The Fall (1999) - full transcript

[sinister music]

[panting]

[suspenseful music]

[horn blaring]

[suspenseful music]

[panting]

[grunting with effort]

[shattering]

[grunting with effort]

[panting]

[dog barking in distance]



ADAM (VOICEOVER):
She was crying again.

Strange, inhuman sounds.

He remembered a time as a child
when he was woken by his cat

killing a mouse in the room.

Its screams had sliced
into his dreams.

Monstrous, irrevocable.

[keyboard clacking]

That's what it
was like with her.

Hearing her suffer was like that
scream back again, constant,

making him mad.

Mad.

Mad.

[indistinct chatter on tv]

[siren wailing]



[indistinct chatter on tv]

How's it going?

Oh, hey.

It's, uh-- it's
pretty, uh, good.

Do you want some coffee?

Yeah, why not.

Kay.

You were out kind
of late last night.

Yeah.

We had a lot of stuff to
get ready for this morning.

Contracts and then
Kovacss has got dinner.

And you know how that goes.

Yeah.

Well, I need to
call the office.

[phone dialing]

Hi, John.

It's Lisa.

Please tell me that
Stan's arrived.

Great.

Let me speak to Clara.

Clara, we seem to have
a communication problem.

[somber music]

Hi, this is Lisa.

How are you?

No, I just can't believe
you're in already.

You were really late last night.

You're incredible.

No, I just--

I took another look
at this clause seven.

The language is a little
weak, but it actually

works to our advantage.

So I think we should forget it.

And I changed the
champagne order to Belange.

No, I had never even
heard of the stuff

that the caterers had ordered.

(LAUGHING) I know.

Thank you.

And you.

So I will, um--

I'll talk to you shortly.

OK, bye.

So is God Kovacs
pleased with you?

Don't call him that, Adam.

You know, I'm sorry if my
admiration for him offends you,

but he's a very impressive guy.

This press launch is gonna be
a major event, which is great,

but I'm really nervous
about my speech.

Yeah, I know.
I used to do them all the time.

But you know what?

What?

You're gonna be great.

Adam.

Hm?

Adam.

I-- I, um-- I have some
things I need to do.

Well, I have some things
that I need to do, too.

Come on.

No, I do.

[phone ringing]

I gotta--

No, no.

I have to do this.

Hello?

Yes, this is she.

OK, um-- no, just--

it'd be a lot easier if
you just put me on it, OK?

[somber music]

[siren wailing in distance]

So what are you gonna do today?

Lisa, I'm writing, OK?

Did you get a chance to
think about that position

at Kovacs's firm?

Yes, and I don't want it.

You don't want it.

OK.

Wouldn't it be better if you
met him before you decide?

Look, I don't
want to end up some

pale-faced jerk in
an office making

big bucks for some asshole, OK?

Is that what you think I am?

That's not what I said.

LISA: Thank you.

That's exactly what you said.

It's good to know you're
so quick to judge people.

Maybe that's what I should
have done instead of sticking

by you for the past year.

I won't make that mistake again.

Have a nice fucking day.

[ethereal music]

[siren wailing]

[tires screeching]

[distant scream]

[horn blaring]

[indistinct chatter over radio]

[panting]

[banging on door]

Who's there?

[banging on door]

One second.

[screaming]

Whoa, whoa, whoa!

Whoa!

Hey.

Shit.

[ominous music]

[murmuring indistinctly]

[sinister music]

[phone dialing]

[line ringing]

Hello?

Is this police?

Police.

Does anybody there
speak English?

English.

I don't understand.

English!

Does anybody speak English?

No.

Never-- never mind.

Never mind.

[phone dialing]

[line ringing]

[sinister music]

OK, well could you
tell her that, um--

tell her that I called.

And ask her to give
me a call back,

because it's pretty important.

Yeah.

OK, thanks.

Goodbye.

You are American?

Are you on holiday?

What's your name?

Oh, you don't
want to answer me.

You're afraid of the
strange woman in your house.

Well, I'd actually
feel a lot better if I

knew what the knife was about.

You have called the police.

You are keeping
me here for them.

Maybe.

My knife.

No.

Give me my knife.

I will leave.

Look, you're obviously
in a lot of trouble.

Maybe I can help you.

Thank you.

Where-- where are you going?

Excuse me, listen,
you can't just barge

into my apartment like that.

Hello?

What kind of trouble
are you in, anyway?

Who's Katalin?

Katy.

She's here?

Where is she?

No, no, you said the
name Katalin in your sleep.

Oh.

Who is she?

Katy.

Katy, my friend.

I was just protecting myself.

Protecting
yourself against who?

There was a man who--

I can't.

I can't.

Hey, it's OK.

Just calm down, OK?

It's all right.

We'll, uh-- we'll
talk about it later.

You want to get cleaned
up or something?

Yeah.

I should telephone my friend.

May I?

Yeah.

Thank you.

Can I have some coffee?

[phone dialing]

Yeah.

[line ringing]

[phone clicks off]

[non-english speech]

I know.

She could be anywhere.

Yes.

Yes, yes.

OK.

OK, where would I find one?

OK.

[ominous music]

Hello?

[ominous music]

[cat screeching]

Geez.

Shoot, Millie.

[breathing heavily]

The bed should
be the other way.

Ours was on this wall.

It was better.

You used to live here?

Three years ago.

With Barnabas.

Is that your boyfriend?

My husband.

Your hu-- so you're married?

He's gone.

You like cats?

Yeah, they're all right.

Why?

Men do not usually like cats.

They remind them of women.

Well, uh, I like women.

Men only like women
to gain control.

You cannot control a cat.

Barnabas, my husband,
you remind me of him.

Are you married?

No.

But you have a girlfriend.

Do you love her?

I thought I was asking
the questions here.

Why?

Because you're a man?

No, because you burst
into my apartment,

uh, hysterical with a bloody
knife strapped to you.

Oh, you don't want to tell me.

I wonder why.

Did you get a hold
of your friend yet?

There was no answer.

You want me to leave.

You are afraid of me.

Should I be?

Would you like to have a coffee?

I'd rather shower first.

Oof, Holven, um,
contract, Clara.

[non-english speech]

[non-english speech]

I want that contract on
my desk in 10 minutes.

Do you understand?

Yes.

How is Wonder Woman?

Coping.

Just.

Your wife called.

Did you get the message?

Oh, well, he'll have to wait.

And it won't be
important anyway.

And do I detect some
discord in the camp?

Do we have a gossip situation?

You mind your own
business, Nosy Parker.

Well, the truth will out.

Now, may I escort you
to the conference room?

You know, our major client won't
even fart until you get there.

[chuckling]

[siren wailing in distance]

[gentle music]

[siren wailing in distance]

[gentle music]

You're a writer.

[exhales sharply]

Yeah.

Barnabas was an artist also.

Oh.
[clearing throat]

What have you written?

This is actually my, uh--

my, uh-- my first.

I, uh-- I just got started.

I-- I used to be an attorney.

Actually, a prosecutor
in New York.

But, um--

But what?

Well, just didn't quite
turn out like I planned.

I, uh, got
disillusioned, I guess.

Everybody just seemed to
be interested in winning,

and nobody seemed to care who
was guilty or who was innocent.

And, uh, just not like what
I thought it was gonna be.

So what is your book?

Oh, it's, um--

it's about a woman who gets
framed and a guy saves her.

But it's actually a
play on fear, really?

How he saves her?

How?

He saves her.

Oh, uh, it's kind
of complicated,

but, um, he tracks down
the, uh, criminals,

and he nails them, in the end.

And who does the fear?

It is him, or her?

They both do.

Oh.

And to write this, Adam, you
know what is it to feel fear.

Oh, well, yeah.

I mean, you know, I've never
been shit-in-the-pants scared,

but I, uh, you know, I
can imagine that, uh--

Oh, you can imagine it.

You can imagine to
be so scared that

you cannot breathe anymore?

Fear so much that your heart
beats as if it will explode.

Like when you make love.

Um, I'm not sure that--

Shh.

[jazz music]

Close your eyes.

Close your eyes.

[jazz music]

[telephone ringing]

Yeah?

Adam, please don't say yeah
when you answer the phone,

say hello.

It might be somebody important.

Yeah.

Look, I'm really crazed here,
so I've only got a minute.

What's the problem?
- There's no problem.

LISA (ON PHONE): Well,
then why did you call?

Why do you assume
that just because I

called there's a problem.

LISA (ON PHONE): Have you
screwed up with the plumber?

Something else.

I'm gonna answer the phone
how in the hell I like.

I'm not one of your
fucking minions,

so don't treat me like one.

No, I was gonna call
to wish you a nice day,

but I don't think I'm gonna now.

Oh, god, Adam, listen.

I'm-- I'm sorry, OK?

I'm just really stressed
and, uh, I got in late,

and there was some
kind of, I don't know,

stabbing or something
near the metro.

And there's a million things
for me to do here right now.

Which metro?

The one near us?
- Yeah.

I think some guy
was dead, actually.

There was a lot of blood
and everything around.

And anyway, I had to take a cab.

Do they know who did it?

LISA (ON PHONE):
Some wacko, I guess.

Adam, are you there?

ADAM (ON PHONE): Yeah.

Is there something wrong?

Uh, no, I'm fine.

LISA (ON PHONE): Adam?

I said I'm fine.

OK.

I'll talk to you later.

Goodbye.

Problem?

Well, no.

Not a professional one, anyway.

Oh.

Adam.

Yeah.

Our guests will be arriving.

[faint grunting, moaning]

You have satellite.

Yeah.

I have some popcorn, too.

You want some?

Oh, yes, please.

She's pretty, don't you think?

Usually, they're
ugly, but she's nice.

Ooh, yeah.

Ooh, yeah.

[moaning]

That was Lisa on the phone.

I know.

She said there was a stabbing
near the metro this morning.

And you think I did it?

Well, you have a
knife with blood on it.

Then you're right.

I'm a murderer.

Look, I don't know where
you're going with this game,

but, uh, I'm not
playing anymore.

OK?

Why not?

You liked playing games before.

I saw it excited you.

So what does excite you, Adam?

You like to watch
me caress myself?

Shall I make myself
come for you?

I don't think we
were talking about me.

Oh, I think we should.

Before I trust you.

Perhaps you can show
what is in your heart.

So I should know
whether to run again.

So what do you like?

You like to make love to Lisa?

Sex with emotions?

You on top, or underneath?

You like to do it in
bed, or somewhere else?

Being tied up, blindfolded?

The door's this way.

No.

What do you want?

Two women together?

Two naked women and they
are touching each other

and they want you?

Is that it?

All men like this fantasy.

You think about another
man fucking Lisa,

and you're watching
and touching yourself

while she begs him for more.

Is that it?

You think about rape.

Oh, no, that is
usually for woman.

That's fine.

I'm calling the police.

You have fantasies
in your book?

Tell me your fantasies.

The bad man bends a
girl over his desk,

and forces himself
inside of her.

- Just--
- Come come.

You're fucking
crazy, aren't you?

- So tell me.
- Hello?

Yeah.

Does anybody there
speak English?

What you really want--

The fuck is wrong with you?

Tell me your fantasies.

You're shy, or you're afraid
of what you really want,

because it's not nice.
- Give me the--

Because it's dark, not
nice for an American.

Is that it?

What the fuck is
wrong with you, huh?

You come into my fucking
house, you fuck with me,

you come onto me.

I'm a nice guy, and you
keep giving me shit.

Come on, Adam.

I know you want to fuck me.

Oh, you're so fucking wrong.

No, that's why
you let me stay.

You think I'm a murderer,
but you let me stay

because you want to fuck me.

That's a bunch of bullshit.

You flatter yourself.

No, I just know men.

Oh.

If I wanted to fuck you,
I'd have done it by now.

And if I wanted to kill you,
I would have done it by now.

I'm sorry.

If you don't level with
me, I can't help you.

You know the coffeehouse
near the theater?

I used to work there.

I was 18.

I liked it.

I was already
married to Barnabas.

And Katalin-- Katy's
our little girl.

She was one.

Barnabas!

We lived with his parents
and his little sister, Anna.

It was a big squash.

I didn't mind, but Barnabas
always talked about having

something on our own.

But it was impossible.

We couldn't afford to pay this.

Barnabas, take it.

Barnabas was an
electrical technician,

but he was really a musician.

He had big dreams.

He wanted to go to America.

There was a man
who came every day

and always sat at my tables.

Many people did not
like him because he

had been a big communist.

I thought he was nice.

His name was Jozsef.

He was a businessman,
and made some money.

Some of the women did not
like me talking to him.

They said he was
only rich because he

had stolen from the people.

They said behind every
fortune is a crime.

[music playing]

I ignored them, and Jozsef
and I became friends.

Jozsef's wife, Elsabet,
had died a year before.

She cut her wrist
on his birthday.

She said no one liked her
because of him, because he

had been a big communist.

[music playing]

Barnabas lost his job.

I loved him so much,
but it was difficult.

All we did now was argue.

Barnabas.

Jozsef said I looked
tired and was too thin.

I was working too hard.

I told him about Barnabas.

He had property now,
and asked many times

if we would like an apartment.

I told him we couldn't pay for
it, but he said he didn't want.

It was a present.

I always said no.

But at the end, I accepted.

[music playing]

Barnabas was very angry with me.

He didn't trust Jozsef.

I thought he was being silly.

I persuaded him it
would be all right.

And we moved in here.

[music playing over headphones]

Jozsef said Barnabas
was no good.

He became angry and jealous.

He said that I was
really in love with him,

with Jozsef, that it was
us who should be together.

I told him he was mad.

I loved Barnabas.

But Jozsef wouldn't listen.

I told him I couldn't
see him again.

He could have the
apartment back.

But he said to keep
it, and he left.

[music playing]

Everything was good again.

[music playing]

[shutter clicking]

[music playing]

[shutter clicking]

Then one night, Jozsef
came here with another man.

He walked right in.

He said we had to leave.

[grunting]

Stop it!

Stop!

Stop it!

[grunting]

Stop it!

[grunting]

[shrieking]

Get off me!

Get out!

[clattering]

He made us get in a car.

I can remember like a
film running in my mind.

I could smell it.

[music playing]

Barnabas was in front.

Halfway across the river--

Zoltann pulled his head
back and cut his throat.

Jozsef held me and beat me.

He did what he want.

I spit and I screamed at
him, but he just laughed.

And then he raped me.

I wished I could die.

But he had my little daughter.

[music playing]

Yesterday, I hit a woman who
brought food and took a key.

Katy and I escaped it,
but were separated.

I made her learn this address.

She will come here.

I killed the man in
the metro this morning,

but there are men after us.

You still want to help me, Adam?

[siren wailing]

Hello?

[non-english speech]

Lisa, how's everything?

[music playing]

[non-english speech]

Excuse me.

Lazlo, nice to see you.

Smile for the camera.

Hello.
- How you doing?

Good.

I'd like you to
meet Peter Dabos.

- Peter.
- Peter.

Lisa.

Hey, everything's
going to be fine.

I'll see you after.

[music playing]

ADAM: Marta, you gotta
go to the police.

This is rape, this is murder.

I mean, this is a
major felony here.

We've gotta get this guy.

What about the, uh,
the guy on the metro?

I mean, are you
sure that he's dead?

Are you sure that
you killed him?

Yeah.

OK OK, but he was
chasing you, right?

OK, OK.

What about weapons,
was he armed?

I don't know.
Yeah, I think so.

OK, see, that's good.

That's self-defense.

What about, uh, witnesses?

Were there any witnesses?

No.

Yeah, the other guy.

Just don't worry about him.

The night that Barnabas was
killed, was anybody there?

I don't know.

Adam, this is not America.

It is wrong so we'll punish him.

We don't have some justice here.

Well, no, but you have
a legal system here.

I mean, there must
be some proof.

Yeah, I report to the police.

Hello, Mr. Policeman, an
important man raped me,

and I would like
you to arrest him.

What would they do?

Most police are corrupted here.

He will pay them
to not believe me.

And even if they do, they
will ask me for evidence.

And I have nothing.

Mr. Minister, Mr. Mayor,
ladies and gentlemen,

I am delighted to
welcome you to the launch

of what will become the
Budapest International Hotel.

Well, they must know
that Barnabas is missing.

Yeah, they will have found
his body and think I killed him.

I can do nothing against Jozsef.

They'll believe you if
the case is strong enough.

I mean, who is this guy
that he's so untouchable?

Adam, don't you
even know whose

building you are living in?

It's Jozsef Kovacs.

[cheering and applause]

Mr. Jozsef Kovacs.

[applause]

Thanks very much, Lisa.

Thanks.

Thank you, thank you.

Thank you.

[applause]

Thank you.

Thank you.

Today marks a
great step forwards

in the redevelopment of
Budapest into the world city

that it once was.

[phone ringing]

Overcoming considerable odds--

Jozsef Kovacs's office.

I'm sorry?

He's not available right now.

He's in the middle
of making a speech.

Say Benedict telephoned.

Tell him still
nothing, I call later.

Benedict says still nothing.

And he'll know what that means?

OK, thank you.

Bye.

[music playing]

[distant applause]

[music playing]

--and the Budapest
International Hotel

is the jewel in that crown.

[cheering and applause]

Ladies and gentlemen,
we welcome the world

to our city, Budapest.

We are moving forward
into the 21st century.

[cheering and applause]

I now invite the mayor,
the minister of culture,

and Reese Cavanaugh
from Goldman Sachs

to join with me in launching
this momentous project.

Lisa, please.

Come on.

Come up.

[applause]

Thank you.

ADAM: So why would
he want to hurt you?

Because it excited him.

I don't know, Adam.

You're a man.

You tell me.

ADAM: Lisa fucking idolizes him.

So does the whole city.

He's their big hope.

Yeah, well, maybe we
should go to the press.

On the day he announces
his fucking monument.

Now that would be a story.

And if he still has Katy?

Then he would kill her.

Maybe I could,
um-- maybe I could go

to him and try to make a deal.

What kind of a deal could
you make with this guy?

If you got near him,
they would kill you.

We can do nothing but wait.

Hey.

Hey, porta!

[non-english speech]

[door buzzing]

[dog barking]

[non-english speech]

[non-english speech]

I am looking for a girl.
24.

Blonde.
Pretty.

Oh, yeah.

I'll get you a sexy blonde.

I think she used to live here.

Look at the picture.

Oh, nice.

Have you seen her?

Maybe.

Maybe no.

Try to remember.

Her name is Marta.

She escaped yesterday
from hospital.

She killed a man this morning.

Now, I know she has been
at the coffee house,

and I thought maybe
she came in here.

So, you want to talk?

You know, when I was
there, in that room,

every day I dreamed
to be outside.

But now, there is
nowhere I can go.

No one can help me.

[music playing]

I'm not sure this
is a good idea.

Please.

I need to feel something else.

Not pain.

[music playing]

Come here.

[music playing]

Have you reached Benedict

Mobile's not responding.

Where the hell is he?

I don't know.

[music playing]

You OK?

Yeah.

No.
No.

But I have been out all day.

You should ask my mother.

Come in, please.

Eva.

Eva.

Eva, the policeman's here.

Have you seen this girl today?

Thank you.

How many other apartments
in this building are occupied?

There are about
six of us left now.

They are redeveloping
the building.

Shall I write down
the numbers for You

Yes, thank you.

They want to locate us
to a lovely apartment.

But my mother won't go.

When I am dead, you may
do as you please, Hedwig.

But I'll not be thrown out
of my home by the communist.

Kovacs used to be
a communist, yes,

but now he's doing very
good things for the city.

He gives milk money
to the schools.

Milk money.

Milk money.

Well, Gisele wouldn't
have had it otherwise.

Gisele is my daughter.

She's so pretty.

Such a sweet girl.

Gisele.

Gisele.

She used to live here.

And we thought she
may have come back.

We can't help you.

Well, she didn't see anything.

Maybe she's not here after all.

It would be silly to come
somewhere so obvious.

Are you sure you can't help?

Ah, that's a very fine watch.

I had no idea policemen were
paid so well these days.

We didn't see anyone.

Good day, officer.

[music playing]

Hey.

Hey.

You don't have any champagne.

Oh my god.

Could you come over here?

We can't have you dry
at your own party.

Thank you, but no.

I need a clear head today.

Oh.

OK.

You must drink it for me.

You deserve to celebrate.
- All right.

Thank you.

Thanks.

I couldn't have done
this without you, Lisa.

You must allow me to buy you
dinner soon, as a thank you.

That would be really--
that'd be lovely.

You didn't bring
your boyfriend.

Andrew, is it?

Oh, Adam.

Adam Ellis.

Oh, yeah, well, I didn't
think it would be appropriate,

you know?

You haven't, uh-- have
you seen Bradley anywhere?

No.
Is there a problem?

No, no, I was just--

I'm just trying to find him.

Will you excuse me, Lisa?

OK.

[distant music]

It's possible he
didn't understand

anything that I was saying.

Hey.

[laughing]

Oh, I'm sorry.

How was I?

Did the girl done good?

Very good, Lisa.
Congratulations.

Aw, thank you.

So, have I, um--
have I finally earned

a dinner date with the
sexiest man at Price Naiman?

Well, that's a-- it's--

it's a nice idea, but I'm
sure Clara would, um--

Do you understand?

[laughing]

Yeah.

[clearing throat]

Yeah.

[banging]

[ominous music]

[door buzzer]

Don't go.

It's him.

[door buzzer]

What if it's Katy?

Katy?

[door buzzer]

No.

No, no.

Shh.

Who's there?

[non-english speech]

Police.

[non-english speech]

You order a prima?

Yeah.

Right that way.

[non-english speech]

Yeah, American.

That's right.

[non-english speech]

Yeah, big people.

OK.

OK, OK.

I'm looking for a girl.

Aren't we all.

You like them?

Uh, he lives opposite.

He sometimes
watches us dressing.

He's American.

So, have you seen her?

So?

She's a prostitute.

No.

No?

The concierge.

She has a little
business on the side.

Sorry.

I don't know her.

Where you go?

I'm looking for this girl.

You OK?

I'm stupid.

She's nine years old.

How would she come here?

Although she has a--

I'm gonna call Lisa.

- No.
- She has connections.

She'll know what to do.

No, she will tell the police.
No, you don't call her.

I don't want.

Look, we gotta do something.

Phone's dead.

This snap.

[ominous music]

It's him.
The man.

Joszef's man.

He's here.

[suspenseful music]

Are you sure that's him?

Are you absolutely
sure that that's him?

Yeah, it's him.

You're afraid.
I should leave.

I'm not afraid, OK?

I'm just trying to figure
things out here, all right?

Maybe I should talk to him.

You're crazy.
No.

No.

- He doesn't know me, OK?
- No.

Maybe I can find
out where she is.

I have the advantage here.
What else are we gonna do?

What if he gets
to Katalin first?

What if she comes here?
- Oh, Katalin.

Gosh, I don't know.

Look, OK.

Just go to the cafe
across the street

and wait for me, all right?

But first change your clothes
so he doesn't recognize you.

Go.

Is that him?
- Yeah.

There might be others.

Here.

No.

Just go.

Adam, thank you.

[screaming]

[ominous music]

[shattering]

[energetic music]

[shouting]

Where is Marta?

[grunting]

Where is she?

Where is she?

[energetic music]

[grunting]

[gunshots]

I can't get through to Adam.

Men are all the same.

So, we like him
again now, do we?

Of course I like him.

Just been kind of
distracted lately.

I think I'm going to go home.

Is that OK?

I want to find out
if he's all right.

Can you cover for me?

You'll miss the
jelly, and ice cream.

I think I can handle it.

- Go on then.
- All right.

See ya.

[panting]

Who are you?

Where's Marta?

I got the gun now, pal.

I'm asking the questions.
OK?

Hey, I'm police.

I have identification.

I can see that here.

How do I know this is you?

Huh?

Maybe we should
call the precinct

and find out if they know you.

[non-english speech]

Marta is dangerous.

She's a killer.

You understand that?

I have to find her.

Did Kovacs send you?

Oy!

Where's Katalin?

Katalin-- I don't know.

You know what?

You better think.

Marta is mad.

And dangerous.

You understand?

It's really funny,
because that's exactly

what she says about Kovacs.

[non-english speech]

Kovacs-- Kovacs is a good man.

He loves Marta.

He loves her?

Oh, he's got a funny
way of showing it.

He, uh, kills her
husband, he rapes her,

beats her up, locks her up.
That's--

What?

He's a good man.

If that's your
idea of good, you've

got a pretty fucked moral code.

[non-english speech]

I don't understand what
the fuck you're saying!

He's her father.

- He's what?
- He's her father.

You're lying.

I don't buy that.

Kovacs is her father.

Whatever Marta
told you is a lie.

She's evil.

Right.

Telephone Kovacs.

He will tell you.

I can't use the telephone.

You cut the lines, remember?

Not me.

I didn't know where you were.

Use my phone.

It's in my pocket.

Number?

066-0400-849.

This is Jozsef
Kovacs speaking.

Who is this?

ADAM (ON PHONE): My
name's Adam Ellis.

Well, Mr. Ellis, if you
have something to say, say it.

ADAM (ON PHONE): Where's
Marta's daughter?

Where is she?

ADAM (ON PHONE): Look,
I'm not giving you a thing

until I get some answers, OK?

I got some idiot here
who says he knows you.

And I want to know what
the fuck is going on.

I'm not going to
bargain with you.

I want to speak to my daughter.

Well, Marta doesn't seem to
think that she's your daughter.

She says that you kidnapped her.

This is not your business.

ADAM (ON PHONE): Yeah,
well, it is now, OK?

She says that you
killed her husband,

and that you raped her.

JOZSEF (ON PHONE): My daughter
is a very sick young woman.

She tells lies.

ADAM: Well, she's
pretty convincing.

I'm not sure that she
could make all that up.

Did she tell you about
her husband, Barnabas?

It was him that beat her.

He hurt her.

Barnabas?

Well, that's not what she says.

From what she says,
she's crazy about him.

JOZSEF (ON PHONE):
Mr. Ellis, I'm

assuming you're a young man.

Maybe you haven't had much
experience of the world.

Sometimes women who are
unwell confuse love with pain.

They enjoy being hurt.

ADAM (ON PHONE):
So you killed him.

When I discovered he was
abusing my daughter, I--

I lost my temper.

I fought him.

Shortly afterwards, he left.

Marta blamed me.

She had a breakdown.

Lisa Warrington,
where does she live?

One of your apartments.

Find out for me.

Now!

Marta wants her daughter.

Do you know where she is?

Katalin?

Katy is dead.

I don't think Marta
meant to kill her.

She was hysterical.

She just wanted the
child to be quiet.

Listen to me, Adam.

You like Marta, don't you?

You wouldn't want
her to go to prison.

So tell me where she is, and
I can get her back unharmed.

Tell me, Adam, where is Marta?

Look--

Tell me where she is!

That was not very smart.

Well?

Hacklesood 4A.

Get her!

She left about 10 minutes ago.

Tell Schmidt to get the car.

I didn't even know
he had a daughter.

Did you?

[suspenseful music]

[screaming and commotion]

[whimpering]

[suspenseful music]

[muffled screaming]

[suspenseful music]

[screaming]

When I take my hand
away, don't make a sound.

Nice and quiet.

Give me the keys.

Stay right here, and
don't make a sound.

Understand?
Do you understand?

[ominous music]

[screaming]

[sobbing]

[suspenseful music]

[clattering]

[shoes squishing across floor]

[suspenseful music]

Put it down.

Please, put it--

[energetic music]

[clattering]

[indistinct chatter over radio]

[suspenseful music]

[shattering]

[ominous music]

[non-english speech]

[shattering]

[energetic music]

ADAM: Lisa!

Where's Lisa?

Marta.

Get the fuck away from her.

Get back!

It's all right, Adam.
It's all right.

She's fine.

She's just unconscious.

So you're Kovacs, huh?

Please, put the
gun away, Adam.

You don't need it.

Please.

What happened, Marta?

Which one of you did this?

Which one of you
did this to her?

He did.

[non-english speech]

What'd you say?

What the fuck did you say?

I asked her to stop lying.

It was you.

Where's my baby?

Where's Katalin?

Marta, Katalin is dead.

No.

No.

No, she's not dead.

Please, where is she?

Where's my baby?

He said you killed her.

Is that true?

No.

No.

Adam, no.

What have you done with her?

Please.

Where's my baby?

Marta, Katalin is dead.

Don't you remember?

You killed her.

You must remember that.

No, she's not dead.

She's not dead.

Where is she?

Marta, please.

Please come back.

Stay-- stay back.

Marta, please.

Please come back with me.

Don't move.

Come with me now.

Let's stop all this.

Marta, please.

I love you.

That's why you locked me up.

Because you love me.

[sobbing]

I just want my baby.

Please.

Give me back my baby.

Please.

You know I can't do that.

Look at you.

Marta, please.

Come home.

[whimpering and sobbing]

Katalin.

Katy?

Katy?

Come here.

Come to Mommy.

Come.

Oh, my baby.

Come.

Come here.

Katalin.

Come.

Come here.

[gunshots]

[shattering]

[somber music]

NEIGHBOR (IN
DISTANCE): Isabelle.

Isabelle.

Isabelle.

[somber music]

[siren wailing in distance]

[somber music]

This is Katalin's
grave, and my wife's.

People used to spit at her
on the street because of me.

You're going back to New York?

Yeah.

Flight's this evening.

What will you do?

Finish your book?

No, I don't think so.

I think I'm gonna
start a new one,

about a guy who
wants to be a hero

but messes up really badly.

I'm sorry.

Don't be too hard
on yourself, Adam.

Anyone can duel with words.

Firing a gun requires courage.

Commitment.

I'd do the same
to protect Marta.

How is she?

Undergoing treatment.

Do they think
she'll get any better?

Thank you.

[somber music]

I really wish you
weren't leaving, you know?

I've got some things
I've gotta take care of.

OK.

I gotta go back.

Well, I'll see you back there.

I'll see you in New York.

[music playing]

ADAM (VOICEOVER): She was crying
again, strange, inhuman sounds.

He remembered a time as a child
when he was woken by his cat

killing a mouse in the room.

Its screams had sliced into his
dreams, monstrous, irrevocable.

That's what it
was like with her.

Hearing her suffer was like
having that scream back again,

constant, irascible,
making him mad, mad, mad.

[music playing]