Castle Rock (2018) s02e09 Episode Script

Caveat Emptor

1 POP: Warden Lacy had locked the devil in a box to put an end to all the horrors we've seen.
The stain, the curse on our town.
That's what God told me.
[tense music.]
ANNIE: I'm just passing through.
Your ad said you needed temp RNs.
- JAMAL: You on any medications? - ANNIE: No.
- JOY: What's happening? - ANNIE: We're getting out.
Just hang on to me.
[whimpers.]
Don't make a sound.
Joy? Although he had no children of his own, Pop raised Chris and John.
Everything you fucking have I gave you.
You gave me shit.
I took what I deserve.
Remember, Sergeant Major? You'd be wise not to bring that up again.
ABDI: You told Nadia? - Nadia! - [gunshots.]
POP: She figured it out on her own.
ABDI: Well, now she won't talk to me either.
Is there anything you can't fuck up? [no audio.]
[man speaking indistinctly on radio.]
[clattering.]
[cane smacking.]
[clock ticking.]
[floorboards creaking.]
[thud, blood splatters.]
[Johnny Cash' "Danny Boy".]
[distant car alarms wailing, horns honking.]
JOHNNY CASH: Oh, Danny boy The pipes, the pipes are calling From glen to glen And down the mountainside [car engine revving.]
The summer's gone And all the roses fallen It's you, it's you Must go and I must bide She's awake.
AUGUSTIN: Are you feeling better? Much.
Your vessel was blind, yes? So I gather.
AUGUSTIN: Well, then to whatever part of her is left, a gift.
Now I need something in return.
JOHNNY CASH: I'll be here - In sunshine - [tires screeching.]
- Or in shadow - [woman screaming.]
Oh, Danny boy Oh, Danny boy, I love you so I need a memory of hers.
Your husband kept a man in a cage a secret cage beneath the prison.
JOHNNY CASH: You'll come and find The place where I am lying AUGUSTIN: But I don't think it was just a man.
I think it was an angel.
Our angel? - [crying.]
- [gun clatters.]
Oh, Papa! No, no, no, no! I need to know if it was him and where our angel is now.
I only know that the warden recorded in detail every struggle in letters which he sent to his friend, Sheriff Pangborn.
And these letters, where are they now? In possession of the collector, the one who takes cast-off things.
Pop Merrill? Yes.
JOHNNY CASH: And I will rest in peace Until you come To me [breathing heavily.]
Where's Abdi? [whispering.]
Abdi [motorcycle engine revving.]
Abdi POP: Nadia! Nadia! Stop! CHANCE: No, please listen! Please, please, please, wait, wait, wait! Wait, I'm not one of them, okay? I saw your truck! It's not safe! You got to get out of here! But they're coming! They're right down the road, and they're killing everyone who's left! In the truck, now.
[tense music.]
- NADIA: Get in! - [truck engine turning over.]
Go, Pop! [tires squealing.]
[engines revving.]
[tires squealing.]
[gunshots.]
[tires squealing.]
- [tires squealing, gunshot.]
- Fuck! - Shit! - CHANCE: It's them! [tires squealing, gunshots.]
Get down! Get down! Stay down! [gasps.]
Fuck! [gunshots.]
[engine idling.]
Move! Abdi! I saw Pop's truck.
I thought maybe - [speaking Somali.]
- [gasps.]
Come on! Come on! [bell rings.]
[doors clanging.]
ABDI: Why are they trying to kill us? Let's live long enough to talk it out.
[ominous music.]
02x09 - Caveat Emptor [car horn blares, car alarms wailing.]
POP: When Pangborn got butchered by his wife, I bought his trailer and everything inside it.
- The old sheriff? - Yeah.
He had these letters from Warden Lacy.
- And now they're both dead.
- Yeah.
Dale was kind of our town historian.
He he he always used to say he was in the remembering business when everyone else's stock-in-trade was forgetting.
He also said the ones that first settled this place, the ones that died in that first bad winter and disappeared poof no bones even, Dale said he knew where they went.
Nowhere.
He said that they never really left.
I didn't know what he meant by that.
I-I didn't know what he meant by that.
I didn't want to know.
And now Now I know.
[click.]
Goddamn generator.
[electricity buzzing.]
ABDI: Why didn't we hear the sound? Why aren't we hypnotized? - Pop? - POP: I don't know.
No fucking clue.
NADIA: This is insane, Pop.
POP: We don't know how many of them are roaming the streets.
This is the safest place if we keep it safe.
- So we need a perimeter.
- That's a lot of bombs.
POP: I figured somebody would be coming for me someday either the police or something else.
Take these downstairs.
Put them by the doors and the windows.
Daisy-chain them together.
Be careful.
[device beeps.]
[scoffs, sniffs.]
[sighing.]
ABDI: Hey.
Hey.
Oh, shit.
Fucking wire.
How is any of this possible? [sighs.]
I-I wanted I wanted none of this for you.
I brought you to a bad place.
[guns cocking.]
[rattling and rumbling.]
[banging on door.]
- Whatever's happening here - [alarm blaring.]
ELECTRONIC VOICE: Door C.
There's someone down in the basement.
ELECTRONIC VOICE: Door C.
Door C.
Basement.
[blaring continues.]
[tense music.]
End of the hallway.
Hands up! Up, up, up, up, up! [breathing shakily.]
Anne? [coughing.]
[breathing heavily.]
NADIA: The streets are teeming with these people.
There's no way you got in here unless they wanted you to.
ANNIE: Why don't you stop wasting my time? The bad guys are out there! They have Joy! CHANCE: Funny thing about bad guys is they look just like you and me.
I knew you were after my daughter the minute I laid eyes on you.
Why don't you ask if this one is the real deal, huh? - How about that? - JAMAL: Mr.
Merrill.
Anne she helped us make it here.
POP: Shut up.
You were at Marsten.
I already told you I was.
POP: How'd you get out? I killed some people.
How did you get all the way over here? I killed some more people.
EVELYN: Dr.
H.
, I don't like this.
Evelyn, we have to be sure.
They've got my daughter, and I'm I'm getting her back.
That's why I'm here.
So hand me a gun, and I'll be on my way! I don't care who they are! I don't care why they're doing whatever crazy thing it is that they're doing! Let's use the Army manual.
[tense music.]
Go slow.
Take your time.
I was at the Mellow Tiger, and all of a sudden, everyone turned their heads at once, like, as if they heard a sound, but I didn't hear anything.
Two people, a-a man and a woman, they just they started shooting people.
All the ones that didn't walk off after the statue.
And then we found each other.
- Who? - Evelyn and Ingalls the nurse.
Did you hear that fucking sound? ANNIE: No.
My girl Joy she did.
And she fell in line.
- So, like I said, can I - Hold on.
What, you don't trust me? How about I don't trust you? All of this is down to your blood! Your cock-a-doodie nephew! I did kill him.
- What? - Just like you thought.
And I dumped him in the wrong dang place.
- The wrongest place.
- Where? - That construction site.
- Near Marsten? It's what's what's underneath.
What's underneath? Tunnels! Draw it.
ANNIE: At first, I thought it was just my brain shorting out on me, but it was real! You think she's one of them? I think she's bipolar, for starters.
But, no, I don't.
What happened to your earring? Come on, J, you hooked me up to chemo how many times? We're practically coworkers.
You had a diamond stud in your ear three days ago.
Today there's not even a dent in your earlobe.
[coughing.]
It's all [coughing.]
Healed up.
What I'm trying to figure out is why they'd sneak you in here.
Why didn't they just storm the place? [coughs.]
[clattering.]
- [gunshot.]
- [shouting.]
[groaning.]
And this drug, Haldol you're saying it flips them back? Yeah, but only for a time.
I saw it work on Chris.
He became himself again after every injection [indistinct chatter.]
Until it wore off.
- ABDI: How much drug do we have? - NADIA: Enough.
I think if we give him the full four mil, we'll talk to the Jamal we know.
ABDI: Then what? POP: Then he tells us how we can stop them their weaknesses, how we fucking kill them? They still have the memories of the other one.
Chris did.
Prisoner in your own body? He's awake.
You tried to kill him.
Why? Jamal will tell us.
He knows what you know.
JAMAL: [laughing.]
Let him, then.
It's over.
Tomorrow at dusk, she returns.
He's a friend.
I don't understand how how someone could just It's not his fault.
It's not even him.
Okay, well, I just I don't understand any of this.
[gun clicking.]
[fluttering.]
[tense music.]
400 years she's been gathering speed, heading for this place at this time, and you think you can stop her? You know what I think? I think there's a reason your boss sent an assassin to kill me instead of breaking down the door.
[clattering.]
[vehicle engine rumbling.]
- Oh.
Oh, Jesus.
- [car door closes.]
POP: I think you need something.
That's what I think.
Something that only I have.
Huh? [clattering.]
[fluttering.]
He's here.
PERSON ON RADIO: Pop.
[clattering.]
Pop Merrill, come back.
Come back, Pop.
Let's make a deal.
[buzzing and fluttering.]
[tense music.]
So you want to discuss the terms of your surrender? You caught me at a good time.
Shoot.
- PERSON ON RADIO: Uh - Oh, Jesus.
- Oh, God.
- Shh! Delusions normal for a man in your advanced age.
POP: Whoever you are, I'm guessing your age is a lot more advanced than mine.
AUGUSTIN: You're smarter than I thought.
We've got a lot to talk about.
POP: We sure do.
What do I call you, new guy? My name is Augustin.
POP: Well, Augustin, I've been catching up on some old correspondence from Dale Lacy.
Remember him? That's why you're here, right? You need to know what he knew.
So you want to hear my offer? You give me the warden's letters, I'll let Nadia and Abdi go, along with whoever else you've got in there.
Or we could do this another way.
Decided how many people you want to see die tonight? We're not the ones who'll be dying.
I got bombs on every door and window.
NADIA: We have 55 minutes.
- It's the only way out.
- AUGUSTIN: Pop Just need extra time.
- AUGUSTIN: Let's make a deal.
- Really? You're gonna let them go? Why? You're killing everyone else left in Castle Rock? [coughing.]
AUGUSTIN: Pop.
Pop Merrill, come back.
[gun clicks.]
Okay, so we're fucking surrounded.
Yeah, we have a plan.
CHANCE: Okay.
NADIA: We need to find a way out before they find a way in.
CHANCE: And how are we supposed to do that? NADIA: The train.
It's gonna be the Maine/Boston.
That train's a mile long and always on time.
We're gonna jump on to a train? - In front of a train.
- Oh, okay.
NADIA: It was a game we played as kids.
ABDI: Hurry! Before he sees us! - Come on! - Hurry up! He's coming! - [train horn blares.]
- ABDI: Come on, Nadia! - PERSON: Go, go, go, go! - ABDI: Nadia, hurry! Mostly to get away from Ace.
POP: How's that for a fucking cosmic joke? It cuts the town in half.
You can't get across for half an hour.
We get on the other side, they won't catch us.
I don't know if I can make it, Nad.
No man left behind, right? [electricity whirring.]
Generator, fuck.
- I'm on it.
- No, I'll do it.
You shouldn't go alone.
NADIA: Keep up.
It's just down here.
- [buzzing, fluttering.]
- [grunts.]
Where's Anne? I need to know where they've got my daughter in that house what room, et cetera, and any other little details you can help me out with.
And why would I ever tell you any of that? [sighs.]
Maybe you wouldn't.
But I have put down quite a few of your brothers and sisters tonight, so maybe that carries some weight.
You folks have some experience with pain.
Is that right? WHISPERING VOICE: Annie find her.
So do I.
What I can't get my kadooza around is why they're keeping you alive.
Maybe they're still living in a world where reasonable people can come to an arrangement.
I would love that.
I'm as reasonable as they come.
But I have spent some time in that house of yours.
And sorry.
You folks don't seem very reasonable at all.
[tense music.]
Do you really think she's better off with you? You see, I knew what he knew Jamal and I remember the hallway.
[Annie crying.]
JAMAL: Anne? What are you doing? Even if you find her, after what we've done to her, - she'll never be the same.
- WHISPERING VOICE: A good mother would never let this happen.
You'll look into those eyes, and you won't know who's looking back.
[screaming.]
[breathing heavily.]
[gasps.]
You killed him! He was meant to help us! Do you never think, Anne? [tense music.]
[no audio.]
[I Am Kloot's "Avenue of Hope".]
SINGER: Along the avenue of hope The footsteps falter The fingers grope And the days Stretch out beneath the sun No one's born, no one dies Pop.
SINGER: No one loves, so no one cries And we wait to see just what we will become AUGUSTIN: Pop [Pop coughs.]
SINGER: Don't let me falter Don't let me ride Don't let the earth in me subside Let me see just who I will become [groaning.]
I thought we'd be killing each other by now, like civilized human beings.
Well, I know how much you love a deal.
I thought I'd try you one last time.
Your bombs will slow us down.
They'll slow us down, but they won't stop us.
I prefer a softer landing, though.
I bet you do, too.
No, I don't do deals with walking fucking corpses.
Which is funny, coming from a walking corpse.
You know the difference between me and you, Gus? You're a hitchhiker in borrowed clothing, and I know who I fucking am.
[laughs.]
Pop [laughs.]
You don't at all.
That's why you're always looking for a trade.
You are remarkably empty of purpose Of destiny.
That's why your life is gonna end here in this tower of garbage, this castle of shit.
[clocks ticking.]
All these little insignificant trades adding up to a tomb of trash.
See, I know everything he knew.
- Who? - Your nephew.
POP: Then you're a fucking moron.
I remember what he felt.
You know what he felt for you? [tense music.]
Love.
- [coughs.]
- AUGUSTIN: To think, underneath it all, that angry little boy he loved you.
You.
But you hit him a lot when he was small.
A lot.
POP: Well, he was bad a lot.
From the jump, like his dad.
In my house, you pay your debts.
He knew the rules.
It's extraordinary.
No children of your own, but ruined four kids anyway.
To start with nothing and somehow end up with less than nothing That takes a real businessman.
POP: I've been trying to understand what could be so important in these here letters.
And I don't know much about your kind, but I think I can guess.
The way I figure, you're trying to understand who the fuck Lacy had in that cage and where he is now.
Well, you're not gonna find out, 'cause I burned your fucking letters.
I don't care about the letters, Pop.
I have you.
You read them, so I'll take you instead.
I'll make you one of us, Pop, and you'll tell me everything.
Pop.
Pop.
ABDI: Don't let him get into your head.
[coughs.]
That part about me fucking up all four of you Pop, it's it's too late for this shit.
Be honest.
[sighs.]
Yeah.
Yeah, what? Yeah, you fucked us up.
I mean, you want me to lie? I fed you.
I protected you.
I taught you.
Even when my life was shit, I tried to make your life better.
Even when I didn't feel like it.
And you should know, I really fucking felt like it.
And here you are.
Here I am.
Here we are.
Here's what you always wanted to hear from my ungrateful mouth.
Thank you for liberating me.
Look at me.
I'm liberated.
They still fit? Yeah.
He'll come soon.
He's patient, but not that patient.
[clears throat, coughing.]
[coughing.]
[breathes deeply.]
- Breathe.
- POP: Huh? [coughing.]
When that fucking train comes, I'm gonna slow you down, Nadia.
It's just a few yards across the track.
- Once we're past - Well, if I don't make it out of this, - things I want to say.
- Stop.
I want to tell you that seeing all those graduations meant to me All you've done, all you've accomplished Stop it.
No, I just I want I want to say it.
NADIA: But I don't want to hear it.
There's not gonna be a time after this, okay? Not for us.
I know you're gonna be mad at me forever.
I-I get that.
NADIA: You don't get to make your peace.
That's what I'm trying to tell you, and I'm not gonna be mad at you forever.
If I live through this night, I'm gonna leave this place.
And I'm never gonna think of you again.
[footsteps approaching.]
We good here? Good as we're gonna be.
[dramatic music.]
Pop, we'll give you a quiet end, entombed in one of us.
You can subside gracefully, knowing that you did one good thing in your gaping vacancy of a life.
I don't know.
Nobody really retires these days.
I got myself in a vest here, loaded up with C4.
- Pop - POP: I'm guessing that when it blows, it ain't gonna be so easy to bring me back.
[shouting in French.]
[car engine revving.]
[people shouting in French.]
[explosion, glass shattering.]
Looks like we're leaving earlier than we thought.
Down to the back staircase through the cellar.
- Abdi, stay with me.
- NADIA: Let's go! - POP: Go, go, go, go, go! - NADIA: Move! [indistinct shouting.]
[tense music.]
[speaking French.]
[engine turning over.]
[shouting continues.]
[tires squealing.]
[glass shatters.]
ABDI: Here, take this one, too.
[shouting continues.]
[objects clatter.]
[indistinct chatter outside.]
[breathing heavily.]
Hello, Georgia.
Freak time.
- [gunshot.]
- [grunts.]
[coughs.]
[breathing heavily.]
- [gun cocks.]
- [breathing heavily.]
ANNIE: You guys okay? - How many of them behind you? - We don't know.
[explosion.]
- Go, go, go! - NADIA: Come on, let's go.
- [guns cocking.]
- Go, go, go! Hey.
Go, go, go, go! ABDI: Pop, come on! Pop! You need more time.
Pop! [spits.]
Where's Pop? [gunshot.]
- [gunshots.]
- [screams.]
[gun cocking.]
[gun cocks.]
[gunshot.]
[gunshot.]
Keep going.
[gunshot.]
[gas hissing.]
[screaming.]
[hissing continues.]
[fire crackling.]
[train horn blowing in the distance.]
EVELYN: The train! We have to go! Wait.
Evelyn! [door creaks closed.]
[gunshots.]
[gasping.]
[static whirring.]
Careful, now.
Careful, careful, careful.
[gunshot.]
[screams.]
How deep you got the bodies stacked, Gus? Do you slip into a new one like a kimono? Or is it a little more complicated? [gasps.]
Ah So you can't just spoon up whatever dog food's left into your fancy magic coffin.
This goes up, the whole place goes up with us.
Looks like you're not gonna be around to see your brave old world.
Pop.
Reginald.
- Don't.
- Why not? You just spent the last hour telling me I'm a piece of shit.
Now you're gonna tell me what? That my life is suddenly worth something? That I'm a good man? [train horn blowing in the distance.]
No.
You're not a good man.
You're a dying one.
[gunshots.]
Anne, shoot! [screams.]
And I am a deathless one.
You have nothing.
I have forever.
Don't tell me you're not interested in a trade.
Don't tell me you don't want what I've got.
- Hmm, no deal.
- No! [train horn blowing in the distance.]
[breathing shakily.]
[grunts.]
[laughing.]
[Laura Marling's "What He Wrote".]
- Come on! - [train horn blowing.]
MARLING: Forgive me here, I cannot stay - [indistinct shouting.]
- He cut off my tongue There is nothing to say [Pop coughing.]
MARLING: Love me, oh, Lord He threw me away He laughed at my sins, in his arms I must stay [indistinct shouting.]
- [train horn blowing.]
- And where is the lamb MARLING: That gave you your name He had to leave Though I begged him to stay [train horn blowing.]
MARLING: Left me alone when I needed the light Fell to my knees, and I wept for my life If he had have stayed, you might understand You'll see.
MARLING: If he had have stayed You never would have taken my hand He wrote I'm [music stops.]
Pop! Come in, Pop! Pop? [train rumbling.]
Pop, come in! MARLING: Begged him to stay in my cold wooden grip Pop! Pop, do you copy, Pop? MARLING: Begged him to stay by the light of this ship Me fighting him - Pop? - Fighting light fighting dawn And the waves came and stole him - Pop? Do you copy, Pop? - And took him toward MARLING: We write That's all right I miss his smell