks for that text. It meant so much to me. Like some kind of horrible cloud had lifted. When you come back, let's sit down and talk. We've both been through a lot, but... I won't lose you. - # I'm lost # in this quiet place. # I'm hiding # in your warm embrace. # (CELL PHONE DIALS) (DIAL TONE) - Frances, I'm coming into the city. You must be back by now. Call me back. - ERICA: Yeah, I'll buzz you in. - GRETA: Are you ready for your lesson? - So you're back. - From where? - From wherever it is you went. Is she inside? - No, she went on vacation with you. - No, with you. (DOOR OPENS) - Don't cry, angyalom. - (WHIMPERS) - We all make mistakes now and then. Come on. - (PLAYS NOTES) - Good. One more time. - (PLAYS NOTES) - No! C. Pinkie on the C. Kisujj. Go ahead. - MAN: There was a nurse Hideg dismissed from Bellevue Hospital for misuse of anaesthetics. No criminal record. Could it be her? - I never met the woman. - She reportedly returned to Hungary, left no forwarding address. The files show` - Just find her, Mr Cody, whatever it costs. - 250 a day, plus expenses. - Drink up now. Please. Angyalom. We don't want the box again, do we? (UNSETTLING MUSIC) You needed that to sleep. Alszik a baba. (HUMS MELODY) (CLASSICAL FRENCH MUSIC PLAYS) - Mezeskalacs. Repeat after me. Mezeskalacs. - Mezeskalacs. - No. Mezesk-kalacs. You have to be longer on the mezeskalacs. - Mezeskalacs. - One more time. Mezeskalacs. - Mezeskalacs. - Good. Learning. You probably call them cookies. Although... Although the honey in the dough could make it... how do you say? Ragados. - I bet that means sticky. - (SCREAMS) My kisujj! (SCREAMS) - (GRUNTS) - (SCREAMS) (DRAMATIC MUSIC) (DOOR RATTLES) - (PANTS) (GLASS SHATTERS) (GLASS CRUNCHES UNDERFOOT) (DOOR RATTLES) (MUSIC CONTINUES) (CHAIN RATTLES) No. OK. OK. OK. (MUSIC FADES) (RUSTLING) Oh my God. Samantha? (UNZIPS BAG) - (GASPS) - I could use some too, my darling, but you first. (MUFFLED GASPING) (PIANO MUSIC) Ay, ay, ay. Ez tenyleg faj. (GRUNTS) (SIGHS) (HISSES IN PAIN) (SPEAKS HUNGARIAN) (MUSIC CONTINUES) (WATER SLOSHING) A lady is known... by her shoes and her gloves. - (GRUNTS SOFTLY) - And we are nothing if not ladies. - (GROANS) She's still alive. - Forget about her, angyalom. She's in Heaven now. You are the only one. - (GROANS) - What a pair we are, hmm? - (GROANS) - But we can do better. - (GRUNTS) - Can't we? - (GROANS) - My darling. * (INDISTINCT CHATTER, LAUGHTER) (DOORBELL RINGS) - (BREATHES HEAVILY) (GROANS) (FOOTSTEPS ECHO ON STAIRS) - Can I help you? - I'm looking for a Greta Hideg. - And? - I was told she lives here. - She does. If you can call it living. Sorry. It was meant to be amusing. - It was amusing. - Are you a roofer? A chimney sweep? I'm looking for any information... - Don't tell me you're from the IRS. - ...on Frances McCullen. Do you know her? - Yes. Yes, I know her. I haven't seen her in a while. - Well, I'm a family friend, and they haven't heard from her either. - Oh, really? Would you like to come in? - Sure. - MUFFLED: 'She went on holiday with her father, I believe.' - 'No, she didn't. That's the reason I'm here.' - 'Oh dear.' (CONVERSATION CONTINUES INDISTINCTLY) I don't get many visitors here. Excuse the clutter. - You're going away? - Now, are you sure you're not from the IRS? - No, I'm not from the IRS. - They are the only certainties, aren't they? Death and taxes. Now, who said that? - I believe it was Benjamin Franklin. - But you didn't come all this way to talk about taxes, did you? - No. Frances McCullen. 'You were friends, weren't you?' (CONVERSATION CONTINUES INDISTINCTLY) - (SHOUTS) - We were acquainted for a while, and then she went away. Poof. Not a word. But that's young people for you. They have their own lives to lead. Please, take a seat. - Thank you. (MUFFLED BANGING) - (WHIMPERS) - (RESTRAINTS RATTLE) (BANGING CONTINUES) - Chopin. I love Chopin. Don't you? (BANGING CONTINUES, CHOPIN'S 'MINUTE WALTZ' PLAYS) (MUSIC PLAYS LOUDER) I like it when it fills the room. She helped me choose Morton. - Morton? - Morton, my guard dog. Who, by the way, hasn't been fed for... I don't know how long now. Forgive me. (BANGING CONTINUES) - Morton, be quiet! (BANGING CONTINUES) - Morton, please, will you keep quiet? Morton? Morton? - (SOBS) (BANGING CONTINUES, METRONOME TICKS) - Morton? Stop that banging. (MUSIC, BANGING, AND METRONOME CONTINUE) - (YELLS) (WHIMPERS) (DOOR RATTLES) (YELLS) - (GROANS) (DRAMATIC MUSIC) - IRS? Are you sure? Maybe Homeland Security? - You psycho. We have places for people like you. - But all my papers are in order. I'm a naturalised citizen. - She's in there, isn't she? - She's having a nap, like you will have in 20 seconds or so. - (GROANS) (PANTS) I'm taking her with me. - Are you sure? - Help me! - You don't look too good. (GUNSHOT) - You missed. (GUNSHOT) - (SCREAMS) - Missed again. - (GROANS) - (GUNSHOT) - (SCREAMS) - Ooh. - (GRUNTS) - (WHIMPERS) (DRAMATIC MUSIC STOPS) (WHIMPERS) ('MINUTE WALTZ' CONTINUES) - Do you have children? No? A pity. No one to miss you. (GUNSHOTS) (SCREAMS, PANTS) ('MINUTE WALTZ' ENDS) (SOBS) (JULIE LONDON'S 'WHERE ARE YOU') (DOOR OPENS) - # Where are you? # Where have you gone # without me? - What a mess. What a dreadful, terrible mess. The bags, you see, were the perfect solution. Who would believe a simple green leather handbag would solve an eternity of loneliness? Endlessly recycled through lost and found. 'If found, please... 'return to...' Oh, yes, they brought company. The company was nice for a while, but everything has its end, doesn't it? - # Goodbye, love. - Even company. - (GRUNTS) - # What had we to gain? # When I # gave you my love, # was it all in vain? # All life through, # must I go on pretending? # Where is my # happy ending? # Where are you? # Where are you? # Where are you? # Where # are you? # - (GRUNTS SOFTLY) (DOORBELL RINGS) (INDISTINCT MUFFLED CONVERSATION) - GRETA, MUFFLED: 'You brought it all the way...' - YOUNG WOMAN, MUFFLED: 'No. No, that's OK.' - 'Would you come in for a cup of coffee?' - 'I'm sorry.' (CONVERSATION CONTINUES INDISTINCTLY) 'Your apartment is so pretty.' - 'Oh, thank you. Here. Sit down.' (UNSETTLING MUSIC) 'I can't place your accent.' - 'I'm from Texas.' - Mezeskalacs. I made them myself. Have one. - Thank you. - (WHIMPERS) 'So, what brings you to New York?' - (GRUNTS, WHIMPERS) - (BANGING) - Oh, how exciting. - (BANGING CONTINUES) - I'm trying to be a model. - (METRONOME TICKS) - The neighbours. I'm sorry. Remodelling. - (GRUNTS) - (BANGING CONTINUES) (MUFFLED BANGING) (YELLS) - 'A little courtesy, please! A little quiet!' Thank you! I'd swear they are building an ark. - (CHUCKLES) - (PANTS) - 'So, tell me...' how does one become a model? - Well, you get an agent. Actually, first you get a portfolio, then an agent. - 'Clumsy.' Uh, I'll get a towel. (TENSE MUSIC) (CLATTERING) - Are you OK? - I... I feel so strange all of a sudden. - What kind of strange? - (GROANS) - Do you... Do you think that maybe you've been drugged? Think that happened to a friend of mine once. The hours and hours I searched the goddamn subway for that bag. So, what happens now? - (GRUNTS) - 'You play me the piano, talk about Liszt...' and Liebestraum, right? - (GRUNTS WEAKLY) - Oh no. You're overdosing. Yeah, that's what a bunch of roofies in your coffee will do to you. You need a doctor. 'And I need my friend.' - (SCREAMS) - 'Where is she?' - (BANGING) - (GROANS) - Frances?! - (SCREAMS) (DRAMATIC MUSIC) - Frances! - (CONTINUES SCREAMING) (MUFFLED BANGING) (METRONOME TICKS) - Oh my God. - (SOBS) - (LOCKS CLICK) (MOMENTOUS MUSIC) (CONTINUES SOBBING) Please. - I got it. Let's go. Get that one, OK? Are you gonna be able to walk? - WHIMPERS: I don't know. - Hold on to me, OK? - (PANTS) - Come on. Come on. ('LIEBESTRAUM NO. 3' PLAYS) - No! No! No! No! No! No! No, no, no! Erica, no! Erica, don't go! - I have to, OK? - Don't go! Don't go! Don't go! No, it's her! - I have to go look. - It's her! She's gonna hurt you! She... (HYPERVENTILLATES) (MUSIC CONTINUES PLAYING, METRONOME TICKS) - She's not here. (NEEDLE SCRATCHES, MUSIC STOPS) It's just a record. (METRONOME CONTINUES TICKING) (PANTS) How the hell did she...? - (BREATHES SHAKILY) (SCREAMS) - You were... the one. - Stop! Get off of me! - (GROANS) - (PANTS) No. No. No, don't do it. I have a better idea. (LISZT'S 'HUNGARIAN RHAPSODY NO. 2' PLAYS) - How do I lock this? - You could try with this. (GRUNTS) What do we do now? - We call the cops. - What do we tell them? - That there's a psychopath asleep in an old painted box. (BOTH CHUCKLE) (MUSIC CONTINUES PLAYING) - How long have I been here? - Too long. - I need to get some air. - OK. (SNIFFLES) Let's go. - I need to call my dad. (MUSIC CONTINUES PLAYING) (THUD) (THUD) (THUD) (REPEATED THUDDING) (DRAMATIC MUSIC BUILDS) Captions by Able. Captions were made with support from NZ On Air. www.able.co.nz Copyright Able 2021