Helstrom (2020) s01e01 Episode Script

Mother's Little Helpers

[thunder rumbling]
[thunder rumbling]
[typing continues]
[door creaks]
[keys clacking]
[glass shatters]
[alarm blares, Louise sighs]
‐ Shit.
[keys continue clacking]
‐ We've got two missing.
No idea how they got out.
HASTINGS: Open the door.
GUARD: Jesus!
[buzzer sounds]
[alarm continues blaring]
‐ Lock it down. Now.
GUARD: Yes ma'am.
[indiscernible shouting]
[patients screaming]

[patients banging on doors]
Theme music playing ♪

WOMAN 1: I said get out.
WOMAN 2: I'm just trying to help.
WOMAN 1: Get out!
[door slams shut]
MAN: I'm sorry, Sister.
I can't get them to stop.
‐ No apologies necessary.
My associate should be here shortly.
‐ Yeah. About him‐‐
‐ Yes?
‐ I called the archdiocese.
They said he isn't a priest?
‐ That's right.
‐ So how's this gonna work, exactly?
‐ I'm fairly new.
[engine turns off]
[car door opens, closes]
MAN: You sent the nun
in training. Again.
Look, I know it's busy,
it's St. Teresa's,
but call me when you can.
Sister Gabriella.
This is Mr. Cavallo‐‐
‐ Mr. Cavallo,
Daimon Helstrom.
‐ We were just discussing
the Cavallos' son, Archer.
How difficult the situation
has been on the family.
‐ No, of course.
Lead the way.

MR. CAVALLO: Honey, this is‐‐
‐ I really don't care.
‐ The problems began several months ago.
Outbursts, like Tourette's.
Cursing continuously‐‐
‐ Yes. I read the email.
But, uh don't you need a Bible
or crucifix or something?
‐ No. I'm good.
Uh, though, I could use a rest room.
Just, uh, through the kitchen.
[door opens, closes]
Tense music playing ♪

‐ No matter what you hear, do not come in.

ominous music playing ♪
[door creaks, slams shut]

[heavy breathing]
[Archer speaking Latin]
‐ Latin.
What name do you go by?
‐ You're unworthy of my name.
Or my company.
As are the half‐wits outside that door.
Inform them this husk needs sustenance.
Or it will continue to defecate
on their floors
and rub their walls with excrement.
‐ Okay, then.
Holy water.
Straight from the Vatican.
‐ Aah!
[gasping and groaning]

Wha‐‐ What just happened?
‐ You don't remember?
No. Interesting.
Because this,
this just came from
your bathroom downstairs.
The the sink, not the toilet.
I'm not that evil.
‐ What're you talking about?
‐ Even if it were real,
Latin, holy water, prayer, they used to be
the "secret weapons" of the trade.
But now, thanks to movies,
TV, the internet,
they're just tropes.
See, the thing is,
secrets lose their power
once they're exposed.
Kind of like you.
‐ Get out.
‐ Listen, first you're gonna
go downstairs,
and you're gonna admit
to your parents this was all an act‐‐
‐ I said get out‐‐
Then you're going to apologize to them
for all the pain that you caused‐‐
‐ Get out!
‐ And then you're going to come up here
and you're gonna scrub this room,
floor to ceiling, with bleach.
‐ My power is real
and will not be questioned by anyone.
‐ You want to know what real power is?
It's not in your fists.
It's in there.
And there.
You didn't finish the verse.
John, chapter ten, verse ten.
It ends with [speaking Latin]
Remember ‐ with bleach.
‐ What happened?
‐ The good news is,
your son's not possessed,
but the bad news is, he is an asshole.
‐ What the hell are you talking about?
‐ We don't need this bullshit.
‐ Sister Gabriella can refer you
to a family therapist
but, in the meantime, lay off the vodka.
And remember:
the internet is a shitty parent.
Okay. Have a lovely evening.
GABRIELLA: So sorry.
This has to stop.
You can't be so insensitive
to everyone we‐‐
‐ I have a class to prepare for tomorrow.
But instead, I drive down from Portland,
sit in two hours of traffic, for that.
‐ Oh, I see. So, helping people is
a waste of your precious time.
‐ The kind of help they need,
I can't offer.
I'm not here to hold hands
or to save a cat from a tree
or respond to false alarms.
‐ That family in there
was just looking for some hope.
‐ Aren't we all.
By the way, don't take I‐5 back,
there's been a pileup at Woodburn.
[inhales sharply]
Mellow rock music ♪

WOMAN 1: Hi.
WOMAN 2: Ana.
[indiscernible conversations]
[indiscernible conversations]
AUCTIONEER: Two million fifty.
Thank you.
Two million seventy‐five,
do I have seventy‐five?
Seventy‐five. Do I have
two million one hundred?
Two million one hundred thousand.
Two million one hundred fifty.
Two million‐‐
‐ He's here.
Two million two hundred thousand‐‐
‐ Number 42.
two million two fifty‐‐
Thank you. Do I have two million
three hundred thousand?
Two million
three hundred thousand?
Going once.
Going twice.
And sold
to number 13 for two million
three hundred thousand dollars!
[crowd applauding]
The next item up for bid is truly‐‐
‐ I can see his hard‐on from here.
AUCTIONEER: the historic sword
of none other than
‐ Good luck with that.
AUCTIONEER: Napoleon Bonaparte himself.
But is it priceless?
You tell me.
[crowd laughs]
We will open the bidding
at seven million dollars.
Who would like to start us off?
Seven million.
Do I have seven million one?
Seven million one.
‐ You called it.
AUCTIONEER: Do I have seven million two?
‐ A fool and his money are
my favorite couple.
AUCTIONEER: very impressive object.
Seven million three?
Seven million three.
‐ I'll send him up when it's over.
‐ Don't forget to kill the security feeds.
AUCTIONEER: Very good.
Seven million seven.
Seven million seven.
On my right.
[sirens wailing in distance]
Now, I thought Libby was a physicist?
‐ No. He won the Nobel prize
in 1960 for chemistry,
so that would make him‐‐
‐ Make him a chemist.
[Ana chuckles]
I stand corrected.
‐ It was the least they could do
for coming up
with the very concept of the half‐life.
‐ See, I was okay with the French history.
But carbon dating?
I mean, seriously,
are you studying for your PhD
or just trying to embarrass me?
‐ I have many gifts.
‐ Please, show me more.
ANA: Weapons of war have always been
an interest of mine.
They have a certain aura about them.
Like Napoleon's sword.
You overpaid, by the way.
‐ What can I say? When I want something,
I have to have it.
‐ An item with that kind of history?
Think of the provenance.
All the times it changed hands.
All the lives it took.
Men women children.
‐ That's a bit twisted.
‐ I hear you like twisted.
‐ You have no idea.
‐ But I do.
Don't get me wrong,
you covered your bases very well.
More than your garden variety
billionaire recluse.
You don't date, you don't do social media
or use a publicist,
and you don't normally attend
events like this.
Which is why I procured
such a very special item,
a Francophile's dream,
just to get your attention.
‐ Well, if you wanted my attention,
you have it.
Tense music playing ♪
‐ [whispering] I know
your secret thief.

‐ I'm sure
venture capitalists get called‐‐
‐ You know that's not
what I'm talking about.
Anybody can steal money

You get off on stealing the light
from women's eyes.
Seven, to be exact.
‐ Wait‐‐
‐ I'm taking it all back, Mr. Tate.
You see, I'm a little bit of a thief, too.
Try not to hit anybody when you land.
[body crashes, car alarm blaring]

[chain clinking]
‐ All right, now. Come here, pull.
[stone rumbling]
[man grunting]
MAN: Let's go. Come on.
Ominous music playing ♪
[rats squeaking]

[rat squeaking]
[man yells, gasps]

[eerie whispers]

Found you.
Come on. Help me open it.
[eerie whispers]
Why she chose you two,
I'll never know.
[clanging, creaking]
[grunts, screams]
You piece of shit!
[bones crunch, grunts]
‐ This is why we were chosen.
[bones crunch, man grunts]
[man continues screaming]
[bones crunching]
[indistinct chatter]
DAIMON: A toddler
notices steam coming off a tea kettle.
He climbs up onto the counter, curious,
and touches it.
It burns!
"Ah shit, it's hot!"
Well, he maybe doesn't say "shit."
He's a‐‐ He's a toddler, right?
But, but what did he learn?
[class laughs]
Do not touch.
And why?
Because it caused pain.
And we do not like pain.
We learn to fear it at a very early age.
And fear is the most powerful,
most primal motivator
in our little dinosaur brains.
Welcome to Lawrence Kohlberg's
first stage of moral development.
And then we grow. We evolve.
"Good job, little Timmy,
you finished all your broccoli.
You want a cookie?"
Chocolate chip? Yeah, you bet. Love it.
So, welcome to Stage Two: Reward.
[class laughs]
Ah, it's, it's interesting,
don't you think,
how we learn the stick before the carrot?
The pain before the pleasure.
HASTINGS: Sorry I threw you off there
when I came in.
DAIMON: [chuckles] You didn't.
Just lost my train of thought
for a second.
‐ Mm.
‐ Happened a lot as a student,
as I recall.
‐ Only during Bible study.
[Daimon chuckles]
[thunder rumbles]
‐ So, I take it the good Sister
filled you in on what happened last night?
‐ She did.
‐ If she can't tell the difference
between a simple con
and a legitimate possession,
then what happens when she encounters
a case of epilepsy or schizophrenia?
‐ The Cavallo family
will be receiving counseling,
in case you were wondering.
‐ It's not gonna work out.
‐ Give it time.
It's only been a couple of months.
Gabriella came very highly recommended
from the Vatican.
‐ Oh, so she's a spy.
‐ Come on, give her a chance.
She's here to help.
‐ It's‐‐ It's not the same
out there without you.
You know me better, you know
what we're dealing with, she doesn't.
‐ Maybe it's time she did.
‐ No.
She's not ready. If she ever found out
what these things can really do‐‐
‐ Daimon, I did not come here to argue.
I wasn't even going to bring Gabby up
until you mentioned her.
‐ So, why the visit?
‐ Two patients escaped
from the secure ward last night
with the help of a nurse.
A guard was killed.
‐ Are you sure it was‐‐
‐ I'm sure.
I can't go toe‐to‐toe with her, Daimon.
She only responds to you.
‐ Uh, the guard who was killed‐‐
‐ Steven.
He'd just come back from his honeymoon.
‐ Please tell his family
the funeral costs will be covered
by an anonymous donor.
Melancholy music playing ♪

‐ Do you have any idea
how much damage control I've been doing?
Five times I've texted you.
‐ And five times I didn't answer.
‐ You swiped right again, didn't you?
‐ It helps with the stress.
‐ Did you at least get her name this time?
‐ Brie‐‐
Bianca. Uhh it's something with a "B."
How did we do last night?
‐ "How did we do?"
That's what you're leading with?
How about, "Thank you, Chris!
You're my savior, Chris!"
‐ "Savior" is a bit much.
‐ Not a single mention of you
or the auction on CNN,
Buzzfeed, Twitter, anywhere‐‐
‐ I'll admit you're good.
‐ And you're reckless.
You can't just drop people off rooftops
like the old days.
‐ It was an accident.
He fell. Shit happens.
‐ Yeah, and who's there
to clean up that shit
with his little eco‐friendly green bag?
‐ You do look good in green.
‐ Hunter green, not mantis green.
‐ Oh shit. I missed a call from 'Taker.
‐ Yeah. He tried you here, too.
‐ Did you tell him
his check's in the mail?
‐ It wasn't about the auction.
None of his junk sold last night, anyway.
Honestly, I think he's past his prime
and should retire in Cabo.
Instead, he's playing Indiana Jones
and the Temple of Ho‐Hum‐‐
‐ I didn't ask for the commentary.
Uh, what did he want?
‐ He said something
about a crypt down in Colma.
‐ City of the Dead. Huh.
‐ So, are we going to close out
the books on the auction,
or am I going to do it myself,
as always?
Oh, no really, it's fine.
I can do it.
Dramatic music playing ♪

‐ I'm glad you could join us.
[door closes]
‐ The missing nurse?
‐ Keith Spivey.
He's been with us for three years.
Police are looking for him now.
Fast forward, please.
After two minutes, he left the room
and disabled the feeds
to the rest of the wing.
‐ Presumably attacking the guard
and breaking out the two patients.
‐ Then they all left together
in a hospital van.
‐ What about the video
from that patient's room?
What does it show?
‐ There are no cameras
in that particular room.
‐ Wait, is that‐‐
‐ Yes, it is.
‐ You're going to see her.
‐ No. Actually, I'm going
to a CrossFit class.
‐ I'd like to accompany you.
‐ Oh, if you're sure. It's very intense,
lots of squats, kettle bells‐‐
‐ If she is what you claim,
the Vatican needs to know.
‐ This isn't a show
for the Vatican's benefit or yours.
No one goes in there but me.
Tense music playing ♪
[door slams shut]
[patients screaming, banging on doors]

[buzzer sounds]

[patients continue screaming]
[door creaking]

Can you hear me?
What's that symbol on the wall?
What did it say to the nurse?
Come on. I know you're in there.
I'm nine years old.
And I'm playing
in the mulberry tree out back.
Swinging like Tarzan,
feet in the air.
I was wearing those new high‐tops
you bought me. Remember?
But then the branch cracks,
and I fall ten feet, land flat on my back.
Wind knocked out of me. I can't breathe.
I'm scared out of my mind.
But then there you are,
all of a sudden, to the rescue.
And you grab my legs,
and you push my knees to my chest,
and you tell me to just
just push through.
And breathe. Just pu‐‐ Just push through
and the air will come back.

‐ There he is.
‐ Mom?
‐ My sweet little boy
who never should have been born.
‐ I demand to speak with my mother. Now.
‐ I am Mother.
Your memory is tainted by sentiment.
She simply wanted you to get up,
grow a spine
so you wouldn't be
an albatross around her neck
the rest of her miserable life.
‐ Said one albatross to the other.
‐ Oh, it's no contest, boy.
When she was three months pregnant,
Victoria started pouring
bottle after bottle
of cheap shit Chianti down her throat,
just trying to get rid of you.
She knew what you were, what you'd become.
‐ What did you say to that nurse?
What is this symbol? What does it mean?
‐ Not quite a Picasso, is it?
‐ A man was murdered last night.
‐ People kill.
They have since the dawn of time.
They need to
to maintain the balance.
You, more than anyone, should know that.
‐ What did you say to the nurse
and those two patients?
Where did you send them.
‐ To see an old friend.
Go fetch your toothbrush, boy.
We're done here.
[thunder rumbling, crows cawing]
‐ Hope you brought a change of clothes.
[Ana sighs]
ANA: Seventeen cemeteries,
two million graves,
and you had to pick the one
with a hidden cave.
‐ I didn't know it existed
until last night.
‐ How's that possible? I thought you were
the king of all that's dead and creepy.
‐ Did you just pay me a compliment?
‐ Not intentionally.
‐ Good.
I thought I was having a stroke.
‐ Where have you been?
‐ Down in Texas, tracking something.
‐ Texas?
No wonder none
of your shit sold at auction.
Try Baghdad next time, Cairo‐‐
Oh, they're hideous.
‐ Form or function.
Your choice.
Ominous music playing ♪
‐ Better not be a waste of my time.
‐ I'm guessing that this is what's left
of the fools who broke in here.
There's some, uh, clothes in there
and some bones.
‐ Ugh. Gross. It smells like sulfur.
‐ You know, this isn't why
I brought you in here.
Let's keep going on.
‐ [laughing] Oh joy, there's more.
‐ Now, does this look like
a waste of your time?
‐ No. Most definitely not.
‐ What I thought.
I missed the carvings at first.
They're not Phoenician,
and they're definitely not Aramaic‐‐
‐ Or Galilean Aramaic
or Akkadian Cuneiform either.
‐ It's more like ancient demonic.
‐ Yeah, the thing has one eye.
So, good guess.
Since when do you wear glasses?
‐ It's dark in here.
‐ You need hipper frames.
‐ Maybe.
But I don't need them to recognize
a Keeper when I see it.
‐ Do you mean as opposed
to a one night stand?
‐ No. I mean
the kind of demon
that's guarding something very powerful,
something that's now free.
‐ You don't think it was him?
‐ You tell me.
He's taken a lot of forms over the ages.
Regenerated himself.

[inhales deeply]
‐ [sighs] I'm not getting anything off it,
which is odd.
‐ Do you want to reach out to your brother?
Maybe he would have some‐‐
‐ No.
‐ All right, we need
to seal this place up tight.
And don't tell anyone,
especially not that
grave‐robbing partner of yours
[Caretaker's voice fades]
[eerie whispers]
[eerie whispers continue]
[whispers stop]
Did you hear anything I said?
‐ Yeah. It's‐‐ That was riveting.
‐ Yeah, really?
‐ Mmm.
‐ What'd I say?
‐ Uh, something along the lines of:
"Whatever was imprisoned here,
we have to find it,"
followed by, "You owe me one, Ana."
That sound about right?
‐ Close enough.
‐ I want this.
GABRIELLA: Did you recognize
the symbol on the wall?
‐ No. Not specifically,
but it's demonic in nature.
‐ How do you know?
‐ Because I know.
So what does it mean?
‐ I'm sorry, what is this?
Have I missed something?
‐ This is what happens
when you don't let me in.
I ask a lot of questions.
Which you never answer.
‐ She didn't give you anything
about the patients? Or Nurse Spivey?
‐ She said they were going
to see an "old friend."
And no, before you ask, I don't know who.
Mother enjoys her games.
‐ I'd like the opportunity to go in alone,
as an impartial witness
with no attachment to the subject.
To verify this isn't just theater.
‐ "Theater?"
‐ Victoria is dangerous,
that I can verify.
DAIMON: Very dangerous.
Not like the kid you dragged
my ass down to see in Salem.
‐ Is this where you man‐splain
what my job is supposed to be again?
‐ No, I don't care what your job is,
or what kind of hocus pocus
you learned at Hogwarts.
It doesn't work‐‐
HASTINGS: Okay, that's enough.
Let's all just take it back a few degrees.
‐ It's fine.
I have a report to write
to the Archbishop.
‐ A report? Good heavens, am I in trouble?
‐ Whether your constant sarcasm
and disrespect is for me
or the cloth in general, I have no idea.
Either way, I don't care for it.
‐ Fine. I'm an asshole.
‐ First class, with honors.
You owe her an apology.
‐ Yes, ma'am.
‐ You know how hard that woman had
to study just to get here?
Six years at
the Regina Apostolorum in Rome.
Theology, sociology, psychology‐‐
‐ None of which applies to what we‐‐
‐ Point being,
she is trained to look at exorcism
through the eyes of a skeptic.
She is more than qualified to shadow you,
and we need her help.
I raised you better than this.
‐ You did.
But I am what I am.
‐ And Victoria would be proud of that.
‐ No matter how hard I try,
I just can't help her.
Not alone.
And I don't mean you.
‐ Your sister?
‐ It's pointless. I‐‐
The only person that Ana
really cares about is Ana.
And the last time we talked, she said
she'd never set foot in Portland again.
‐ Maybe that's for the best.
Melancholy music playing ♪

[thunder rumbles]

[cell phone chimes]


Seriously, what's up with this scar?
The ink never takes.
It just disappears.
It's wild, man.
‐ It's okay. Just keep trying.

[eerie whispers]
[thunder rumbling]
Ominous music playing ♪

DAIMON: Gabriella, it's me. Um,
I'm just calling to say
Dr. Hastings made me aware
that my tone may have
offended you yesterday.
If so,
then don't take it personally.
Call me back.
[door closes]
[alarm chirps]
[car doors close, engine starts]
HASTINGS: "And if he sins against you
seven times in a day,
and seven times in a day returns
to you saying, 'I repent'‐‐"
‐ "You shall forgive him."
St. Luke never met Daimon.
‐ Some are harder to forgive than others.
So where are you going?
‐ I've contacted the bishop
at the archdiocese.
The Vatican is concerned
you're endorsing exorcisms
from a man who is not a priest.
A man who has certain,
unexplained abilities
which he may have inherited
from an unstable
and incredibly powerful force of evil
locked up in your institution.
It's all unconfirmed, of course,
since I have yet to be allowed
to see anything firsthand.
‐ What the Vatican
should be concerned with
is that requests for exorcisms are up
tenfold in the last year.
‐ I need to see her, Doctor.
I need to know
what's really going on here.
[Hastings sighs]
‐ There's something on my desk.
If you want to take it with you
back to the Vatican,
be my guest.
Peter Gabriel's
My Body is a Cage playing ♪

[pen scratching]

‐ My body is a cage ♪
That keeps me from dancing ♪
With the one I love ♪
My mind holds the key ♪

My body is a cage ♪
We take what we are given ♪
Just because you've forgotten ♪
Doesn't mean you're forgiven ♪
I'm living in an age ♪
That screams my name at night ♪
But when I get to the doorway ♪
There's no one in sight ♪
My body is a ♪
Is a ♪
Is a ♪
Is a ♪
Is a ♪
Is a ♪
Is a ♪
Is a ♪
Is a ♪
My body is a cage ♪

My mind holds the key ♪
[door opens]
‐ Their father was a serial killer.
HASTINGS: According to Victoria's journal.
‐ The ravings of a mad woman.
‐ Not mad.
For discovering the truth.
‐ And the sister where is she?
‐ San Francisco.
Hasn't been back here in years.
Which is partly why Ana
and Daimon don't get along.
Never have, really.
But what happened to them,
to Victoria,
it wasn't some random family tragedy.
It was evil.
And they live with that.
Every day.
Dramatic music playing ♪

GABRIELLA: But if Daimon has this gift,
then why can't he‐‐
‐ His mother?
‐ Yes. Why doesn't it work on her?
‐ We don't know.
But we're losing her.
There's only so much strain
the human body can withstand.
Which is why Daimon is so‐‐
‐ Are you all right?
Here, let me get you some water.
[Hasting continues coughing]
‐ Mmm.
Sorry. I just need a minute.
Tense music playing ♪

[buzzer sounds]
[patients screaming, banging on doors]
[screaming and banging continue]
[buzzer sounds]
‐ Fresh meat. Interesting.
‐ You don't scare me, demon.
‐ Then you are an idiot.
‐ What is your mission?
Who do you answer to?
‐ No one!
‐ Did she go past you or not?
‐ I was only gone a minute.
‐ Stop.
Oh shit.
[speaking Latin]
All your prayers and demands,
as ignorant as you are disrespectful.
As if you deserve answers.
As if you could even comprehend?
Do you think
Galileo wasted his time
explaining the principle
of inertia to earthworms?
He didn't. I asked.
‐ Aah!
‐ You think this is a war you're fighting.
But the war is over.
We lost it to the Oppressors long ago.
And the verdict we were given then
is the one I give you now:
no mercy!
[Mother grunts]
[Gabriella wheezing]
[Gabriella shrieks]
[breathing heavily]
You're only hurting her.
You know that.
‐ Let her go!
‐ You first.
[both grunt]
[both panting]

HASTINGS: No, no, no, no, no.
We gotta go.
[thunder rumbling]
DAIMON: Call them demons,
energy from another world,
it doesn't matter.
They don't belong here.
HASTINGS: But the violence,
the death they cause,
they feed off it.
Our pain and suffering
gives them pleasure.
Now you understand.
How did you know to come?
‐ I didn't.
‐ The symbol from the wall.
‐ It's an ideogram.
‐ What does it mean?
‐ Rough translation:
GABRIELLA: The hatred in her eyes,
the pure evil of it, I've‐‐
I've never experienced anything like it.
‐ "Seek, and ye shall find.
"Knock, and it shall be opened unto you."
‐ Matthew. Chapter seven.
DAIMON: Just remember
you knocked.
[glass slides]
Dramatic music playing ♪

[keys jingling]
[alarm chirps]
[rumbling, window rattling]
You made the trip.
‐ Please tell me the bitch is dead.
[inhales deeply]
[doorbell chimes]
WOMAN: How you doing tonight?
[doorbell chimes]
Tense music playing ♪
[crackling continues]

Patsy Cline's You Made Me Love You
playing on stereo ♪
‐ Hey! The hell you doin' in my rig?
‐ You made me love you ♪
I didn't want to do it ♪
DAIMON: We've been through things
that no one else on Earth can understand.
‐ It's dramatically overrated.
MAN: No!
[tires squealing]
[horn blaring, tires squealing]
WOMAN: You know
what has to be done.
And if you won't do it,
there are others who will.
ANA: There's an
unstoppable monster out there,
growing more powerful by the moment.
‐ If we work together, then maybe we can
bring her one step closer to being free.
ANA: Dad burned that girl alive.
CARETAKER: You don't know what
you're up against. It's too dangerous.
Their father is a monster.
‐ Who, or what in the world, are you?
[inhales deeply]
MOTHER: A warning: it's coming.
And getting stronger.
‐ No!
MOTHER: Best embrace its power
and glory.
What a fighter.
‐ Why can't you just let her go?
‐ Because it's my fault she was committed.
She used you against me.
This family's unnatural behavior,
I've never experienced anything like it.
The last thing the world needs
is a Helstrom family reunion.

‐ I didn't want to tell you ♪
I want some loving ♪
That's true, yes, I do ♪
Indeed I do, you know I do ♪
Give me, give me, give me ♪
What I cry for ♪
You know you got the brand of kisses ♪
That I'd die for ♪
You know you made me ♪
Love you ♪
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