(slow orchestral music)
- Good morning!
- [Fisherman] Morning.
(slow music)
(dolphin squeals)
(dolphin clicks)
(slow music)
(dolphin squeals)
(slow music)
- You okay?
(slow music)
Charlotte!
Charlotte!
Charlotte, honey!
- [Charlotte] What happened?
- I found this girl on the beach.
- [Charlotte] Is she okay?
- I don't know, she seems to be.
Can you get me those towels, please?
- Okay.
- Let's get her on the bed.
(slow music)
All right.
You wanna put some towels down?
(slow music)
- She seems to be breathing all right.
- Call Dr. Singh.
- Should I call the police?
There may have been a boating
accident or something.
- [Michael] Fine.
(slow music)
(phone rings)
- [Charlotte] Did she wake up yet?
- Not since I found her.
- I called in search and rescue just
in case there's someone
else still out there.
- Thanks for coming.
- At least she has good
color, pulse is normal.
(mumbles) is clear, heartbeat
is passenger normal.
(slow music)
Pupils equal and reactive to light,
no apparent head trauma,
no fluid in her lungs.
That's unusual for someone
found in the ocean.
- Is this the dress you found her in?
- Yeah.
- No underwear?
- No.
- Not something you
usually go swimming in.
- Maybe she fell off a cruise ship.
You know, it happens all the time.
(slow music)
(dolphin squeals)
(slow music)
(dolphin squeals)
(slow music)
(woman gasps)
(slow music)
- Beautiful.
- That's my son at state finals last year.
That's my wife and daughter.
- Lucky.
- That's what I keep telling 'em.
Do you know where you are?
'Cause I found you on
the beach with a dolphin,
do you remember that?
(slow music)
- Do you have any water?
- Lots of water.
We were worried about you,
I thought you had a
concussion, how do you feel?
- I feel wonderful.
- Do you have a name?
- No, why don't you give me one?
- I can't do that, everybody's got a name.
- I don't.
You have to give me one, I need one,
something from here, I like it here.
- How about Morning?
- Morning?
- [Michael] It's when I found you.
- What's your name?
- Michael.
- Michael and Morning.
I like that.
(slow music)
What is that sweet smell?
- Chocolate cake.
(slow music)
Would you like some?
- Yes.
- I gotta warn you, it's addicting, voila.
Here you go.
(slow music)
So you don't remember anything?
- No.
Just
this place, you,
and this cake.
- How does it make you feel?
- Sweet.
(phone rings)
- It's the police, come
on in, I'll be right back.
(slow music)
- Good evening, Mr. Pace.
- Good evening, Constable
Crick, Officer Smith.
- We stopped by to get a photograph
and some fingerprints of the girl,
hopefully it'll help us
identify where she came from.
- Sure, come on in, she
actually just woke up.
- Did she say who she is?
- She seems to have some
sort of memory loss,
but she seems to be okay, Morning?
(slow music)
Morning, I want you
to meet Constable Crick and Officer Smith.
- [Morning] Hi.
- It's good to see you up and about.
- Thank you.
- Mr. Pace said you were having
trouble remembering things,
but you do remember your name, eh?
- It's just a name I gave her.
- You gave her?
- Yeah.
- I think it's pretty.
- You have an American accent.
- I do?
- Yeah, you do.
I'd like to get some fingerprints
and photographs, if it's all
right, maybe help us identify
where you came from.
- It's okay.
(slow music)
- As an unidentified
person in the Bahamas,
I'm obligated to inform
you that you must stay
in contact with police here in Eleuthera,
until we can figure out your status.
- I like it here.
- The government is also obligated
to provide you with a modest
hotel room if you need it.
- You don't have to do
that unless you want to.
- I want to stay here.
- Very good, then, if you
remember anything else,
please let us know, have a good evening.
- [Michael] Thank you, Constable.
- He doesn't like me.
- No, he just doesn't want
you to be here alone with me.
- I want to be here with you.
(phone rings)
(phone rings)
- I gotta take this, go ahead
and finish your cake if you like.
(phone rings)
How you doing?
- Hey, I know you're probably
going out for dinner,
so I'm calling to say
good night, how are you?
- Good.
- You working on the script?
- I'm trying to.
- [Sherry] Well, if I can
get there any sooner, I will.
- All right, fine.
- Are you okay?
- Yeah, I'm good.
- Well, I'll see you soon, love you.
- You too.
- Night.
(upbeat music)
- Take it easy.
(upbeat music)
Turn it up
I want to hear it
Keep the music going all night long
Burn it up
(background noise drowns out speaker)
- Try it.
You never want to stop
Rhythm gonna make you
- I want more, more, more. (laughs)
(slow music)
Thank you.
- For what?
- For bringing me here.
(Morning laughs)
- [Michael] You're going way
too far now, you're going
too far, yeah, yeah--
- Come with me.
- [Michael] Where?
- Come with me.
A dream within
The stars are bright
A tear
A sigh
Escapes from heaven
And warms and
Breathe
A dream within
The mystifying
Which tremble
And spin
So (mumbles)
A sigh
Escapes from heaven
And the world's
End
(slow music)
- [Charlotte] Oh, god.
Rainbows everywhere
The skies are all blue
There is love when I
wake up to a dream of you
Angels sigh
(phone rings)
- Uh-uh, leave it.
- [Phone] Hi, Mikey, I'm pulling
in at Gurunner's tomorrow
morning, come and have brunch
with some friends, I've got news on Tom.
- You're gonna get yourself
in a whole lot of trouble,
Mr. Pace, that girl is a
witch, she put a spell on you.
- What is she talking about?
- Take the day off, Charlotte,
we'll talk about it later.
- Why is she so angry?
- It doesn't matter, you should get ready,
though, 'cause I'm taking you somewhere.
- Where are we going?
- I'm taking you to a friend's boat.
- I love boats, I love
the sea, I love you.
- Wait, where did you come from?
- From your dreams.
(slow music)
(gulls cry)
(slow music)
Oh, girl, you're so fine
- Hey, there you go, told
you it was addicting.
- Everything here is addicting.
(upbeat music)
(boat engine revs)
(slow music)
- Hi, I'm Harry Sugar, you're hungry, huh?
- What are you doing here?
- [Sherry] I missed you,
so I took the red eye.
- That's his wife, she
wasn't supposed to be here,
just pretend you're with
me, can you do that?
- Who's the bimbo with Harry?
- [Michael] I don't know.
- [Sherry] Can you get me a margarita?
(slow music)
- This is nice.
I like it.
- [Harry] We like having you here.
(dramatic music)
- Hey, wake up, are you all right?
You've gotta stop taking
those sleeping pills,
you've been flailing around all night.
- What time is it?
- [Sherry] 10:30.
- You should have woken me up.
- I just did, I'm gonna go pick
her up, do you want to come?
Okay, sleepyhead, I'll see you later.
(slow music)
- Oh, good morning, Mr. Pace.
- Good morning.
- Do you want me to make
you an omelet or something?
- No, no, no, thanks.
- Didn't you sleep well?
- No, I had bad dreams.
- Oh, that's because you ate red meat,
the spirit of what you ate
came back to haunt you.
- In the Out Islands today,
Coast Guard officials
reported finding a large,
luxury, one-man yacht--
- Oh, I want to hear this.
My brother said he saw them bringing
in the boat this morning.
- [Reporter] The yacht, seen here,
with the words "crimes
against the sea" written
across the deck in what appears
to be blood has been taken
to Governor's Harbor where local police
and officials are investigating the case.
The yacht, Sheer Luck,
registered in Fort Lauderdale,
is owned by Harry Sugar, an
investment banker well known
for his involvement in--
- [Charlotte] Isn't Mr.
Sugar a friend of yours?
(dramatic music)
(car beeps)
- [Michael] Constable Crick?
- Good morning, Mr. Pace,
why don't you come on board?
- You got any news on Harry yet?
- Nothing yet.
(slow music)
- What does that mean?
- If we knew that, we'd
probably know who did it.
- Is that real blood?
- Yeah, we also found broken
fingernails dug into the deck,
where apparently someone
was dragged overboard.
- You think that might be Harry?
- They left Fort Lauderdale
with a crew of four,
they're all missing, we'll have to wait
for DNA results before we
can answer those questions.
Can I show you something?
- Sure.
- So how long have you known Mr. Sugar?
- About 10 years or so.
- Take a seat.
(slow music)
- [Morning] I prefer to be filming.
- [Harry] You want to film me?
- [Morning] Mm-hmm.
- [Harry] You want to take the camera?
- Yes.
- [Harry] Very well, then.
Okay, I'm all yours now.
- You know who she is?
- No.
- [Morning] More, more.
- It was made last night, see the date
on the clock on the background?
- I've never seen her before.
- Pretty girl, every man's
dream, every man's downfall.
(Morning moans)
- You think she has something
to do with Harry's death?
- I don't think she'd be strong enough
to drag him across the deck,
but she could have had friends.
- Friends, what do you mean by that?
- When's the last time
you talked to Mr. Sugar?
- I talked to Harry about a week ago.
- His phone records indicate he called
your house last night at 10 o'clock PM.
- My house?
- 823-3338,
is that your house?
- Yeah, that's my house,
but I didn't hear anything.
- [Crick] But you were at the house?
- Yes, I was.
- Are you sure?
- Yes, I'm sure, what is this?
- Maybe he left you a message,
the call lasted 40 seconds.
- I'll have to go check my machine.
- If there is something, Mr. Pace,
I'll appreciate you letting us know.
- I'll do that.
- You know, Mr. Sugar spent a lot of money
in this island, and
helped a lot of people.
- Yeah, he was a good guy.
- And you know no one who
would want to hurt him, eh?
Man or a woman?
- No.
Would you excuse me, please?
(slow music)
(car engine revs)
(slow music)
(speaking in foreign language)
I don't know you, man.
(speaking in foreign language)
Hey, hey, hey, hey, hey, hey!
(speaking in foreign language)
(dramatic music)
(phone dials)
- Mr. Jacob's office.
- Hey, Maryanne, it's
Mike, can I talk to him?
- [Maryanne] Yes, Mr. Pace,
can you hold the line a moment?
- How you doing, Mike?
- Hey, man, did you hear about Harry?
- No, what happened?
- Well, they found this
blood all over his boat
with nobody aboard, and
they think he's dead.
- Are you kidding me?
- No, I'm not kidding.
Listen, when was the last
time you talked to him?
- Yesterday morning.
- Did he tell you where he was?
- Hell no, we talked about
the Tom deal, and that was it,
do they know who did this?
- Not yet, is there any
reason why you didn't call me
about the Tom thing?
- I did, you didn't get the message?
- No, I got no message.
- No, you gotta start checking
your messages every so often,
Tom wants to do a couple
of smaller films this year,
so we're gonna have to push
your project back a little.
- [Michael] How much longer?
- He loves your movie, Mike,
it's just gonna take a little
longer, Mike, that's it.
- All right, I'll talk to you soon.
(slow music)
Don't touch
Hi, honey.
- Hi, Dad, how are you doing?
- I'm good, how are you?
- I'm good.
- Hey.
- Guess what?
- What?
- I got the lead in the
ballet school recital.
- Wow, you really like
this dancing, don't you?
- I love it, I actually have a video,
I can put it on for a second.
- Well, you know what,
I have to do something,
okay, maybe in a little
bit, okay, sweetie,
all right?
- Okay, yeah.
Maybe later or something.
(phone beeps)
- [Answering Machine] Mike, it's Bert,
look, we need to talk about the picture,
I got a problem with the schedule.
- I just heard about Harry, is it true?
- Yeah, they haven't
found him or anything yet,
it doesn't sound good at all.
- [Answering Machine] Hey, Mikey,
I'll be on the island
tomorrow, let's get together,
call me, hi, Sherry.
- When did that come in?
- About 10 o'clock last night.
- God, it sounds so
weird hearing his voice,
knowing he's gone.
- Mr. Pace, you should come look at this.
- [Michael] What is it?
- It's Stacey, she's
swimming with a dolphin,
it came right up to her on the beach.
- Goddammit.
- What's a matter?
- I don't know.
(slow music)
- Stacey, get away from
that thing, Stacey get away,
Stacey get away from that thing!
- What's wrong?
- Just get out of the water!
- It's just a dolphin,
Dad, it wanted to play.
- I want you to get out of the water now.
- Shit!
- Michael, what is the problem?
- Look, I don't want either
one of you in the water,
is that understood?
(dolphin squeals)
Don't listen to that thing,
it's not your friend,
it's not what you think.
(slow music)
- What is going on?
- I have no idea.
- Oh, Mrs. Pace is not gonna be happy
seeing you smoking again, you know.
- Well, she's already mad at me.
- She's just trying to figure out
why you don't like the dolphins.
- I don't trust 'em.
- Oh, they're good spirits,
they save people all the time.
- What do you think
happened on the boat today?
- Baca.
- Baca, what is that?
- He's the evil spirit in voodoo.
- And you believe that?
- Oh, I don't even let it into my mind.
- And you think this Baca is out there?
- Oh, yes, good and evil.
- And this has something to do
with what happened on the boat?
- If things don't make
sense in the real world,
you have to look to the other side.
- How do I find out about this thing?
- The Haitians, you have
to speak to the Haitians.
They still believe in the old ways.
(slow music)
- Hello?
(phone off-hook tone beeps)
(slow music)
Hello?
(slow music)
Hello?
(slow music)
Hello, is anybody here?
(slow music)
Hello.
- You need to stay away from them bars.
(dramatic music)
(speaking in foreign language)
- Get him off of me, get him off of me!
(overlapping chatter)
- Settle down.
(speaking in foreign language)
Settle down in there, boy.
(speaking in foreign language)
Settle down.
(speaking in foreign language)
All right, I'll bring you
some water if you settle down.
(speaking in foreign language)
You're not supposed to be back here.
- What's he talking about?
- Calling you a killer.
- A killer, I don't even know this guy,
I don't even know you,
you're crazy, he's crazy.
- That's what most people would say.
- And what do you think?
- I don't know.
- Look, I came here to see
Constable Crick, where is he?
- He in the library,
that's his new office.
(speaking in foreign language)
- Constable, here's the
message on the microchip.
- I told you it wasn't necessary.
- I was with my wife
at my house yesterday,
and that includes last night, too.
- You're not a suspect, Mr. Pace,
I'm just looking for information,
which is hard to find in cases like these.
- What cases?
- Disappearances, unsolved murders,
most of them involving beautiful women,
who then vanish themselves.
- This has happened before?
- 30 cases, 30 cases spread over 40 years.
It may not sound like
a lot, but in an island
that has virtually no local crime,
it's unusual, to say the least.
Miami Herald, 1946,
fisherman disappear off
the coast of Eleuthera.
1950, two US Marine kill each
other over island beauty.
1964, millionaire disappear
with beautiful woman off the
coast of Eleuthera, 1998, 2001,
2003, and now today's news.
- And these cases were never solved?
- None.
- This is like the Bermuda triangle.
- Yeah, that's what some people say.
- And what do you think?
- I don't know.
- But you think there's
something out there, Baca?
- What do you know about voodoo?
- Only what people tell me.
- Jiamja, more like it, female spirit
of the water, defending her domain.
- Vigilante of the sea?
That would make a good
story for a movie, you know,
beautiful women, black magic.
Sirens of the sea.
- Or maybe just plain old criminals,
they make myths for their common crimes.
- Let me show you something.
- [Crick] What's this?
- The Haitian you have
in your prison tried
to jam it down my throat this morning.
- It looked like he's trying to scare you,
maybe he's trying to
extort some money from you.
The man is crazy, anybody can see that.
- Well, your assistant
doesn't seem to think so.
- That's because her parents are Haitians,
she sympathizes with him.
- What are you gonna do with him?
- He's an illegal alien,
he'd be deported tomorrow.
- No due process or nothing?
- Mr. Pace, we're a nation
of 360,000 citizens.
If we keep letting people
into our country like you do
in America, we'd be
minorities in our own country
in less than a year.
- I'm not gonna argue
with you on that one,
if you can't feed 'em, don't
breed 'em, that's my theory.
Take care, Constable.
(slow music)
Hi, honey.
- What are you doing, it's
three o'clock in the morning.
- We're gonna make a movie.
- About what?
- About what's happening
right here on this island,
about what happened to Harry, everything.
- And who's going to finance it?
- We are.
- Have you spoken to Bert about it?
- He thinks it's a great idea,
and he also got Terry Bamba
to write a screenplay.
- Terry Bamba?
- Terry Bamba, he wants to do it,
he knows the islands, and
he knew Harry personally.
- And he gets a million dollars a script.
- But he wants to direct again,
so I'm gonna give him a shot,
and he's already agreed
to do it on deferral.
- But is he any good?
- We'll see, if he's not,
I'm gonna fire his ass,
and replace him with somebody else.
But at least we'll have
a great screenplay.
- [Sherry] Well, I'm glad
to see you enthusiastic
about something again.
- [Michael] What about her?
- Mm, old picture, she gained 20 pounds.
- [Terry] Hey, is this it?
I got lost, it's like a maze around here.
- [Michael] Hey, man, how you doing?
Good to see you, how you doing?
- Well, a month of coffee, Red Bull,
and whiskey, and I'm not sure.
I've never written anything
this fast, here you go.
- This is it?
- Just finished.
- Feels good.
98 pages, the way I like
it, all right, listen,
let me bring you up on
what's going on, have a seat.
- We've got 22 coming in, three from LA,
two from Atlanta, and
the rest from Florida.
- All right, give us a couple minutes,
and we'll get started, okay?
- Okay.
- Thanks.
Is she getting you what you want?
- Oh, she's fine, yeah, no, it's not easy
to find a 20-year-old who's good looking,
with some acting chops, and.
- She bring any names?
- Yeah, a couple, but I
don't think we need 'em
with the band, though.
- The band is pretty good, but I do want
to know how this story ends.
- Well, you're gonna have to read it.
What, you want me to read it to you?
- Yeah, (cackles) would you read it to me?
- [Karen] Are you guys ready to do this?
- Yeah.
- Yeah, let's get started.
(upbeat music)
I can't deny it
'Cause those were the
best years of my life
But the winds have changed direction
And I've been shown a light
I was inspired
- Do you know where you are?
- Do you have water?
- [Karen] How do you feel?
- I feel wonderful.
- [Karen] Do you have a name?
- I don't.
- And I need one.
- Why don't you give me one?
- You have to give me one.
- Something from here.
- Chocolate cake, would you like some?
- Yes, lots and lots and lots.
- Lots and lots and lots.
(slow music)
- That was amazing work, we'll
let you know what we decide,
and, all right, thank you, thanks a lot.
- Thank you.
- Thank you.
- [Terry] Bye-bye, thank you, great job.
- Thank you, gentlemen.
- [Terry] All right, thank you very much.
- Thank you.
- We'll call you, appreciate it.
(slow music)
So that's it?
- Just a couple of no-shows.
- Terry, what do you think?
- Well, I still like the English girl,
I mean, I know she's not the
best looking, but she can act,
and she knows how to
make you feel, and care.
- Does she make you horny?
- Oh, come on, pal, give
me a break, will you?
- Come on, what do you think, Karen?
- Well, I like the English
girl, but she's a bit cold,
and I think you're
gonna need a body double
for the nude scenes.
- Think about the sex scene,
she's gonna be all repressed.
- She's English, it's a
cold climate, come on.
- Come on, Terry, no.
- Hey, I can still bring
in some more people,
we can try the colleges,
they all have theater arts
departments, we could get lucky.
(slow music)
She must be one of the no-shows.
(slow music)
Excuse me for a moment.
(slow music)
- Wow, that's kind of special.
- This is the girl.
- [Terry] What, you don't care
if she can act or anything?
- She can act.
- She drove down from
Savannah, and hit a lot
of traffic, do you want to read her now,
or should she come back in the morning?
- Now.
- [Karen] Okay, she's read the sides,
let me get Ed back in here.
- [Ed] I'm right here.
- [Karen] Simone, why don't
you come in and meet everyone?
This is Simone Delacroix,
did I get that right?
- Yes.
- [Karen] This is our
director, Terry Bamba.
- Hi.
- [Karen] And our producer, Michael Pace.
- Hi.
- It's so nice to meet y'all,
it's like a pleasure
and a dream come true,
to meet someone who's
really from Hollywood.
- Have a seat.
So, you're from Savannah, Georgia?
- Born and bred, woke up every morning
of my life to the smell of crabs,
swamp creatures, and paper mills.
So what's this all about, it's kind
of hard to tell from reading the scene.
- Well, we're looking for a girl
who can play the part of a siren.
- You mean like from Greek mythology?
- Yeah, exactly.
- I love all those stories,
The Odyssey and all that.
- Have you done much acting?
- Oh, I've been acting all my life,
pretending I was a happy soul in a place
that I wasn't, but I've
also acted in plays,
and I've read everything there is
to know in the thespian profession.
- Uh-huh.
Yeah, so, you ready to do this?
- I'm ready.
- Okay, here's what I want you to do.
Go back to the back corner there,
and then you'll walk toward the chair,
where you'll sit down, and
you'll read the offstage lines
with Karen here next to camera.
- [Simone] I just need a
minute to get into character.
- Oh, you take all the time you want.
- [Simone] Will do.
(slow music)
- Do you know where you are?
- No.
Do you have any water?
- Yes, lots of water.
(slow music)
How do you feel?
- I feel wonderful.
- [Karen] Do you have a name?
- No, why don't you give me one?
- I can't do that, everybody
already has a name.
- I don't, you have to
give me one, I need one.
- [Karen] Okay.
- Something from here, I like it here.
- [Karen] How about Morning?
- Morning?
- [Karen] It's when I first met you.
- What's your name?
- [Karen] Michael.
- Michael and Morning, I like that.
What's that sweet smell?
- [Karen] Chocolate cake, you want some?
(slow music)
- I want more.
And more.
And more.
- All right, cut the
camera, that was great.
What happened to the accent?
- Oh, well, you know how it goes,
when you have a southern accent,
people instinctually think
you're unintelligent,
I just thought it was an
intelligent character.
- Well, thank you for coming in,
and I, that was, it was terrific work,
and we'll let you know what we decide.
- Thank y'all so much
for this opportunity,
it was so nice to meet you,
well, good luck with the film.
- Thank you.
Whoa, that was amazing.
- I think I'm gay.
- And what do you think?
- Sign her, now, right now.
- Yeah.
(slow music)
- It's beautiful.
It's so amazing here.
- So you decided to drop
your southern accent?
- I'm getting into character.
- [Michael] What'd you
think of the script?
- It's erotic.
I like erotic things.
(slow music)
- [Michael] Hey, Adeline, I want you
to meet Simone, Simone, this is Adeline.
- Hi, Simone.
- [Simone] Hi.
- She'll get you whatever
you want, come on in.
(slow music)
What do you think?
- I love the sea, all the colors.
(slow music)
- Mostly sea, and always summer,
that's what they say about this place.
- Thank you for bringing me back here.
- You've been here before?
- In my dreams.
(slow ambient music)
- [Sherry] How is she?
- Hey, honey, I didn't
see you there, how is who?
- Your new siren.
- [Michael] She's good,
you read the script?
- It's disgusting, you should
be ashamed of yourself,
you've ridiculed this entire family.
- What are you talking about?
- You know what I'm talking about,
can't you keep anything
to yourself, do you have
to tell the whole world your
stupid sexual fantasies?
- It's just a dream, honey,
people have them all the time.
- It reflects everything
you think and feel, Michael.
- That's total bullshit, and you know it.
I talked to Terry Bamba
about writing a screenplay,
about something that happened
on an island, that's all.
- You gave him every intimate detail
of your feelings for another woman,
your cravings for her,
how you seduced her,
you set it in our house,
with our housekeeper,
and you even use her real name.
- It's just a stupid dream.
- Then why didn't you tell me about it?
I don't want to do this movie anymore.
- It's too late for that,
I already put up the money.
(slow music)
I'm a fairy tale, I'm a happy end
I write poems and books and
I've got letters that said
I'm a special story
with a twist at the end
About a boy who lives through songs
And at the novel's beginning
He set out
- He's already taken.
In the early years,
through the lack of fear
There were ropes and towels
But it was better than here
- She's very pretty.
- You're right about that,
we got a lot riding on that prettiness.
The footsteps before
and there were laughs
Yeah, there were tears
Whoa, he knew right from the start
That whoa, there's
a place in his heart
For what he believed and
what he tried to become
Now, it's been so long
The story is just begun
All right
- [Michael] Simone.
Hi, I'd like you to meet my wife, Sherry.
- It's a pleasure to meet you.
- No, the pleasure's all mine,
I can't tell you how excited I am
to be working with your husband.
- Well, I'm sure he
shares in your enthusiasm.
- Hey, hey, hey, what do you think?
- [Michael] About what?
- The song, I love it,
man, I like it, it's a hit.
Now, it seemed like so long
Came and went like a breeze
Everything turned cold and
his visions would freeze
So he turned to the bottle
to make things all right
But in the morning
- Stacey.
My god, girl, how you've
grown, it's been a long time.
- One year, two months, three days.
- How's your brother?
- He's good, he's in LA.
I read your script.
- It was a subject I
thought was worth exploring.
- I'm surprised it took you so long.
(audience applauds)
- Maybe we should discuss this later, huh?
- I think it's a little too late for that.
- Thank you very much,
ladies and gentlemen,
for coming here today.
(crowd applauds)
That's right, as we already know,
we start shooting Sirens this Monday.
(crowd cheers)
And we're all here on
this beautiful island
of Eleuthera, with its gracious residents,
thank you very much,
yeah, we have some members
of the press, I would
like to take this moment
for them to ask any questions
they may have, okay?
- What's the movie about, and
what part do you play, Seamus?
- Well, I basically play myself.
(crowd cheers)
And it's about this dream I have
in which I'm seduced by
this beautiful siren,
who's in fact here with
us right now, come on.
I wake up from this dream, and find out
that Bert has been murdered, what appears
to be the same girl that I dreamt about.
- [Crowd] Ooh.
- And what is this crime?
- That's the big climax to the movie,
and we all know how
important a big climax is.
- Thank you again, enjoy yourselves,
have lots to drink, and
I'll see you at the movies.
- You bet your fucking ass.
- [Michael] Enjoy the island band.
(upbeat music)
I've been working out all week
In the burning sun
I'll be waiting at
- Simone, we've got a taxi waiting
for you in the parking lot.
Fish fry to drink some rum
Mingle with the tourists
Now the fish fry done
I'm (mumbles) purpose,
everything is fine
- [Seamus] Hey, wait up.
(slow music)
- You leaving?
- Yeah, I gotta go, something came up.
- I got a bunch of
girls, I want to go back
to the room, come on, I'll go get 'em--
- Listen, go talk to Gary,
he'll find you a driver, all right?
- [Bert] You kidding me?
- I gotta go, man.
- Come on, they're island girls.
- I gotta go.
(slow music)
- [Bert] Hey, where's the
love, I'm your brother.
(slow music)
(upbeat music)
And don't tell me about
your girls you love
If you want to go with me
You've got to knock me out
You remember the other day
When you wanted to hang before
I knew you didn't want to stay
I didn't like you then
- [Seamus] Nice, big bed.
- So do you really want to rehearse,
or do you just want to be a bad boy?
- No, I actually do want
to rehearse the scene.
I mean, it's not that easy
to take your clothes off
in front of a bunch of strangers.
- So why don't you do it now?
(slow music)
Okay, in this scene, we've been dancing,
drinking, our inhibitions are gone,
the only thing controlling us now
are our feelings,
our lust for each other.
We end up on the bed.
(slow music)
Now,
slide down my body,
touching me everywhere.
(slow ambient music)
- I knew you would be
here, you son of a bitch.
- What the hell are you doing?
- [Brittney] Cover that
thing up before I cut it off.
- Crazy bitch.
We were just rehearsing
the scene for tomorrow.
- Yeah, right, you think I'm stupid?
How long have you known me, how long?
Well, I'll tell you, long enough
for me to know every little dickhead trick
in that screwed up brain of yours,
so get your clothes, and
get out of here, now.
I warned you to stay away from him,
next time, I'll stick
this up your skinny ass.
Find someone else to play with.
Let's go.
(slow music)
You're such a stupid ass.
- [Seamus] God.
- [Brittney] I'll cut your balls off.
(slow music)
- How's it going, Terry?
- Oh, we're just getting
ready to do the love scene.
- Morning.
(slow piano music)
- Morning.
(slow piano music)
- [Gary] Okay, we gotta get going, guys,
I'm gonna lock this setup,
if you're not involved
in this scene, I want you out of here,
that includes you, Brittney.
- I'm staying.
- Come on, now, don't
start all your bullshit,
okay, you're gonna ruin my performance.
- That's exactly the point, asshole.
- Look, Britt, you don't want everybody
watching you do your big scene, do you?
- I'm not screwing someone,
so I don't give a shit.
- Well, now you're starting
to make me nervous,
so I want you off of this set,
or you're off of this picture, okay?
- Hey, hey, just do what he says,
okay, before you ruin everything.
- Fine, I'm out of here, but
I'm waiting right out there,
and I'm gonna check you out
as soon as this scene is over.
- [Gary] Okay, let's go, let's go--
- You're sick, you know that?
- You're the one that's sick.
- Sorry.
- Yes, can we roll now, please?
- Yes, sir, yes, sir, okay,
let him down, quiet on the set,
and ready, sir?
- [Terry] Yes.
- Rolling, and speed.
- [Gary] Are we slated?
- [Terry] Yeah, we're slated, yes.
(clapboard claps)
- [Gary] We are rolling.
- All right, all right, kids, now,
I want you slightly
breathless, okay, and action.
- That was incredible.
- You're incredible.
(Simone moans)
- [Brittney] Shit.
- It must be hard watching
your dream girl making out
with someone else.
- I'm just trying to make a movie.
(Simone moans)
- [Brittney] Shit, shit, shit.
(Simone moans)
- God, now, that was
great, that was wonderful.
Let's take a longer lens, and cover 'em up
and down the body a little bit, huh, okay.
- [Gary] Sends up 72, take
one, soft sticks, camera A.
(slow music)
Summer, summertime
Boy, you're on my mind
Summertime, yeah
Can't you see, you and me, L-U-V
I've got a crush
I've got a crush on you
Summertime, boy, you're on my mind
Can't you see, you and me, L-U-V
I've got a crush on you
Summer, summertime, boy,
you're on the my mind
Can't you see, you and me, L-U-V
I've got a crush on you
Summer, summertime,
boy, you're on my mind
- Thanks, Jan, hi, honey, hi, come here,
come here, come here, how are you?
- [Sherry] She wanted
to hear the new song.
- Well, we're not doing that til Saturday.
- I told you.
- You want something to eat?
- Yeah, what do they got?
- They got everything, come on.
Thanks, honey.
(slow music)
How's the food?
- Good.
- Yeah?
- Are those Haitians?
- Mm-hmm, some of them, but
they deport most of them now.
- That's terrible.
- What's so terrible about it?
They over-breed in their own country,
and they want the rest of the world
to feel sorry for them, come on.
- They can't punish people
for having children.
- I'm not punishing them,
they're punishing themselves.
How many families do you know in the US,
have eight to 10 kids,
and raise them properly?
- [Stacey] I don't think
I'm gonna eat anymore.
- Oh, of course not, you want
to be politically correct,
you want to feel sorry for them, right?
(dramatic music)
- [Sherry] Why are you doing this?
- [Michael] 'Cause I want her to grow up
and face reality, that's why.
- You're bullying her.
- I'm not bullying anybody.
- You okay, Stace?
(speaking in foreign language)
(dramatic ambient music)
Stace?
(horn honks)
(Stacey cries)
- [Michael] What are
you doing, are you okay?
- [Driver] Is she okay, man?
- [Michael] Yeah, she's okay,
she's all right, don't worry about it.
- It's okay, baby, it's okay, nobody's--
(overlapping chatter)
(Stacey cries)
- [Michael] You're running
in front the street,
what's a matter with you?
- Stop it, come here.
Oh, honey, what's going on?
(Stacey cries)
- See that little girl over there,
she freaked her out, I don't know why.
(slow music)
- Do you know that girl?
- No.
- Then why did you get so upset?
- I don't know.
(slow music)
(car engine revs)
(slow music)
(moves into slow drumming)
- [Brittney] They've got animals in there.
- Man, this place is freaky.
- [Man] This is crazy.
- Just keep it cool, all right?
- That guy's got a machete.
- Don't be such a chicken.
(Savannah yelps)
Shit, Savannah!
- She grabbed my hair.
- [Man] You guys are real (mumbles).
(slow music)
(goat bleats)
(slow music)
- All right, good, that's a cut.
(overlapping chatter)
Oh, that's good, everybody, that's great,
how's the goat, huh?
Open your mouth, say baa,
you're gonna be fine,
my little friend, huh, you're free to go.
- You sure you don't want another one?
- No, I think that's it.
- All right, everybody, that's lunch,
let's go, let's lunch.
(overlapping chatter)
- Hey, Terry, any improvement?
- Mm, it's getting better.
- [Michael] What's she doing here?
- I decided to put her
in the night stuff, why?
- Because she's not supposed
to be involved in the scene.
- [Terry] Oh, but she's inside Seamus,
she's his obsession, he
can't get her out of it,
just a couple of surreal shots.
- All right.
- I mean, look at that smile, huh, man?
Those baby green eyes,
the more we use her, the better.
(slow music)
(dramatic music)
- This ain't no safe
place for you to be, miss.
(slow music)
(chanting in foreign language)
- Get away from her, leave her alone.
(chanting in foreign language)
I don't understand what
you're saying, okay?
Come on, breathe, breathe,
look at me, come on.
Come on, we've gotta get out of here,
that's good, baby.
(chanting in foreign language)
Come on, Britt, Britt.
(chanting in foreign language)
(Brittney screams)
(dramatic music)
- All right, good,
that's a cut, we got it.
- [Gary] That's a cut.
- [Terry] That was great, everybody,
just great, we'll put the camera back--
- Seamus, Seamus, baby, what's wrong?
Seamus, he's bleeding, someone help!
Seamus, Seamus, baby, talk to me, Seamus.
- Get the medic.
- What happened?
- [Brittney] Seamus.
- Something went wrong with the knife.
- [Man] Let's get an ambulance in here.
- It must have jammed or something,
it looks like it went
right into his chest.
- Wait, hold on, I'm gonna
have to take that from you.
(slow music)
- Peter.
What are you doing here?
- I came to spend time with my sister.
- Oh, yeah, and how is she?
- You know, you shouldn't
have written what you did.
- It's just a story, nothing more.
(Brittney screams)
- How many cameras were shooting
at the time when this happened?
- They're the only two we have.
- [Crick] And how long after
this did you pick up the knife?
- 10 seconds.
- And then you gave it to Officer Smith.
- As soon as she came out on the set.
- I'm gonna need copies
of both these tapes,
name and addresses of all crew member
that was present at the
time when this happened,
that including phone numbers
where I can reach them.
- [Gary] I can do that.
- [Terry] Give me an ambulance right now.
- What about Brittney?
- I'm not gonna press charges right now,
but she won't be able to leave the country
until I'm finished with my investigation.
- What's with all this Haitian
talk about evil spirits?
Do you believe in that?
- Do you?
I know Mr. Pace doesn't,
although I do recall him saying it'll make
an interesting element for a film.
- I can assure you, we didn't summon any
of it for the film.
- I doubt even you would
have control over that.
Gentlemen, thanks for your time, lady.
- Look, guys, we have
to finish this movie.
I'm telling you, if Seamus was here,
I'd guarantee you, he'd
want to finish this film.
We've only got two more days to go.
- [Michael] Here.
- Thank you.
- Were you looking at
him when it happened?
- What kind of question is that?
Of course I was looking
at him, I'm the director.
- Did you see Simone's reaction?
You know that she was
smiling and enjoying it?
- And what are you saying?
- This is gonna sound absolutely crazy,
but I believe she's some sort
of evil spirit or something.
- You're serious?
- You remember why
we're making this movie,
the dream that I had, well,
she is the girl in the dream.
- No, she only looks like
the girl in the dream.
- No, she is the girl in the dream, man.
When I saw her walk in
in the casting office,
I knew she was the one, and
she knew that I knew it.
When she makes that sound when she comes,
it's the same sound she
made in the dream, man.
I mean, when she moves, when she walks,
when she does every little
fucking thing, it is, it is her.
- But you only dreamt you slept with her,
I mean, this is becoming some sort
of an obsession with you, man.
- I wish that was the case.
(overlapping chatter)
- Stay here, stay here.
(overlapping chatter)
(thunder rumbles)
(door knocks)
(computer chatters)
(slow music)
- [Terry] What are you doing?
- I don't like the storm, it scares me.
I'm sorry, I shouldn't have come.
- No, it's fine, I was just preoccupied
with some work stuff, you want a drink?
- Yes.
- Wine or scotch?
- Scotch, please.
- Oh, give me that.
- Thanks.
- And sit down.
(thunder rumbles)
- I think my nerves are shot
after what happened last night.
- Mine are shot, cheers.
(glasses clink)
(thunder rumbles)
- So do you think they're
gonna start filming again, or?
- We start again tomorrow.
- Really, that's good, I
think you're a great director.
- Well, thank you.
(slow music)
- Does he say bad things about me?
- Who are you talking about?
- Michael.
I see the way he looks
at me, he looks so angry.
- [Terry] No, he likes you,
he was the first one to say hire you.
- Well, he obviously doesn't
like what I'm doing now.
- No, no, he does, believe me,
he's just a complex personality,
I'm telling you the truth,
and you know what else?
- What?
- Well, I mean, he's not
the one you have to please,
I'm the one you have to please,
and I love everything you're doing,
and if I didn't like
everything you were doing,
I'd be all over you.
- Well, maybe I'll have
to start messing things up from now on.
- How about I make you dinner tonight?
- You know how?
- Well, yeah, just take my
phone, and I call Tippy's,
and I order you whatever
in the world you want.
- That's cheating.
- You always leave the
house without your shoes?
- I do it all the time,
my toes like to be free.
Why don't you warm 'em up? (laughs)
- Ooh, they're cold, they are cold.
Yeah, they're cold in between
there, too, I'll bet, huh?
Warm that up.
(both laugh)
Cheers.
(upbeat music)
When she move her body, so erotic
The way she flows you
can't help but watch
Don't touch
Watch, but don't touch
So melodic, when she starts to move
Everybody in club wanted to watch
Don't touch
Watch, don't touch
The way that you twist and turn it
I focus my eyes, they're burning
The music is steady,
learning to follow you
I'm turning to watch
Don't touch
Watch, but don't touch
Baby girl, you control
it, I'm feeling you
- Oh. (laughs)
Hi.
- Hi, hi, hi.
- Are you ready for your coffee?
- Yeah, I'm ready.
- Oh, um, they brought your call sheet by.
- What time is it?
- Oh, you're fine, you have
about eight hours, I think.
- Oh, I hate nights,
but not last night, huh?
- We could always go
for a swim in the sea,
I do it every day to rejuvenate me.
- Uh-huh?
- Of course, there are other things
that I like to do to rejuvenate myself.
- Yeah, yeah.
Oh, yeah, huh?
- Oh,
you are such a bad boy.
(slow orchestral music)
(overlapping chatter)
- [Terry] Wait a minute.
(clapperboard claps)
And action.
- [Man] Don't get any closer,
they're gonna try and board.
- You can't leave 'em here!
- There's too many of 'em,
they'll take over the ship.
- You can't offload 'em, nobody wants 'em.
- [Man] We'll take 'em to Florida, then.
- They won't let you in,
no one will take Haitians.
(dramatic music)
(overlapping chatter)
(gun fires)
Get off that ship, they're
not gonna take over the ship.
(overlapping chatter)
(gun fires)
(dramatic music)
- [Terry] All right, now, that's a cut.
That was great, everybody
okay on deck here?
- Yeah, yeah, we're good.
- All right, Gary, you
gotta shut that noise down.
- [Gary] What can I do,
it's a political rally.
- Grab a big bag of green
cash, and go over there,
and shut them down now,
Michael, how was that?
- Look, don't worry about
the noise, and we'll cover it
with some music, all
right, it was beautiful.
- This is bullshit.
(slow music)
- Am I gonna have to
go in the water later?
- No, but they're gonna
have to wet you down.
- [Simone] It's freezing.
- No, it's good, I want you to look cold.
- Well, you'll have to warm me up later.
(slow music)
- What the fuck are you doing?
(overlapping chatter)
- They're coming on the back of the boat,
I don't know what we're gonna do,
I need your help, I can't
do this alone, come on.
(overlapping chatter)
- You're sick.
- It's just a movie, Stacey.
- You're exploiting all
those people who died.
- I'm telling their story,
and we can't tell the truth,
so I'm telling it through the film.
- You're doing it to make money,
you're doing it to glorify yourself.
- I'm just bringing attention to something
that's going on around here.
- That is a pathetic excuse.
- Well, let's assume you're right,
that I'm motivated by all
the things that you say,
it's still better to tell the story.
Even if you don't want to face it.
- I don't believe this.
You're disgusting.
- Why don't you tell people what you did?
Why don't you do the right thing?
(slow music)
No.
You won't.
(slow music)
Start the waves turning,
get that boat going around
and around here, faster, now, wind.
- Yes, sir.
- Come on, more wind, more wind.
- [Gary] More wind coming, sir.
(slow music)
- Faster, come on, more waves.
(dramatic music)
All right, honey, everybody
ready, we have speed?
- [Gary] Yes, sir.
- Okay, sugar face, and action.
- Fear not, I'm here to protect you,
a ship is already on its way.
Everything is going to be fine.
- [Terry] All right, do
the dialogue one more time,
and I need more wind, please.
- Fear not, I'm here to protect you,
a ship is already on its way.
- One more time, more
wind, come on, more wind.
- Fear not, a ship is on its way.
- Simone? Simone!
- What was that?
- [Terry] Let's get some
divers over here, come on.
- What happened?
- [Man] A girl fell in.
- Come on, dive in.
(dramatic music)
- [Gary] What the hell is he doing?
(dramatic music)
- Simone?
(dramatic music)
- Get the divers, now, someone's
holding him down there!
- [Gary] Let's get the
other divers in here.
- [Michael] What the hell are they doing?
Come on, guys, get in the water.
- Simone, are you okay?
- Yeah.
- [Gary] Did you see Bamba?
- [Michael] What the hell's
the matter with you people?
- What?
- The director, did
you see him down there?
- No.
- [Gary] Let's get some more divers
in here, come on, guys.
- [Michael] Come on, get in
there, hurry up, let's go.
(slow music)
(ambulance siren chirps)
- [Man] We've looked everywhere out here,
we're gonna look further out.
- [Michael] All right, keep looking.
- [Man] Roger that.
- Whoa, careful, you okay?
- Hey, hey, hey, hey, don't you touch her,
don't you sit next to her, okay?
- What's wrong with you?
- [Man] Hey, what's going on?
- He went in the water,
Terry went in the water
to save her, and she pulled
him down, you killed him,
you come with me.
- You're crazy.
- [Michael] I'm not crazy,
come on, come on, let's go.
- You all right?
It's gonna be okay.
- Just play it back, just
the last two minutes, okay?
- Yeah.
- Watch this.
Okay, look, look, look, did
you see that, did you see that?
- How many other people were down there?
- It doesn't matter how
many people were down there,
you saw what I saw.
- Play it again.
- [Michael] Look at the hand, that's her.
- That's just a couple of hands.
- She's one of them, just
like you said, she killed him.
- And how are you gonna prove that?
That's just a couple of hands.
- I had to shut it down, what do you mean?
I don't have a director,
they're suspending my insurance,
and as far as I'm concerned,
our leading lady is a damn murderess,
yeah, I'll call you later.
- You've gotta stop calling
her that, she's gonna sue you.
- Why is that, nobody
believes me, not even you.
You know, the only one
that believes me is Crick.
- He didn't say he believed
you, he didn't say anything.
- You know why, because if he did,
everybody else would think
he's crazy, that's why.
Did they find him yet?
- No, but you've gotta see this.
- What is it?
- Bamba's computer, Gary picked it up
on the boat this morning to
see if there was a shot list
for the rest of the shoot,
this is what he found.
Look, guys, this is really disturbing,
but you gotta see it, Mike,
I mean, it's just crazy.
(overlapping chatter)
- [Man] Something's going on.
- [Man] How did they get on
board, what are we gonna do?
(overlapping chatter)
- Is this from the movie?
- No, this, no, this is the feel thing.
These are the real refugees,
jumping on Harry's boat,
and Bamba filmed it, this is
where he got the whole idea
for the story, I mean, this
really happened on Harry's boat.
- [Michael] This is crazy.
(overlapping chatter)
- I don't know what to do, come on,
you gotta help me out here,
we gotta fucking kill 'em all.
- See, there he is, there's Bamba.
- Yeah.
- He used all the stuff
as reference material,
and then staged it in the film,
Bamba's filming all of this,
the story he wrote really
happened, I mean, he put this
in the film, that's where
he get the idea from.
(gun fires)
It's insane.
- Oh my god, there's that little girl.
(Stacey screams)
(gun fires)
- And Stacey.
(gun fires)
- Are you all right?
- And that's Peter, what's he doing?
- Stay here!
- Don't do it, don't do it.
(gun fires)
- [Stacey] No, no!
- Take my baby, take my
baby, here, take her!
(gun fires)
- My god.
(overlapping chatter)
(gun fires)
(overlapping chatter)
(overlapping chatter)
(gun fires)
- [Sherry] No!
- Oh my.
(overlapping chatter)
- [Sherry] Why did you do it?
Why did you do it, why didn't you tell us?
- They said we would go to
jail if we told anybody.
- How many people did you kill?
- Everyone.
All of them that came on the boat.
- Oh my.
(Stacey cries)
- What happened to the rest?
- We left them there.
- Even the little girl?
- Where's Peter?
- Oh, I saw him driving to town.
- She's gonna kill him,
she's killing everyone
that was on that boat.
- Where did he go?
- I don't know.
- Okay, listen, I want
you to destroy everything
that's on this computer, I want you
to get her out of this island.
- Where are you going?
- I'm gonna go find Peter.
- [Bert] You want me to go with you?
- Stay with her.
(slow music)
- Simone?
Simone, are you there?
(slow music)
Hey, Simone?
(slow music)
Hey.
- Come in, do you want something to drink?
I can get you some juice or something.
- Just some water.
- On ice?
- No, no, thanks.
(slow music)
I shouldn't have called, I just wanted
to apologize for my father again.
It's like his whole
personality has changed.
(slow music)
- I just don't know why he would
say so many terrible things
about me, it's like he
hates me or something.
- He doesn't hate you,
he's just going crazy.
(Simone cries)
Look, don't cry.
- It's just that I had to go through all
of these horrible things all alone,
and no one, no one even
bothered to come check on me.
Except for you.
(slow music)
Thank you, Peter.
(slow music)
- I'm sorry.
- No.
I liked it.
Come with me.
(dramatic music)
(horn honks)
- Last one is who buys lunch.
(Simone laughs)
Hey, come here.
(slow music)
- [Simone] I'm gonna get you.
- Oh, you'd better look out.
(tires squeal)
- Follow me.
(dramatic music)
- Peter!
Peter!
Peter!
(dramatic music)
Peter!
(dramatic music)
Peter!
(dramatic music)
Peter!
Where's my son, hey!
Where's my son, what'd you do with him?
Hey, where's my son!
- I don't know.
Peter!
He went under.
- [Michael] Where's my son?
- I don't know.
- Where's my fucking son, where is he?
- He went under.
(dramatic music)
- Listen, I'll fucking
kill you, where's my son?
(dramatic music)
Die.
Tell me.
- I don't know.
- Where is he?
- He went under--
- Where's my son?
(dramatic music)
Tell me.
- I didn't do anything.
- Tell me.
(dramatic music)
I'm gonna fucking kill
you, bitch, tell me!
(dramatic music)
I'm gonna kill you.
- [Simone] Please, no!
- Hey, what are you doing?
- Die, you fucking!
(slow music)
- Let her go!
(slow music)
Where is she, what the
hell did you do, man?
(slow music)
You killed her, you crazy son of a bitch.
(Peter coughs)
- I saved my son, that's what I did.
(slow music)
- [Man] We got her, we're bringing her in.
- [Driver] Condition?
- [Man] No vitals.
- We'll come and get her.
(slow music)
Excuse me.
- Excuse us.
(slow music)
Get George Simmons on the phone.
- What are you gonna do?
- I gotta do what I gotta do.
- But he didn't do anything,
he thought she was gonna hurt him.
- This is a murder.
- They're gonna take him to jail.
- Don't worry, I got a good lawyer,
don't worry about that.
- Sorry, Mr. Pace, but I'm gonna have
to arrest you for the
murder of the young lady.
- What, she's not, she's
not, she's not real,
she never existed, you
know that, she used me,
she used me to bring you all
back her so she could kill you,
you know that, son, she used every one
of us to come here, you
know, so she could kill us,
you understand, you
know that, right, honey?
You know, just let me see her.
- Show him.
(slow music)
- Oh my god. (cries)
No.
- No, Stacey, no!
- [Sherry] Oh my god.
(slow music)
- I thought I told you to stay with her,
to watch her the whole time, I told you
to get her off the island.
- They told me you'd
killed a siren, I'm sorry.
- Look at her now, she's dead!
I told you to stay with
her, you killed her, man.
(Sherry cries)
- Sorry, Michael, it's not my fault--
- You killed my daughter,
don't you understand what I'm saying?
Look what happened, she's dead.
- Sherry.
(slow music)
- I'm sorry.
(slow music)
(dolphin squeals)
(slow music)
- I've been looking for you for two hours.
- You're a very persistent
woman, Mrs. Pace.
- I finally talked to the little girl.
She said that the dolphins and a lady
in a white dress saved her from the sea.
- A lady in a white dress?
- Your siren.
- So you finally believe, eh?
- I need to believe.
- I'm very sorry for what
happened to your family,
but you'd be interested to know
that I contacted the police
in Savannah, Georgia.
They told me that Simone
Delacroix disappeared
in a boating accident over six months ago
- Is that true?
- Yeah, they're sending me documents
and photograph as evidence.
- So will that be enough to get him off?
- When I spoke with the judge,
he said that he would review the case,
however, we're still gonna have to prove
that she wasn't a real person.
- Well, how are we going to do that?
- We're gonna have to prove
that she's still here.
(slow music)
(moves into suspenseful music)
- Go!
(dramatic music)
(moves into slow music)
(moves into dramatic music)