(Orchestral music playing)
TOY: Time for action!
Gangrene, you slimeball!
Hands up!
TOY: Gangrene, you slimeball!
- Hey, Thomas.
- Hi, Brian.
- How was school, eh?
- Fine.
(Softly) good.
Time's up, you slimeball.
- Let's go outside.
- I'm almost done.
Come on, mom, you promised.
I know
and I am a terrible mother.
- You're horrible.
- Horrible?
- You're dreadful.
- Dreadful? Oh!
Well, Im gonna be horrible
and Im gonna be dreadful
if I don't finish
this chapter.
So I need at least...
- five minutes.
- Three.
Four.
Deal. We're escaping outside!
Whoosh!
- Hey.
- Hey.
- What did they say?
- (Groans)
Not interested.
What do they know?
They rejected my first novel anyway.
It's Tabitha king
syndrome.
Stephen King's wife.
She's a good enough writer,
but no one knows her.
All they know is Stephen King.
(Class bell rings)
They'll know you
one day.
Look at all the help
you've given me.
That's editing, darling.
It's not the same thing.
See? "not sufficiently
mysterious for a mystery,
nor sufficiently thrilling
for a thriller."
You know, it wouldn't
be the worst thing
to add a few thrills
and resubmit it.
Throw in some more blood?
Psychopath jumping
out of the closet with an axe?
No, it's not
the English tradition.
I thought a sort of style, wit...
imagination.
Darling, you have wit?
Very good.
You're the best editor in London
is that so bad?
Max Perkins saved Hemingway.
Yes, well, no one
remembers max Perkins,
and he's right up there
with Tabitha what's-her-face.
Well, I couldn't have done
any of this without you.
Well, you do realize,
darling, that...
that Im supposed to be
saying that to you?
Hey, when can I read some?
About three minutes.
That's all Thomas has given me.
Okay, three minutes it is.
TOY: Action alert!
Hand's up!
Action alert!
Hands up!
Brian, dinner's ready.
Yeah, coming.
Thomas.
Thomas?
Thomas?
Thomas?
Thomas?
Thomas! No!
Oh, baby.
Brian! Come on.
Come on! Breathe!
Brian!
(Choral music playing)
(Sobbing) no...
no no...
no!
WOMAN: I searched
every website.
This is everything you want.
It's remote, quiet,
- no one around for miles.
- Ingonish cove.
You'll get so much writing done
it's got the boats we used in Suffolk
do you know how long
you might want it for?
I don't know.
Just whatever it takes
for me to finish this book.
It looks great.
Well, Brian hasn't
been any help.
He should have been
there for you.
Yeah, weli...
he tried.
Look, whatever we had,
we lost a long time ago.
Yeah, I know.
But are you really gonna
be okay out there, all by yourself?
- It's only been eight months.
- Yeah, Im fine.
Would you like to get some tea?
Yeah.
I'll get you wherever you are!
(Eerie music playing)
(Soft piano tune playing)
If you're really gonna go,
take these with you.
You know I was wanting to try
it without it for awhile, Robert.
It's just in case.
(Elevator dings)
Rachel.
Shall I call Bartlett?
I'm not up for divorce
lawyers right now.
Let's just deal with all that
when I get back.
(Dings)
- ROBERT: So how did it go?
- BRIAN: All this time,
she's never talked
to me about Thomas.
She won't open up to me at all.
You've got to remember it's not
the same for you.
What, because he's not my son?
Because you weren't
the one who left the gate open.
- Hello.
- WOMAN: Rachel, how are you?
You should see where
I am right now.
- You're there already?
- It's beautiful,
and there's not another
house around for miles.
They said there
was a lighthouse
there as well?
- Mm-hmm.
- You've got one in your book
haven't you?
You can do some research.
RACHEL: It's perfect.
It's exactly what I wanted.
If I can't write here,
I can't write anywhere.
Ah. At least you're
not stuck writing crap
for a crap paper,
like I am.
It's not that bad.
It keeps the bills at bay.
- Almost
- yeah, which is good for you.
Which I don't
need reminding.
Hey, remember...
if you want me to come out there,
you just say the word.
Thanks.
I'm-I'm-I'm gonna be okay.
I really... I really think
Im gonna be okay.
Excuse me...
excuse me? Am I headed the
right way into town?
Sorry?
Am I...
am I headed the right
way into town?
Yeah, you just follow up the beach.
You can't miss it.
Okay, I wasn't sure.
Are you traveling through?
Oh, no no, actually, Ive just
moved into foster road, number 1.
Foster road, number 1?
Are you sure?
I think so.
It's the only house on the road.
Yeah, that's it.
I'm Finlay Murray,
what passes for a police
sergeant round here.
- And Im Mary.
- Hello. Rachel Carlson.
- So you here
on your own?
- Yeah.
Well, if you hang on,
Ill give you a lift in.
It's a wee bit of a hike.
Thank you,
but this is what Im here for.
- Are you sure?
- Absolutely.
- Okay.
- To the beach.
- Yep.
- All right. Thank you.
Your son's waiting for you.
On the swings.
He's been waiting for you.
He told me.
My son?
I'm sorry.
It must have been
someone else's little boy.
Wait. Can I talk to you?
I was mistaken,
that's all.
It's a beautiful day,
isn't it?
(Squeaking)
THOMAS: Mom? We're escaping outside
come with us.
You promised,
but you never came.
(Camera shutter clicking)
It's impressive,
don't you think?
Quite.
I didn't realize that there was
anyone else around.
Carry on.
Lighthouses are a dying breed.
I'm Angus McCulloch,
the lighthouse keeper.
Rachel.
Sorry, I just assumed
that all lighthouses
were automated now.
Well, most of them are.
In a few years,
Ill be gone, too.
So what brings
you out here?
I'm researching
lighthouses for a book.
It's a long way from America
just to see a lighthouse.
No no, I live in London
actually.
I'm just out here
doing some writing.
Oh, you're in
the cottage.
It's about time
someone moved in.
It's been empty for years.
Well, you've certainly
come to the right place
to write a book.
Did you meet the horses yet?
That's a story for you.
A Spanish galleon shipwrecked,
right there, 1754.
The entire crew died,
but a few horses
swam here to safety,
and they've been here
ever since.
And they've never
been off the island?
I can think of worse.
Yeah.
Listen, Im just
putting some dinner on.
You're welcome to stay,
have something to eat.
I can tell you
everything you need
to know about lighthouses.
Thanks, I need to get back.
I'm still unpacking boxes.
Well, look, maybe next week.
Same time?
I'll cook some extra
and if you don't show,
Ill eat with the horses.
We should be friends.
We're neighbors now.
We should.
(Gasps)
RACHEL: "to my love in
honor of what we decided yesterday."
"Forever yours, k."
"Page 145, line 7."
"Today I begin to understand
what love must be,
if it exists.
When we are parted,
we each feel the lack
of the other half of ourselves.
We are incomplete,
like a book
in two volumes
of which the first
has been lost.
This is what
I imagine love to be...
incompleteness in absence."
ACTION MAN:
I'll get you wherever you are!
(Eerie music playing)
Thomas.
Thomas.
Mama.
It's okay, mom.
Don't go.
- Don't run, don't go.
- I won't.
Come. Be with me.
(Gasping)
(Sizzling)
Ah!
Hello.
You turned up at last.
Good timing
Im just burning the fish.
It's good to see you.
How's your research coming?
Well, it's all right.
Could be better.
That's why Im here.
I was hoping I could get a tour.
Okay.
How about some lunch
before the tour? (Chuckles)
Is there anything
else on the menu?
Why is it that everyone
paints their boats
the exact same color
as their houses?
Well, that's actually
a tradition here.
The wife needs to be able
to look out on the water
and know her
husband's okay.
That's very romantic.
And we also
get a tax break
on the paint.
Which is also very romantic.
Very romantic.
RACHEL: I can't make it!
Quick.
Do you ever get lonely
working out here?
You never get lonely
sitting at your typewriter?
Sometimes.
I like being alone.
Do you really
like it?
Or do you think it's
just something you've
gotten used to?
Or maybe I like it
because Ive gotten used to it.
- I love it out here.
- Who do you talk to?
Who do
you
talk to?
Isn't that what you
love about writing?
The solitude?
I write because...
well, I don't function
very well as a human being
unless Im writing
well, what are you writing now?
I'm not.
RACHEL: Don't tell me
you paint as well!
Oh, no.
Kate, my wife.
She...
we haven't seen each
other for a long time.
She loved it out here at first.
But in the end,
the isolation was too much for her.
Loneliness
can make you
a little crazy, I think.
Come on.
Wow!
Kate could never understand
why I wouldn't leave here.
But my father lived here
and his father before him.
My great-grandfather,
he built the balcony
from wood that was washed
ashore from a shipwreck.
This is him.
I could never leave here.
You'll see why.
Come on.
By the way,
Ive brought you something
as a thank you for the tour.
It's one of my books.
- I had it sent.
- Thanks.
"Dreamers awake,"
by Rachel Carlson.
I'm impressed.
Is it a comedy or a tragedy?
Well, it's a mystery.
But please be kind... it is
the first novel I had published.
Weli...
Ill find out
all about you.
Maybe.
If you need any help,
just send out a flare.
- I'll keep an eye out for you.
- Thank you. I really...
I really enjoyed that today.
Aye. Me too.
SHARON: So have you
slept with him yet?
RACHEL: It's just nice to have
someone to talk to.
Meaning you haven't
slept with him.
You know,
you're starting to sound
like you're conducting
a tabloid interview, my friend.
You know me, always working,
always looking for the angle.
And you know I rely
on you for my kicks.
(Chuckles)
Is that the sea I can hear?
Yes, it's less
than 10 feet away.
- Can you hear the crashing?
- Wow, look at you.
Number one best sellers,
waves at your feet,
romance on a deserted island.
Tough life.
Rachel, Im sorry.
That came out wrong.
Sharon, forget it.
It's okay.
Look, I wouldn't have made it
this far without you.
I mean it.
I'll call you tomorrow, okay?
Okay.
Okay, don't peek.
(Beeping)
Qu... qu... qu-quick quick quick.
Ready?
- RACHEL: Smile.
- Okay.
(Camera shutter clicks)
RACHEL: And no faces this time.
Hurry hurry,
come on, come on.
Wait wait wait.
It's gonna come.
- You smiling?
You promise? - Yes.
- Yes.
- You promise?
ANGUS: Rachei...
are you okay?
Rachel?
Is something wrong?
What's wrong?
I think I need to get back.
Why?
I'm sorry.
- Afternoon, Rachel.
- Afternoon.
Are we gonna see you
here on Sunday?
I don't think so.
Your man and I aren't
on very good terms.
Don't you worry about
that.
All the more
reason to come.
Your cross is broken.
I know.
It's this
weekend's chore.
It's the gate, isn't it?
What?
Why you're so sad.
You left the gate open.
You haven't been able
to go out there since
he died, have you?
RACHEL: All right, ready?
All right, here we go.
Now face this way.
Okay, good.
Okay, let's smile.
Smile.
MORAG: He's beside you,
your son.
He's dripping wet.
He follows you everywhere.
He's trying to hold your hand.
What's she been saying?
More of her psychic
mumbo-jumbo?
Listen, don't worry,
she'll say anything to get
somebody to talk to her.
Watch your fingers. Jim,
get us that dustpan and brush.
(Knocking on door)
MORAG: Yes yes, I can hear her.
I'm not answering.
- RACHEL: Is anybody here?
- I should have never
have gone to see her.
I don't want to talk
about it anymore.
I'm not listening.
You can keep talking,
but Im not listening.
I'm not getting out
of this chair
for the love of god or money.
I can't save her.
I can't save anyone.
Things are gonna get worse.
Rachel. Come in.
Do you think it's possible?
Do you think I could be
getting messages from him?
I don't know.
Maybe.
Maybe the dead miss us
even more than we miss them.
I've replayed it so many times.
If Id only gone out to play
with him like I said I would,
that this never would
have happened.
And I keep thinking of him
in the water, struggling,
and I wasn't there.
I'm the mother.
I'm supposed to be there to
protect him, and I wasn't.
I came here thinking
that I could write,
and that everything
would be okay.
And you know what?
It's not okay.
It's not okay,
and Im not okay.
Rachel, shh.
Shh shh shh.
(Romantic music playing)
(Celtic ballad playing)
What is this?
It's an old Celtic ballad.
"Caileag an stoirm."
"Girl in the storm."
It's beautiful.
I finished your book.
Did you learn all about me?
Maybe.
Here.
I made something for you.
To inspire you.
I'll leave a key out for you...
so you can come up
whenever you want to,
in case Im out
fishing or something.
Look,
it's mother-of-pearl.
I love these.
Do you know the old
Celtic legend about them?
- About those?
- Yeah.
No.
Come on.
First,
we have to bury it together.
- Together.
- Right.
And then if one
of us ever returns
and digs it up, then...
then we were meant
for each other?
Well, actually,
I don't know because
I just made it up.
Very Celtic of you.
You know, I was thinking
that exact same thing.
Do you know Mary,
Finlay's wife?
She's having a little
birthday thing
in the village tomorrow,
and I was thinking
that maybe you'd like to go.
I'd love to go.
So like, 2:00?
hey, Rachel.
I'll see you tomorrow.
(Motor turns over)
RACHEL: "she lay there
in the half light of the cabin
unable to sleep.
In the morning,
she told him she had,
for there were still
some limits
to the things she could
say to him then.
But most of the night,
she watched his eyelids
and his lips and his face.
And in the stillness,
she felt peace."
(Folk music playing)
- Hey, Rachel, how you doing?
- Hello.
- Are you all right?
- Oh, Im all right.
Rachel, you made it!
Oh, great.
- There you go, honey.
- I've got something for you.
Happy birthday.
That's so sweet of you.
Thanks very much.
Would you like a drink?
- A lager.
- It's on the way.
Rachel, your glass is empty.
Happy birthday to you
happy birthday to you
happy birthday, dear Mary
happy birthday to you.
(Cheers and applause)
Happy birthday.
Excuse me, Mary,
Im sorry to interrupt.
I'm meeting a friend here
Angus McCulloch.
- I thought you might
have seen him.
- What are you talking about?
Well, he was supposed
to be here an hour ago.
The lighthouse keeper.
Aye, I know who he is.
What does he look like,
your Angus?
Um...
dark hair, nice blue eyes.
Aye, that sounds like Angus.
I've not seen him
these seven years,
and neither have you,
'cause he's dead.
No, there must be some mistake.
Oh, he's dead all right,
him and the wife.
I chose the dress
we buried her in.
No, you're kidding,
right?
Reverend, you've been
out to the lighthouse,
haven't you?
No, not for years.
- Nobody goes out there anymore.
- But you know Angus McCulloch.
I used to, aye, but...
he's been dead for six...
no, seven years.
Is this a joke?
Rachel, this isn't funny.
People here don't
laugh about this.
What is this?
Why... why are you doing this?
Why... why are you doing this?
(Speaking foreign language)
Angus?
Loneliness can make you
a little crazy, I think.
ANGUS:
Kate could never understand
why I wouldn't leave here.
But my father lived here,
and his father before him.
I could never leave here.
Maybe the dead miss us
even more than we miss them.
FINLAY: Rachel.
What are you doing here?
You're gonna stir up trouble.
I came to look for Angus.
Angus McCulloch is dead
and buried.
I saw him jump off
that cliff over there.
I was with him, right here,
last night.
You couldn't have been.
Seven years ago
I came out to visit Angus,
just as I had done
dozens of times before.
There was a tape playing...
"caileag an stoirm"...
Angus's favorite song.
I found Kate inside.
Angus came home early
from the village,
caught her in bed
with a local fisherman...
Gordon McCloud.
It had been going on
for months.
Angus was the only
one that didn't know
anything about it.
I caught a glimpse of him,
through the window.
I followed him up to the balcony,
but I was too late.
I felt for him.
We all did.
He just worshipped Kate.
When he caught her with Gordon,
he must have just snapped.
I heard all this from Kate.
She lived long enough
to tell me that Angus
didn't kill her.
She came between them
in the struggle.
Just before she died,
she prayed that Angus
would forgive her.
We all knew what was going on.
Nobody said anything.
Those three deaths are
as much on our hands
as they are on his.
It just can't be the same man.
I...
I can prove he was here.
If I can just get
this film developed.
There's a photo
of us together, and...
well, I... I must
have just misplaced
the film somewhere.
You couldn't have met
anyone out there.
He also did
a carving
for me that...
- Rachel.
...was right here.
Rachel, nobody goes
out there anymore.
The lighthouse was automated
after the murders
so we wouldn't have to.
And nobody's lived
in this house since then, either.
What do you mean,
this house?
Well, this was
Gordon McCloud's house.
He and Kate used to signal
each other with lights
when Angus was away.
This who you mean?
This just doesn't make any sense.
I've been with him practically
every day this last month.
We've eaten together,
we've walked on the beach,
we've been with the horses.
It's not like
Ive been out there
talking to myself all this time.
Well, if you've been flirting
with Angus McCulloch,
who's that buried
in Ingonish cemetery?
(Gasps)
You didn't believe us, eh?
I don't know what
to believe anymore.
You still haven't
fixed the cross.
No. No, I haven't.
It's this weekend's chore.
Excuse me.
You have some newspapers
missing on the microfilm.
It's a miracle we have
any there at all.
What you looking for?
Anything around
February 12th or 13th, 1998.
The McCulloch murder.
Kids probably pinched them.
Gory murders... kids love 'em.
What about internet access?
(Speaks foreign language)
The computer's being fixed.
Sorry.
Look. I just need anything
that has a photo
of Angus McCulloch.
Try Ullapool public library.
- (Dials)
- (Ringing)
MAN: You have reached
Ullapool public library.
We are closed at this time and
will reopen on Monday at 9:00.
(Beeps)
(Speaking foreign language)
- He wasn't there?
- No.
I don't understand.
His stuff, his boat...
- something must have been there.
- No no, nothing was there.
It was like he never existed.
There must be some explanation.
Yeah.
Heck, Im losing it,
that's the explanation.
Maybe I shouldn't have come.
Have you spoken to Robert?
No. Maybe he was right
and I shouldn't have
gone off the medication.
Rachel, just come home.
Just get out of there
and come back.
You know what?
Maybe I did imagine Angus.
He seemed so perfect.
And there isn't
anything that perfect.
- Is there?
- Listen, Im coming to you.
I'll get on the next plane
and Ill be there in a few hours.
You just sit tight.
You stay there, okay?
Okay.
I'll see you soon.
(Dings)
- (Banging)
- (Gasps)
(Wind howling)
Rachel!
What are you doing here?
I knew you'd be here!
Rachel!
Come down
and meet me inside.
Sharon, he's here... Angus.
- What?
- He was on the balcony.
I saw him, then I saw you,
and then he was gone.
You didn't see him.
You didn't see anything.
- Your mind is playing
tricks on you. - No no.
- No.
- Come on, let's go home.
Sharon, he's right there,
in the doorway.
- There's no one there.
- Turn around.
I am not gonna turn around.
I'm not buying into this fantasy.
There's nobody there.
Listen to me.
I want you to do something for me.
Close your eyes.
Do this.
Close your eyes
and when you open them again,
he'll be gone.
You have to do this.
You make him go away
now,
and he'll never come back again.
Close your eyes.
Close your eyes.
And now he'll be gone.
He's coming towards us.
He's right behind you.
See?
Nothing.
Nothing.
Can we go now?
WOMAN: Legs, 11.
We have legs, 11.
Now what about 1 and 6?
It's sweet 16.
We'll not see that again,
will we?
And the next number is 88...
two fat ladies.
Bingo, bingo!
Where's Finlay?
Is he in here?
Would you come with me? I want
you to come with me right now.
What are you talking about?
I can't come with you.
Rachel, what are you doing?
(Murmuring)
He stabbed her right here.
So there'd be blood everywhere.
She was right here.
Well, she's not here now.
Come on, let's go.
She was here.
We need to do something.
Get more police here.
I'm not taking
anyone else out there.
I'm telling you,
someone must have moved the body.
Rachel, Rachel.
I want you to listen to me.
Angus McCulloch is dead.
And Ill bet your friend
is at home right now
reading the newspaper
and eating scones.
(Dialing)
(Ringing)
Hi, it's Sharon.
Leave a message after the beep.
(Beeps)
She's not there.
Yes, but that doesn't
mean she came up here.
Wherever she is, Im sure
she's absolutely fine.
I want you to spend tonight
with Mary and me.
I don't think
you should be alone.
What do you think,
Im making this up?
Nobody's out to get you.
Listen,
if this was one of your books,
which would you believe?
That the heroine fell in love
with a ghost who
then murdered her best friend,
or...
that she imagined it
and she needs some help?
I'm not crazy.
Weli...
the offer's there.
I'm at the other end of the phone.
Hi, it's Sharon.
Leave a message after the beep.
- (Beeps)
- Hi, it's me.
I don't know where you are.
I don't know if you came out here.
I don't know what's going on,
but if you could call me
when you get this...
okay?
(Rings)
Hi, it's Sharon.
Leave a message after...
hi, it's Sharon.
Leave a message a...
leave a message
after the beep.
Leave a mes...
(Dialing)
(Ringing)
- Dr. Freedman, table for four.
- (Cell phone ringing)
This way, sir.
- Hello.
- RACHEL: Robert, it's me.
Rachel, listen,
Im just in a restaurant,
- can I call you back?
- No no no.
Listen, I don't know
how to explain this,
but I think that Sharon
came out here
and that she may have been hurt.
What?
What are you talking about?
I need you to do me a favor,
okay?
Rachel, slow down.
What's happening?
I don't know what's happening.
That's just it.
Can you please just
go to Sharon's?
She's not answering
her phone or her cell.
What for?
I just need you
to go there, okay?
And then call me, okay?
Well, why shouldn't she be there?
Look, I just need you to
go there and then call me.
Listen, Rachel,
can't this wait?
- I've got friends here.
We're about to... - no.
Please, can you just
do this for me? Okay?
Okay. I'll go there,
and Ill call you.
Okay, Im gonna
be waiting.
Okay.
All right, sorry about that.
Thanks very much.
Thank you. Okay.
(Toy jeep whirring)
(Thuds)
I need to talk to you.
Come in.
The Scots call it
"da-shealladh."
"Second sight."
It's been my ruin.
You think the living
are full of regrets?
You ought to hear the dead
endlessly lamenting.
"Never made up with my children."
"Ignored my parents."
"Never told anyone I love them."
This isn't some kind
of game, is it?
I mean, you just
wouldn't make this up.
My son drowned.
I just want to
know that you...
that this isn't something
you would take lightly.
He follows you everywhere.
He's trying to warn you.
About what? What?
Angus?
What are you saying?
- Are you saying he's not dead?
- Oh, he's dead.
His ghost's out there
wandering the island.
Suicides are
forever trapped
between our world and the next.
When I cross, I don't want
anything on my conscience.
Don't go back to the island.
Leave Ingonish cove tonight.
Your life's in danger.
That's what Thomas has
come back to tell you.
I have to go back to
get Thomas's things.
Well, do it quickly.
(Phone beeps)
- Would you like some of mine?
- (Cell phone rings)
Yeah, one second. Hello.
- Have you gone to Sharon's?
- I called her.
She's not answering.
What's this
all about?
- Would you excuse me a second?
- Yeah, sure.
Can I try a bit?
Are you awake?
Robert.
What a surprise.
I'm sorry to call you so late.
Do you have a second?
Yes, Im just doing a little
late-night editing.
- What's going on?
- Something strange is
going on with Rachel.
She's called me twice.
She's going on about Sharon
being hurt somehow.
She's not
making sense.
I knew she shouldn't have
gone out there by herself.
You don't think she's gonna
do anything stupid, do you?
The way she sounded,
nothing would surprise me.
Christ.
I-I was worried about this.
Well, listen,
Im gonna call her now.
I think you should,
and get Sharon to also.
Yes, of course, of course.
Well, thanks for calling.
Okay, tell me how it goes.
I hope everything's okay.
Yes, I will.
Back from the dead?
You look good for a corpse.
Where's the rest
of it?
- You get it when we get it.
- Well, my price just doubled.
Four million,
slightly more than you told me.
Do you know what the funny
thing about you and Brian is?
You always talk about him.
All the ways the two
of you are going to...
enjoy the money.
But Brian,
he never talks about the money,
and he never talks about you.
He always talks about her.
Her books, her success,
her imagination.
It's envy of her... isn't it?
That brought you two together?
You both just want to be her.
The ghost has a heart, huh?
Is that why you were
on the balcony?
You were meant to be downstairs.
Tonight?
I wasn't on the balcony.
I was downstairs the whole time.
And besides,
you're the ones who
have been improvising.
What's with all the messages
from her dead kid?
We never did that.
Good idea, though.
But we never did it.
How do you get your
hands on the money?
I thought you were
the guy who never asked.
"I do the job. They pay me.
I go home."
You did the job, so go home.
You didn't fall for her,
did you, Patrick,
while you were pretending to
fall for her?
Your whole life may
have just collapsed.
Do you remember
what I was doing
when we first met?
Yeah.
I thought you might.
I want the rest of the money.
I won't tell you again.
Sharon.
It was a pleasure killing you.
MAN: All aboard!
Sir!
All aboard!
(Whistle blows)
(Tapping)
(Wind blows)
(Tapping continues)
(Tapping continues)
(Tapping continues)
(Wind blowing)
(Tapping continues)
(Tapping continues)
RACHEL: I love these.
Do you know the old
Celtic legend about them?
First, we have
to bury it together.
Together.
And then if one
of us ever returns
and digs it up, then...
ANGUS: Then we
were meant for each other?
Well, actually, I don't know
because I just made it up.
Rachel.
(Celtic ballad playing)
(Gears clicking)
(Screaming)
Just room for one more inside.
MARY: So there was nothing at all
out there on the island?
FINLAY: No,
poor girl must be crazy.
She's got "ghosts
in the attic."
Hey, I love this bit.
It's great.
This is where Hugo
the dummy comes alive.
- (Knock on door)
- It's nearly midnight.
- Finlay, I need your help
out on the island.
- For god's sake.
Rachel's in danger.
It might be too late already.
It's very late tonight.
You come back in the morning.
Finlay, please,
I need your help...
Finlay. The last time she tried
to warn us about something,
we all ignored her.
And we had three funerals
the next Sunday.
- SHARON: Brian, wait.
- Look, relax.
Everything's gone perfectly.
Everyone thinks she's crazy...
the whole village,
even her own shrink.
She's in love with a ghost.
She sees murders
that don't happen.
No one...
no one's gonna blink an
eye when she kills herself.
Then her grieving
husband inherits 4 million.
And you thought
I had no imagination.
BRIAN: Just in case
she loses courage,
just in case she wants to save
herself at the last moment...
she throws the key
out of reach.
- Throws the anchor overboard.
- Wait!
- What?
- There's someone out there.
BRIAN: Did you see Patrick
get on the train?
SHARON: No.
It's gotta be him.
What's he doing?
I don't know.
We've gone too far
to stop now.
Brian, she's awake.
Don't look.
Don't look.
It's over.
We've gotta see about Patrick.
THOMAS: Don't forget
look behind you.
He's not here.
This place gives me the creeps.
What if Patrick was
telling the truth?
What if he wasn't
on the balcony?
Remember all those sailors
who said they saw Angus's
ghost on the island.
Yeah, drunk Scot sailors...
very reliable.
He's not here.
Let's go.
Start tying yourself up!
This isn't one of
your stories, Rachel.
There's not gonna be
a happy ending.
Patrick.
(Distorted)
No, not Patrick.
(Groaning)
No!
It's better this way,
you know?
Thank you.
We'll keep people
off the island.
Maybe then Angus
can rest in peace.
You ready?
Do you know what
Thomas would've wanted?
Let go of his death.
Remember his life.
(Orchestral music playing)
(Orchestral music playing)