Shy People (1987) Movie Script

MAN: Hey! "Jump and Shout".
From the Big Apple.
We got a good one
coming at ya from....
May be beautiful
- But yet...
What's too painful
To remember
We simply choose
To forget
- So it's laughter
- Laughter
- We shall remember
- We will remember
- The way we...
- But we will...
- The way...
- The way we were
The way we...
Where's that stupid belt?!
DIANA: Taxi!
Trinity School, 91st Streetbetween Columbus and Amsterdam.
I changed my mind.
Follow that Porsche.
Go on, go on.
Make the light.
I think they're pulling over.
MAN: Your husband?
My daughter.
I thought you left to work
on your story.
I changed my reservation.
It's tomorrow.
I thought maybe
you'd like to come.
You get to miss a day of school.
You never asked me to go
with you on a story before.
This one's special.
You know that, that series
I'm writing for Cosmo,
on families,
family tree articles.
Roots for Honkies. [CHUCKLES]
This one is about our family.
You know Grand-dad's brother
who went down to Louisiana,
and became some
kind of an outlaw.
I mean, it is fabulous.
There's got to be a story in it.
So, I thought that
since it involved you...
Yeah, okay.
Okay, I'll go.
You know, you don't have to go,
if it doesn't appeal to you.
I'm not doing anything.
Honey, you know...
you can always talk to me.
Where can I get a boat
to Sullivan town?
-No boat to Sullivan town.
There must be
a road by now. [CHUCKLES]
No road.
No road?
No town.
No town?
Never was much of a town,
just an old supply store.
MAN: How're doing, Larry?
Officer, I'm Diana Sullivan,
I'm from Cosmopolitan Magazine
and I'm lookin for some
relatives of mine.
Joe Sullivan is my uncle.
Well, I'm sure one of you fine
gentlemen would be happy
to take Miss Sullivan down
the river to meet her kinfolk.
Man, I ain't goin' all the way
back there into that mess.
Why don't you go, Larry?
I don't want to get
my head blown off
by some old crazy Sullivan.
If you pardon
my sayin' so, ma'am.
They do that stuff?
Head blowing off and everything?
-LARRY: Well, now, miss, uh...
Uh, all the people back
in the Bayou,
mostly they're Cajun...
peaceful people.
So the stories are exaggerated.
Well, now, ma'am, uh,
the Sullivans areamong the few who aren't Cajun.
Uh, it's different.
Uh, hell, I guess I could say
they were a little, uh, shy.
Shy. What are you guys
talking about?
Well, ma'am, uh...
what I mean to say is, uh...
Uh, they're a little wild.
Oh, yeah.
That's right. [LAUGHS]
Well, look, they're my family,
for better or for worse,
I'd like to see them if I can.
LARRY: Come to, sir. Come to
for a moment, please, sir.
-Well, howdy, folks.
-Hello, there.
-Hi, there.
-How are you, Jake?
What do you got there, Jake?
What do you think?
Where are your traps, Jake?
Hey, I can't tell ya where I hidmy lucky traps, now, can I?
You know, someday those people
are going to kill you, Jake.
You won't think
that's so damn funny.
Big fuckin' deal.
I kicked Gook's ass
in 'Nam
you think these hicks scare me?
You got to catch 'em red-handedor ya can't take 'em in.
-Don't forget my present!
-DIANA: What? Oh!
DIANA: Calculance here.
Just about a mile
from Texacana
In them old...
Cotton fields back home
Is this the Sullivan place?
Oh, no, ma'am.
That's another hour or so
down the Bayou.
Henry here, he'll take you.
DIANA: Why can't you take us?
Don't worry.
Henry know the way.
I hate to take people
like surprise this way.
You know, I hope they don't
think we're rude
not saying we're coming
or anything?
HENRY: They know you coming.
They do? How?
Look over there.
I don't see anything.
HENRY: You don't see them.
They see you.
GRACE: Should we take our stuff?
Oh, I don't think so.
You'll wait?
HENRY: You paid me for it.
Mrs. Sullivan?
Are you Mrs. Sullivan?
I just came to ask
a few questions.
I won't stay very long.
The IRS sendin' out some funny
agents this year.
I'm not from the IRS at all.
Really. I'm Diana Sullivan,
this is my daughter, Grace.
Joe Sullivan was my great uncle.
Really, he was.
Nobody gonna kick us off
this place!
no National Park whatever it is,
no Audubon Society.
DIANA: No, look, look, look.
Here, take it.
It's a picture of Uncle Joe
and my grandfather.
You a Yankee. There ain't no
Yankee Sullivans.
There are.
-There ain't. Joe told me.
-Well, look, if you would just
look at the picture.
Didn't Joe have a birth mark
on his right hand
that looked like a rabbit?
Give it here.
The little one's Joe,
the big one's my
grandfather Michael.
What you want?
We wanted just to talk
about the family.
Mom, this isn't gonna, work.
This is ridiculous.
DIANA: What is her problem?
GRACE: Mother, she doesn't wantto talk to you.
You're making an ass out
of yourself.
Where you goin' so fast?
She's just doing this
to humor you.
Henry, you go on.
You pick 'em up
in a couple days.
Pauli, you go get
the--their suitcases.
GRACE: She's making
a fool of you.
She doesn't want to talk to us.
DIANA: Grace.
Look at this house.
Look at this house!I don't want to stay here, Mom.
DIANA: Stop it!
Come on, come over here,
sit with me.
Come on.
Come on, Grace.
Come on.
Wipe this off.
Chicken stuff.
It's my son, Pauli.
Joe's and mine.
Don't let him scare ya.
He ain't no together with us.
Oh, I'm sorry.
You're sorry.
God made him that way
and god sure ain't sorry.
He's your and Joe's son?
You seem so young
to have been Joe's wife.
I was and I am Joe's wife.
Took me as his second wife
when I was twelve years old.
It was after Jessie and the kidsburned up in the fire
back by the church there.
I don't see any church.
Well, how in heaven could you?
It burned up! [LAUGHS]
The whole town burned up
twenty years ago.
You sure are an odd one.
Where you say you from?
Oh, uh, New York.
That your girl?
Yes this is my Grace.
Don't talk much.
That's what you think.
Go away.
That one doesn't either.
-My daughter in-law, Candy.
Well, you certainly have
a lovely wife.
He ain't my wife.
That's my baby boy, Tommy.
DIANA: Where's he?
In the tool shed.
-DIANA: Why is he screaming?
He can't get out.
DIANA: Why don't you help him?
I put him there. Why would I
help him get out?
TOMMY: Mama!
I'm hungry!
Let-let's go on inside.
What did your brother do?
Pauli's got a button missing.
Don't you understand that?
Now, Tommy's trouble.
You know what his trouble is?
Memory problem. He forgets
who's his daddy.
Make yourself to home.
DIANA: You know, this is reallyfascinating work here.
My God.
It's like some...
combination of Grant Wood,
Grandma Moses and Salvador Dali.
Look at this!
It's Joe.
Oh, yes, of course.
You see, we had him
made that way.
-Lookin' right at us.
-Uh, huh.
So we can't forget him
and all he gives us.
Oh, it's very functional.
We like it.
It's his place.
Not a day goes by we don't
give our thanks to Joe.
All we got is from him.
I said, it's his place.
He sit in it every day.
It's his.
May we help you?
Can't see as there's much
you can do.
Here is my place.
Looks good.
Bow your heads.
We thank you, Lord,
for this our food.
For our health.
And Joe, I know you're watchin'these nice kinfolk
who come to see us today.
They say they're from
-New York.
-A Yankee's a Yankee
but we say welcome anyway.
-PAULI: Amen.
GRACE: Hmm...
this is really good.
Turtle soup.
I had a turtle once. [CHUCKLES]
Ain't him.
GRACE: Oh, my God.
Oh my god! Look
at those two heads!
[CHUCKLES] Incredible.
-They're fighting!
-They're jumping!
They don't know which way to go!
DIANA: I gotta get this
on film.
-GRACE: It's weird!
DIANA: Can you turn them
around this way?
It's so sad.
This is not exactly
I never saw nothin' like that
'till the oil companies come.
That's when it
all started happening.
TOMMY: Ma! Come out here!
-How bizarre.
-Uh, two heads!
Excuse me, very much.
See this?
It's the third time
this week.
They stole my crabs,
all my craw fish
and all but those stupid crabs.
[SIGH] What the hell
am I supposed to do, Ma?
They got them big boats
and they come at night.
What the hell am I supposed
to do against that?
You don't raise your voice
to your Momma, Mark Sullivan.
[SIGH] I'm sorry, Momma.
And about the poachers.
What you got to do
-is you gotta find that--
-On the way here today,
we met a man
with a boatload of crabs.
I think he's supposed to be
a poacher.
Who's this?
Kin, from Baltimore.
It's my big boy, Mark.
What kind of man was it?
He was big, um...
with a very husky voice.
-GRACE: His name was Jake.
-Jake, right.
But of course
you couldn't prove it.
MARK: It's him.
Minute he come around
there was trouble.
You can take care of that.
You just think of what paw
would it done.
Then you do it.
DIANA: Uh, can't the police--
I think you should go on inside.
Somebody's soup gonna get cold.
We be along soon.
I understand.
All right, let's just sit down.
My days have grown
so lonely
For I have lost
My one and only
My pride has been humbled
But I am his,
body and soul...
-DIANA: Yeah.
-RUTH: You won't.
-DIANA: Who's that?
-RUTH: You know,
that's my grandparents.
That's, uh, Melrose,
my grandmother.
And that's Sam.
DIANA: Oh, she's got your jaw.
She's Irish.
-And then, there's Joe.
-Great looking.
-[CHUCKLES] See him?
-Oh, he was a scoundrel.
[LAUGHS] Oh, I don't know
about that.
-RUTH: There's Joe again.
-DIANA: Uh-hmm.
-Good looking.
-You recognize who that is?
-Oh, You were so pretty.
RUTH: Oh, I don't know
about that.
-DIANA: Yup.
-RUTH: I don't look like that
-no more that's for sure.
-I know, who does.
That's Mark.
Do you mind if I ask you...
who this is?
My dead son.
Why is his...
He's a sinner.
Went to town.
That boy's dead to me.
Did you mean he's nearby?
-He's dead, that's all.
-You never see him?
He dug his own grave,
he can lie in it.
[SCOFFS] That's ridiculous.
That's the way it is.
You're with us
or you're against us.
He went against us.
But it--it's your son!
He needs your warmth
and support.
Oh, you city people.
You--you're all warm
like dishwater.
That don't do nobody, no good.
What do you mean?
I mean, you don't run
hot nor cold.
You should be one way
or the other, hot or cold,
that's all.
Feel this, Mark. Come here!
Pauli, come here.
PAULI: Wait.
-Did you feel it?
-That's nice.
Come here.
I mean, it looks like
a dinosaur could come out
of here.
Can we go in here?
It's Joe's place.
Now Joe, he spent
some time back here.
Well, one day he had words
with old Carter Atkins.
And Joe, he had his rifle by,
and you can guess the rest.
Joe killed a man.
Oh, that time it sure
got him in a mess of trouble.
'Cause Carter's wife,
she was never one
to let things drop,
and she got the sheriff
out after Joe
and they kept up on it, too,
even though they knew
it was a waste of time.
And Joe, he had
to keep on runnin'
I only seen him Sundays
when I bring a basket.
Right here.
You mean, you knew
where he was?
[CHUCKLES] Well, everyone knew
where he was.
They just didn't know
when he'd be there.
'Cept me.
He come to me...
every Sunday.
'Till he stopped coming.
I used to wait right here,
till I saw his lantern light.
DIANA: What happened?
He just never come out no more.
I come here every Sunday
for a year.
Then I stopped.
You have a live son
you think of as dead,
and a dead husband
you think of as alive.
Things I show
they is, that's all.
That's all.
TOMMY: Psst!
Psst! Hey!
What's them bug-ears
you got on your head?
You've never seen
a walk-man before?
Well, here.
No, it's okay. Here, listen.
There, just relax.
It's Elvis Costello.
Guess that's all right!
GRACE: He doesn't know
we can't hear us.
You want a turn, honey?
GRACE: Well...
-You guys ever get out of here?-CANDY: Come here, pup.
Momma says it's all hell
and high water out there.
We seen what's in town.
I bet you'd get out of here
if you weren't so scared
of your mother.
I mean, listen, I understand.
My mother's a drag.
Just nag, nag, nag all the time.
And yours...
what a killer bitch.
Be sorry you said that.
My dad is watchin' you.
He heard that.
Wait a minute. This is crazy.
Isn't he dead?
Why don't you guys wake up?.
You're like slaves here.
Don't you know
there are places like Sweden,
where kids can sue their parents
for fuckin' them up?
And you're here
afraid of your dead father!
What did you say
this record was?
You get back up to the house.
Hear me?
No, it's okay.
Jesus Christ.
I don't believe it.
What don't you believe?
These people.
They're crazy. Can we get out
of here, please?
[LAUGHS] Well, they--
they are odd.
But Henry won't be back
for two days, so.
Anyway, I'm finding out
amazing stuff about Joe.
What a character.
Uh, this is going
to be the best story.
What about the kid
who's locked up in the shed?
That is part of the whole thing.
The ignorance, the superstition.
Maybe we can help
a little by being here.
You know, teach them something.
Yeah, maybe you think so.
But it's like South Africa here.
But, it's not South Africa.
Mother, that woman
is a slave driver!
Well, that's too extreme.
No. She's...
I don't think
they've ever heard of fun.
Maybe their fun is simple.
I bet their fun is stupid.
And you have fun in enlightened
and sophisticated ways.
Do you know what I mean?
Is going out
with a forty year old man
sophisticated enough for you?
Now, exactly what is going on
between you
and Andre Zimbalm?
Oh god! What a choice!
I don't believe your nerve.
That slick,
underhanded, phoney, flashy...
Well, you certainly liked
him enough to fuck him.
Come on, I know all about it.
He told me.
We share everything.
Including his drug habit,
am I right?
-You spied on me.
I was looking for my belt.
-Yeah, right.
-Uh! Listen to me, miss.
I hate to tell you this
but all I want
is to help you,
help yourself.
Right now, my opinion of you
is at an all-time low.
Take it,
take it from me.
I think you should
take responsibility
for this yourself.
You throw it away.
I mean, how am I supposed
to trust you?
I'm sure you've got it
hidden all over the place.
Don't put
the responsibility on me.
Please, just take it.
DIANA: No, no, no.
What about the next time?
You know,
you're gonna have to live
without a policeman
standing at your back.
You're a free person!
So I'm free, then.
I can do whatever I want.
I'll kill myself here.
RUTH: I'll give you a secret.
When I was a girl,
I was like you.
I wanted to go, too.
But Joe, he wouldn't hear
nothin' like that.
And then, somethin'
happened to me.
You know what happened?
I started havin' my boys.
And honey,
when you look at the world
with a baby in your arms,
it looks so different.
But don't you see?
We could all live
away from here.
We could all go to town.
If Mark worked on a oil rig,
we could have a car.
We could have electricity!
This is where I am.
And this is where I'll die.
But there's nothing
to do here!
There's no radio...
no T.V.
I hate here.
-I hate it.
-RUTH: All right,
you can go to town!
First baby is a frightening
thing. You go to town.
You go have that baby in town.
But then you come
right back here.
I know you wouldn't leave me
without the comfort
of my own grandchild.
What's the matter,
I give you my word.
All right! We'll find you a T.V.
What'd I say wrong now?
I told you I was goin'
to get you a T.V.
Where'll we plug it in?
God will provide.
Well, I think...
God forgot about this place.
I need some form
of entertainment.
You will never take
my son from me.
You will never take
my grandchild from this house.
Never! Do you hear me?
Come here.
Yeah, yeah, you, come on.
Come over here. Come on,
I ain't gonna bite ya.
Anybody around?
Okay. Will you hand me
that key right there?
It's that key
hangin' right on there.
Oh, oh, okay.
TOM: That's it. Come on.
-GRACE: Where are we going?
-TOM: I'll show you.
-GRACE: This better be good.
Oh god.
It's so far!
TOM: No it's not. No it's not.
GRACE: Yes, it is.
TOM: Wee!
TOM: Here's the tricky part.
GRACE: Oh god.
TOM: Just got to grab this rope,swing down.
-You got it?
-GRACE: Yes, I've got it.
Sit down.
TOM: Here.
Thank you for letting me
out of that shed.
It was nothing, really.
Can I steal you
something to eat,
or something like that?
I ain't hungry.
-How can you stand that?
-TOM: What?
Being locked up like an animal?
I'm no animal.
I didn't say that.
Don't you ever want to live
in the city?
Well, do you have a girlfriend?
I don't need no girlfriend.
You better lock me
back up in the shed now.
I don't wanna make my momma mad.
MARK: Oh, god.
Hush now.
You don't got to look so pretty,you already got a wife.
Can you hand me the scissors?
Swear I'm gonna kill that Jake.
Hold his head.
Yeah, looks like he came
pretty near to killin' you.
Can't even keep hold
of your own boat.
Anything I can do to help?
Okay, I'll go
to the police with you.
No sheriff.
Hang on, it's the last one.
Here goes.
Oh, god.
Hold still.
Ah, god damn it!
Does it hurt?
DIANA: You've got to dosomething to stop this violence.
You have a right
to police protection.
Don't you see I can help you?
I'm from Cosmopolitan Magazine!
Do you know what that means?
The Press!
The police don't want me writing
that they're not doing
their jobs.
You can go now, I'm done.
Candy, Candy, you dress it.
If Joe was here,
Jake'd never mess
with Sullivan traps.
Nobody messed with us.
It's different now.
Where is the freedom
you promised me?
Open this door
Set me free
Whatever the cost
Now is the time
Liberation calls
Now is the the time
Let's break down the walls
Freedom, now
PAULI: Jesus Christ, Mark.
Do something.
Here, kid. Get an education.
What happened?
That must have hurt like hell.
You know...
it's really impolite
not to answer.
I've got something
that'll fix you right up.
I don't like pills.
GRACE: It's not pills.
It's magic powder
that kills all pain.
Why are you looking at me
like that?
- Good morning.
It won't take my quarter, man.
Ruth, Ruth!
The sheriff can see you now.
Ruth, Ruth Sullivan,
Candy Sullivan.
MAN: Well, hell man.
I've tried to put money
into the bank.
MAN: Sit down over there.
It was Jake Wilson.
SHERIFF: Hold on there,
Mrs. Sullivan.
You have I.D. numbers
or inventory numbers
on any of them traps?
Or any other identification?
It was Jake Wilson.
SHERIFF: I know that you
suspect Mr. Wilson,
but your cousin here,
Miss Sullivan,
she told me that your son
never saw his attacker
in the dark.
It was Jake.
I can understand your feelings,
but the rules
of evidence is such
they won't let me
bring a charge.
We'll be right back.
Ruth! You've got to try
talking to him.
I mean, if you just give him
something to go on.
I've got somethin' to see to.
Here, take this.
Take her to buy a T.V.
One of them with the batteries.
Thank you, Jesus.
Ruth, I think
if you come back later.
RUTH: I'll meet you
at the pier.
They're all gone.
Maybe you could get in.
You're pretty skinny.
What for?
-Oh, I don't know.
Maybe I'll kiss you.
Or somethin'.
Ta da!
Jeez! What? How'd--don't.
I didn't guess you'd fit.
Why are you whispering?
Mark found put you was in here.
I mean, he'd kill us.
Should I go?
do you want to kiss me?
Do you know how?
TOM: Yeah!
I have a great idea.
I have a really good idea.
-Do you wanna have fun?
-TOM: Yeah!
I know you don't know
what this is.
TONY: Yeah.
That's coke.
See, I got this older brother.
He lives in town.
My momma don't let me
say his name.
What's his name?
We better get a salesman.
Where do you think Ruth
had to go in such a hurry?
Oh, she probably went
to kill Jake.
MAN: Come on, honey.
MAN: Hey! Hey!
Make them move baby!
I wanna do it for you.
Can I get you a set up?
Where's Jake Wilson?
You can't miss him.
JAKE: Hey, hey, honey!
Let me see the boobs!
Move it, baby!
You Jake Wilson?
What's this?
Some kind of joke?
You're Jake.
Or ya ain't.
Glad you know somethin'.
Put your right hand down there.
Ain't got all day.
Now get your momma
to stitch that up!
I'll kill you Sullivans!
God damn it, call an ambulance!
God damn it!
I'll kill ya!
God damn it!
For the days
shall come upon thee,
that thine enemies shall cast
a trench about thee--
God dang, she shot me.
Call an ambulance.
I'll kill ya God damn Sullivans!
---and keep thee on every side.-JAKE: God damn!
RUTH: And shall lay thee
even with the ground,
and thy children within thee.
Ruth! My god!
RUTH: --and shall not
leave in thee
one stone upon another
for I know it's not...
--the time of thy visitation!
Get down!
Mike! Get down!
Hey, that's my mother!
You turn her loose!
I ain't his ma!
I ain't his ma!
-MICHAEL: Let her be!
-RUTH: I ain't his ma!
-MICHAEL: I said let her go!
-RUTH: I ain't his ma!
I ain't his ma!
I did it!
Put on the cuffs
and take me away.
I did it.
MICHAEL: Oh, for Christ's sake,let her go.
Ma, what are you doin'?
-He's crazy as a loon!
-I ain't his ma!
MICHAEL: Fellas,
this is a family thing!
She shot a man!
That's right!
-MAN: Over here!
-JAKE: Oh, Jesus Christ!
God damn.
Holy shit!
MICHAEL: Minnie!
Bring some trash cans here.
Clean this place up.
So, you're Michael Sullivan.
Yeah, so fucking what?
Get over there with Chuckand start sweepin' this shit up!
Hey! Hey!
Get out of here! Hear me?
We're shut.
Hey, how come, Mikey?
What's the matter? Huh?
My mother was here.
-Go on, get outta here!
-Your mother!
Ah, Jesus Christ,
let's get out of this place.
Who the hell are you?
I don't even know
where to start.
Well, first of all,
I'm your cousin.
I am, I am.
Diana-Diana Sullivan.
Uh, actually, I'm a reporter
from-from Cosmopolitan Magazine.
Look, I don't have time
for this.
I've got to help your mother.
I mean, it's practically
my fault that,
I mean, she never would have--
oh, dear God, I feel awful.
-I'm so confused.
-Oh, here, here, baby, baby.
-Sit down, sit down--
-I feel bad enough.
---we'll get you unconfused.
-No, could I come back
-and talk to you later?
-Chuck, bring me
a couple of glasses,
will you?
I can't do this now, I can't.
It's now or never, okay?
-Your mother.-Let her sit in the fucking box
for a couple of hours.
Jesus, look at this place.
Say, nobody told me
I had a cousin like you.
From the Big Apple, too?
So, what brings you
to Sportsman's Paradise?
Well, believe it or not,
I'm writing an article
about the family.
Yeah, that's great.
You know, actually,
I started off...
writing about your father.
Your mother told me
a lot about him.
Really? [LAUGHS]
What did she say?
Quite a bit.
My mother...
did she tell you...
that this man used to hang her
upside down
when he was drunk?
You know, she never ever tells
anybody that.
I call that nuts.
I mean, my mother's
a grade A whacko.
I mean, they're all whacko.
You know, I am lucky
because I am normal.
I am normal, right?
Well, right.
What are you saying about
your father?
Uh, I really don't want
to talk about that.
Just look at this place!
Jesus Christ!
I've got three crews
of horny guys off a rig
comin' in tonight and this
place looks like a fuckin'
free-fire zone!
I got out, that's all.
I see.
You're independent.
You have your own business.
You be sure to write that down.
I got the fuck out.
Lordy, Lordy!
Listen! Listen!
Mark, listen! Listen.
-What? Whoa!
-Come on, come on.
Whoa, whoa, whoa,
hush, now, whoa!
-Listen, it's them!
-Uh, uh, uh, nope!
-It's them in the shed.
They goin' at it.
They goin' at it like a dog
and a bitch in heat.
- Uh-uh.
Ah! Let's go!
Come on!
What are you doing?
PAULI: He's gonna tell her.
-You better watch out.-Boys, you ain't got no manners.
I'm just gonna have
to come in there
and drag your ass outta there.
Pauli, give me the keys.
Listen, Mark.
Relax for a minute here.
-Maybe it's--
-Just relax.
Pauli, relax.
What if I gave you
something special?
Something that would make you
feel really good.
Like what we talked
about before.
And then we could have a party
and no one
would know the difference.
What? What-what
what she talking--
-what she talkin' about?
-Look! Relax! Chill out!
Don't be so hyper.
All right.
Now, we're all adults
here, right?
-So we can do
whatever we want, right?
We can take care
of ourselves, right?
So, come here.
You've never had this stuff,
have you?
-Well, come here.
TOM: Jesus Christ, Mark.
Do something!
Why don't--why don't you try
something new for once, okay.
Ah. No!
Not through your mouth.
Through your nose.
All right, inhale it.
Breathe deep!
Hey, Mark!
Look-look what I found.
Look at what I found.
Look, I'll be right back.
Oh god.
TOM: You wanna get some honey?
Don't forget the spoon.
We want some honey.
PAULI: Come on, guys, let's go!
Come on, we're gonna--
we're gonna have us a party.
Come on, we'll buy a gift.
Come on, Eddie and Lola.
Go play, play!
Come on, Mark! Play with us!
Go on, get back here!
You're crazy, bro.
MARK: Pauli, watch!
Come back here!
PAULI: Come on, Mark.
Come on.
Oh, good, listen,
can you help me open this?
I can't get it.
Thank you.
You know, I don't know
why you're so hard
on your brother.
He's a really sensitive guy
and if you
and your mom would
just take the time out.
I don't know,
just sit down and talk,
maybe you'd get to know him
a little better.
Got any more
of that white stuff?
You're high enough already.
Aw, come on.
Don't Mark, Mark, stop.
Mark! Please stop it!
Mark! No!
Mark! No!
Mark! You let her go!
GRACE: Tommie!
No! Go away!
No! God!
No! God!
No! God! No!
No, God!
No, God. No.
Grace! Grace! Run! Run!
Grace, run!
MARK: Come back!
That's my boat.
TOM: Run, Grace! Run!
Mark, you fucked up, you!
-TOM: I'm gonna kill you!
-MARK: Hey, come back!
I'll kill you!
I'll kill you!
Help me.
And the man that said
that he is invaluable
or that he has no sin
be the liar
for we know
that there are many,
many people that lie,
and they call
upon the name of Mary.
Oh, how blessed Mother of God,
I tell you this morning,
when you look
into the scriptures
beyond the birth of Christ
and Mary's part,
you find something there
about calling on God
and calling on the Lord
but never will you find
about Mary.
But where is Mary
when we come to prayer?
Where is our most
priestly father,
ah, when we come to pray?
It's not there.
Ruth, I have to talk to you
about this.
About Joe.
How he treated you.
Michael told me.
MAN: This what John said,
"I'll tell you this morning--"
Michael told you.
You find somethin' there
about callin' on God
and callin' on the Lord and--
Why don't you take
your family away from here?
MAN: And where is the mighty,
priestly Father
when we come to pray?
You don't really believe
all that about his ghost
in the swamp?
MAN: To the book
and God shall add....
I don't believe.
I know.
MAN: Where is Mary
in the scriptures?
Where is she? She is missing
in the scriptures where
they're talking about
the Virgin Mother of Christ.
[INDISTINCT] of the Gospel
according to Matthew,
Mark, Luke and...
Ma! Momma!
He raped her!
-Her-she had to run away!-MICHAEL: No! I didn't rape her!
That little whore
was in there with him.
He had her in there.
I knew what they was doin'.
Pauli could tell you!
Come here.
-Pauli, tell--
-PAULI: No. No. No! No! Momma!
She gave him this dirty
magazine and he was--
Don't hit me, momma!
I swear on the bible--
What are you saying?
Where is my daughter?
Tommie had that girl
in the shed, Ma.
They was up to no good.
We saw 'em!
TOM: No! You liar!
She's my girl!
You hurt her!
Ma? What's he sobbin' about?
Would you get in-the house, now!
I wanna know,
I wanna know!
Where is she?
Where is Grace?
-Where is she?
-She run off when her
-and Mark were playin'.
-Oh, God!
Oh, God!
Grace! Grace! Grace!
RUTH: I wanna know
what happened here.
I wanna know!
Ma, that girl done it.
She give us this drug
and it made me go crazy.
-Oh, god!
she scratched
my damn head open again!
What was that girl
doin' in the shed?
TOM: Oh, can't you understand?
-He raped her!
-MARK: No!
I kissed her!
And then she scratched me
like some bobcat
and run like hell,
but she done it!
She crawled in there
with Tommie
and gave him drugs
and they went all the way.
Just ask him.
What do you think...
your Pa would do to you
for this?
TOM: Please!
Listen to me!
She's out in the swamp!
Pa would be mad!
Fuck Pa!
He's dead, god damn it.
Can't you understand?
He died 15 years ago
and rotted out there
in the bayou!
-Ma, Momma?
-TOM: Oh, don't you get it?
What's he sayin' about Daddy?
What's he sayin' about Daddy?
Daddy, he don't mean nothin'!
Don't listen him, Daddy!
You take that back, Tommie!
The fucking asshole's buried
under a hundred tons of shit!
-MARK: Stop it now!
He's dead!
He's dead! He's dead,
and you're a stupid old woman!
Tommie! You shut up!
RUTH: Pauli?
I want you to go
find the key.
I want you to open the shed.
DIANA: Grace!
And Mark!
I want you to go inside
and I want you to teach
your poor little brother...
to show some respect!
-You son-of-a-bitch!
-TOM: Good!
Good! Come in here!
I'm gonna kill him!
I'm gonna kill you, you bastard!
You fucking bastard!
Okay. Now, come on.
Come on in here!
Fight me!
Fight me!
Come on I'll fight ya!
I'll fight ya!
I'll kill you!
Don't say that about Pa!
PAULI: Mark!
TOM: Dead!
He's dead.
He's dead!
He's dead!
My daddy's dead!
He's dead.
My daddy, he's dead.
Daddy's dead.
TOM: He's dead!
-No more.
TOM: Momma, he's dead!
I said no more!
DIANA: She's gone!
She's gone.
My baby's gone. Help me!
Help me! Please, help me.
Get some water and bandages.
My baby.
DIANA: Grace!
-DIANA: Grace!
-GRACE: Mommy!
DIANA: Grace!
GRACE: Mommy!
DIANA: Grace!
GRACE: Mommy! Come!
DIANA: It's me!
-Oh, Grace!
-Please. Mommy!
DIANA: Oh, come!
I'm here.
DIANA: My baby.
I guess you ain't got too many
nice things to say about us
in that magazine of yours.
Listen to me.
I want to say somethin'.
I wanna tell you what he was.
I want to tell you
how I hated him.
It was more than Michael said.
I'm the one that lived
in Joe's hell.
Me and my Paul.
My Pauli, who he spoilt.
He spoilt my little boy.
On one night when even I
believed the good Lord
had forsaken us,
the highwater burst the levery.
Took everything, all the houses.
It was 1966.
I was carryin' Pauli.
Sick as a dog.
Joe come to the room, he pulledme out of bed by my hair.
He was sayin' that, uh,
if I didn't come out
that without two more hands,
we'd all surely die.
But you see,
I thought I was dyin' already.
I begged him, on my knees,
I swear, like I never beg
'cause I couldn't walk,
I couldn't bend.
So, he grabbed me up
with one hand,
and then I saw his fist.
It was covered with mud,
and he aimed it right here.
This is where he hit me.
It was right here.
And then he hit me again.
And I swear to God
I heard somethin' go.
I heard somethin' pop.
And he dragged me outside
and I worked.
I worked against the water.
And it wasn't 'cause
I was scared the flood,
it was 'cause
I was scared of him.
And I hated him,
I hated him.
How could he do such a thing?
Because there would have been
no child.
There would have been
no children.
None of us.
No nothing.
If he hadn't a done it.
You see,
he was never a warm man.
He ran hot and he ran cold.
It was because of that
he saved us.
He saved us all.
Now, you go home...
and you write that.
I'm not writing anything.
I saw him,
last night...
-out there.
-RUTH: Joe?
The swamp makes a body see...
whatever they wants to see.
Do alligators actually
eat people?
I'm moving out.
You're what?
I'm gonna move in with Andre.
He keeps asking me.
What are you trying to be?
I'll do what I want, remember?
-GRACE: I'm busy!
Grace, Open the door!
I'm busy! Leave me alone!
Leave me--shit!
What are you doing?
-I do what I want.
-I'm a free person.
-That's over now.
You! Bitch!
I'm a free person!
Oh! Ow!
I'm the mother!
You're the child!
You're not ready for freedom!
You know what I'm going to do?
I'm having you locked up!
You're going to be locked up
with the junkies in detox!
Excuse me, is everything
all right?
All right, go ahead and cry!
Cry and think!
And while you're there.
I'll rent a house,
a room,
any kind of a place
where I can see the gate,
or see you in the yard
or visit anytime
they'll let me for a minute,
an hour, anything,
I don't give a damn!
And when they let you out,
I'll hold you in my arms.
Oh, I'll hold you so hard...
and so close
and no one will ever take you
away from me again.
Or ever hurt you...
because you're mine!
You're my baby.
You're my Grace.
You're my Grace.
I love you.
Is the big deal
behind Door number one,
which opens up
to reveal some bacon!
ANNOUNCER: Fifty dollars'
worth of Rath Hickory smoked,
sliced bacon, gently smoked
over genuine hickory fires,
the most flavorful bacon.
MONTY: And we also have
Door 2 and 3
Of course,
it's not behind 2,
which is what
MAN: First to put her
best foot forward
six pairs of shoes
from Kinney Shoes.
A beautiful selection
of Mayhem footwear.
Kinney Shoes
are everywhere.
Nobody explore the great
American shoe store.
Then there was an assortment
of beauty care products,
unique skin care products
made exclusively
with natural minerals,
and magnesium rich
bottled water
imported from Europe.
MONTY: Barbara Rador,
what door do you want?
-MAN: Door number two
and which one does
Herman Carter want?
ANNOUNCER: He wants door
-number one.
-MONTY: Fifty dollars'
worth of natural cheese
from Norman.
Swiss, Muenster, Edam and more.
Norman cheese slices.
And for more mealtime health
we also have gifts for
the dining room and kitchen.
ANNOUNCER: First of all,
to dress up the dining table,
by Jeannette, this classic
now Jeannette is again
producing it
in a limited quantity
and it sells for $44.20.
Then for handy help
in the kitchen,
Hamilton Beach's
versatile bender
featuring cross-watcher.
[INDISTINCT] a collection
of seven appliances
is worth $232.76.
Finally, for all your cooking
needs, the ultimate,
digital timer,
changing the way Amer--
it retails for $1,099
so the total value
of your deal is $1,425.95.
You can't just come in here
and treat my woman that way!
Ma, he's been gone!
Tell him he can't do that.
who the hell do you think
you are?
Just coming in here
and telling us what to do?
You've been gone off to town
for 12 years!
It was me that worked
this place!
I took care of my mamma,
and these, these two boys!
I am the man here!
Mom, ain't it true?
I look at you,
my sons,
my babies.
There's no good for us
like this.
Maybe before, but not now.
Tommie, you wanna go?
You go.
Do you hear me? You go!
Any of you.
Candy, Mark, Pauli.
You wanna go away from here,
you go.
It's for me to stay
in this place.
You think I don't know
when the good Lord calls me,
you won't all leave here?
My momma, I don't wanna go.
Don't make me go, Momma.
Oh, you always have...
have a home with me, son.
Don't worry.
And don't what you do
'cause of Pa no more, neither.
Do you still love us?
Oh, yes, I love you.
I always have.
I always will.
I just keep having
to learn how.
Shadow and silence
From a struggle
That they've lost
Wounded and frightened
Even love
Has its cause
How to remain
In a world full of lies
How to explain
The world
Through their eyes
Shy people
Like the spirit
that is haunting
This place
Shy people
You can see
the look of fear
On their face
But you'll never see
The heart of their lives
You can never be
A part of their lives
No, no, no
Shy people
See through their eyes
Feelings are hot or cold
There can be no compromise
Someone must take control
Has its price
How to escape
The darkness
We have found
How to re-shape
The world
That surrounds
Shy people
Like the spirit
that's haunting this place
Shy people
You can see
the look of fear
On their face
But you'll never see
The heart of their lives
You can never be
a part of their lives