Helstrom (2020) s01e03 Episode Script

The One Who Got Away

Ominous music playing ♪

[gasping, panting]
‐ Come on!
[door creaks]
[banging on door]
Wait, wait, wait. Please.
Don't kill me. My, my parents,
they got money, right?
Anything that you want. I swear to God.
Please, no. Please. Please!
[growls softly]
‐ The Traitor, Helstrom,
has been warned.
He knows we're coming.
‐ Then there is more
to be done.
‐ The woman?
‐ Bring her to me.
Theme music playing ♪

[electric toothbrush buzzing]
[gagging, coughing]
[cell phone buzzing]
‐ What.
DAIMON: [on phone]
What the hell did you do?
‐ Excuse me?
‐ Mom's back.
ANA: Slow down.
What do you mean she's back?
‐ She's back.
I‐I‐I don't know what you did,
and frankly, I don't want to know,
but Mom hasn't been this lucid in years.
Are you still there?
‐ Yeah, yeah, I'm here.
I wish I could share your enthusiasm.
‐ Well, you should.
She's been asking about you.
‐ Yeah? What has she been saying?
‐ Um, well, I'm gonna be honest,
a lot of it's rambling,
but she's talking a lot about
memories from when we were kids.
It's, um, it's progress.
‐ That's great.
I'm happy for you.
Thanks for the update.
Keep me posted.
‐ Really?
Ana, your Pilates class can wait.
‐ What do you want, Daimon?
‐ You had some kind
of positive effect on her,
or a negative effect
against the thing that's possessing her.
Either way, something is happening,
and I need you here.
Like now.
‐ Daimon, I've already said everything
I have to say to our mother.
I don't know what more I could.
‐ Yeah, but this isn't about you,
this is about her.
If we work together, then maybe we can
bring Mom one step closer
to being, to being free.
‐ God, I can feel the earnestness
coming through the phone.
‐ Ana.
I'm sorry, are you in pain
or is that a yes?
‐ You owe me.
Are you following me?
‐ That depends.
Are you avoiding me?
You skipped town.
And I don't like being left in the dark,
so I decided to take a little trip.
Great hotel.
And the, uh,
pancakes are sublime, seriously.
I mean, flax seed.
Have a bite.
‐ I'm not hungry.
‐ Oh, okay.
I'm not even sure I know
what a flax seed is.
[exhales heavily]
‐ What are you doing here?
‐ Take a wild guess.
‐ You want to know what I found out.
‐ It's like you're reading my mind.
‐ It's my father.
‐ You sure?
‐ Yeah. Mother confirmed it.
‐ Victoria or the other?
‐ The other.
Victoria is gone.
‐ Okay.
So, uh what now?
‐ I track him down and kill him.
It's not rocket science.
‐ Nope.
It's harder.
He's powerful, Ana.
One of the worst ever.
You don't know what you're up against.
‐ Don't I?
‐ I'm just saying, it's too dangerous.
‐ 'Taker, I'm sure this is coming
from a good place,
but no.
This is my fight.
Mine. And I don't need your help,
and I don't need a chaperone.
‐ Does Daimon know?
And I'm not about to tell him.
‐ You know, you're the closest thing
to family I have.
So I'm gonna tell you something
my mother told me.
Don't ever let pride get in your way.
Not here.
‐ It's not pride.
It's rage.
There's a difference.
DAIMON: So, I think it's best
if you just follow my lead.
‐ All right. Whatever.
[buzzer sounds]
‐ Hey, Mom, guess who's here?
Bless your heart,
you brought her.
All my children are safe now.
Did you close the door?
‐ Yeah, it's closed.
‐ I don't want the storm to come inside.
The rain, snow.
It's coming down hard, isn't it, Button?
‐ Yeah. There's so much snow.
‐ Did you have fun playing in it?
‐ Sure.
‐ Maybe we could build a snowman later?
There isn't time.
‐ Why not? It could be fun.
The three of us could build one together.
‐ You mean the four of us.
There isn't enough time.
Your father will be home soon.
‐ What are you talking about?
VICTORIA: If he sees us outside,
he will be very angry!
Very angry.
‐ We need to get her
to focus on something else.
[Victoria whimpering]
‐ Victoria.
Very angry.
‐ Victoria!
VICTORIA: Very, very.
Very angry.
‐ You know, no, I can't do this.
‐ You're bailing already?
‐ She's not back, Daimon.
I don't know what this is.
VICTORIA: Very angry.
‐ I'm out.
MOTHER: She's not back, he is.
Back for the rat, the only one
to escape his trap.
Oh, but he'll catch it.
He always catches them in the end.
You know that, don't you, girl.
No stone unturned.
[Ana groans]
[Mother laughs menacingly]
I have to admit,
I do admire Vicky's stamina.
What a fighter.
Nothing was gonna stop her
getting her warning out.
‐ What warning?
‐ You didn't tell him?
‐ Tell me what?
‐ It's Dad.
He's back.
‐ Dad's dead. His body was found
and cremated.
‐ No, he co‐‐
Yeah, I'm not doing this.
‐ It's amazing what
a little determination can overcome
when there's unfinished business
to be dealt with.
‐ Unfinished business?
‐ No stone unturned.
GABRIELLA: If there's a bright side,
it sounds like
Victoria's still in there
fighting for survival.
Well, that's something.
HASTINGS: Gabby was looking through
some articles in your mother's things.
Researching a victim
who might have gotten away.
ANA: I'm the one who got away.
Dad is back!
DAIMON: Demons lie,
all the time, and this is
exactly what they want.
Causing conflict between us.
We're playing right into it.
‐ Sorry, maybe I'm
misunderstanding something
but if your dad died,
how could he possibly be back?
‐ I don't care what evidence there is.
Dad didn't die, fire wouldn't kill him.
He's still out there.
‐ Even if I believed that,
which I‐I don't,
still doesn't mean it's all about you.
GABRIELLA: That's the article
on Zoe Richards.
The one Dr. Hastings mentioned.
DAIMON: Mm‐hmm.
‐ Who is that?
‐ From the clippings in Victoria's files.
I know it was 20 years ago,
but I assumed you'd read it.
‐ Yeah, I try to avoid being triggered
by my mother's insanity when I can.
Who is she?
HASTINGS: According to police,
Zoe Richards claimed she was abducted,
tortured, and nearly killed
around the time your father left home.
Most of the details were withheld
at the family's request.
They wanted their privacy.
But it was the last possible attack
before your father died.
‐ You should read the article.
‐ Don't need to. No one got away.
‐ What if she did?
‐ So you believe me,
you just don't believe me believe me.
‐ I'm keeping an open mind.
HASTINGS: Your father was still out there.
The timing fits. The methodology.
‐ Well, I don't believe
in picking at old scars,
especially when it comes to Dad, but‐‐
‐ It could be worth looking into.
‐ If she's the one that got away,
then we have to warn her.
ANA: [sighs] Sure.
Or use her as bait.
‐ We've got a problem.
‐ It's lovely to see you too, Henry.
And what, pray tell, is our problem?
‐ Number one‐‐
‐ Oh, number one? There's a list?
‐ Well, no, there's not a list.
‐ Well, that's a shame.
‐ Saves paper.
Why do I feel like
you're hiding something from me?
‐ Paranoia is a common side effect
of bad weed, you know that.
‐ You don't return my calls.
I don't hear from you for months‐‐
‐ Want me to call you, I'll call you.
Done. What else?
‐ Is this a bad time?
‐ I need to check in
on my favorite patient.
‐ Oh.
I wouldn't mind checking in on her myself.
[bell ringing]
GABRIELLA: What's the plan?
We can't just tell Ms. Richards
the man who attacked her could be back.
We need a plan.
‐ She's right. We do need a plan.
‐ I'll figure it out.
‐ What?
‐ Nothing.
I just can't believe you're really a nun.
Or fledgling nun or whatever.
‐ Nuns have a look?
ANA: They kinda do.
‐ Which is what?
‐ Certainly not you.
I mean, I'm curious.
You're pretty.
You're like way too pretty
to be a legit nun.
Maybe an internet‐spank‐me
I've‐been‐a‐bad‐boy kind of nun.
But that's kind of it.
‐ Uh,
thank you?
ANA: Take the compliment.
Nothing wrong with being pretty.
So what are you into,
guys, girls, the whole pantheon?
‐ I'm so sorry, is she bothering you?
‐ Am I?
It's fine.
‐ Ana's not a big believer
in boundaries or propriety.
‐ Or bullshit. Don't let him fool you.
He's got a wild streak.
He just hides it better than I do.
GABRIELLA: I get it.
Most people think of nuns
as goody‐two‐shoes.
There's some of that, but most
of the ones I know are more like
refugees from the world.
Looking to belong.
‐ But you partied.
‐ Sure I partied.
But none of it was ever fulfilling for me.
I found that in my faith.
‐ Mmm.
So how celibate is celibate?
CARETAKER: Victoria's getting weaker,
but Mother's only getting stronger.
The longer we wait,
the more uncertain things become.
Let me take care of Victoria.
It will solve all our problems.
‐ Daimon has conservatorship over her
and power of attorney
so that's a non‐starter.
Even if it weren't,
we, Daimon and I,
continue to believe
the best approach is a holistic one,
treating Victoria's situation
in a pragmatic way.
‐ This is me you're talking to.
You and I both know
you're just putting off the inevitable.
[buzzer sounds]
‐ Look, I'd be lying if I said
I didn't share your concern.
I do, believe me.
And I take it to heart.
But I'm handling it.
‐ Look, ever since the day
I brought Ana in,
it's been an issue
for all parties involved.
The risk of them being together,
it just scares people.
‐ For good reason.
‐ If word gets out
that the Daimon and Ana show
is the new status quo,
there will be blow back.
‐ With all due respect,
we're not there yet.
You wanted a look.
DAIMON: So, maybe I should do the talking.
ANA: Yeah, great optics.
‐ I don't know if you know this,
you don't exactly exude warmth.
‐ At least I can approximate it.
ZOE: Yes?
‐ Zoe Richards?
‐ Yes.
My name is Sister Gabriella Rosetti.
I'm with St. Teresa's Center
for Mental Health?
We're researching survivors
of violent crime,
focusing on resulting
psychological trauma.
Particularly people who have survived
wha‐what you endured.
‐ Okay. What do you want?
‐ Would you mind if we asked you
some questions?
It would be a tremendous help.
‐ You show up unannounced
and expect me to talk to you
about the worst day of my life?
Is this some kind of a joke?
‐ You're right.
So sorry to take up
your time, Ms. Richards.
We just thought we could help.
My research assistants, Daimon and Ana,
are similar‐type survivors.
So if you ever want to talk,
feel free to call.
Let's go.
‐ So, did you have a‐‐
[voices fade]
ZOE: Wait!
‐ People always want what they can't have.
Ominous music ♪

[eerie whispering]
[eerie whispering continues]
ZOE: You don't mind, do you?
I always have a firearm around
for my protection since the attack.
‐ That's understandable.
‐ Are you all right with that?
‐ Yeah, of course.
You have such a lovely home.
‐ It was my grandmother's.
Her father built it.
‐ How long have you lived here?
ZOE: Not too long.
It feels like home.
‐ I know it takes a lot of courage
to talk about what you went through.
It's almost as if you have
to relive it again.
We hate to be the ones causing that.
‐ I know I'm still haunted
by my experience.
I can't remember the last time
I had a good night's sleep.
‐ What can you tell us about that day?
‐ Uh,
I was on my way to the library.
It was Friday.
I remember the day
was sunny.
The air was clear.
It's funny the things you remember
the way you remember them.
Sorry. It sounds
‐ Ma‐‐ ma'am, may I use your bathroom?
‐ Sure, it's upstairs.
Second door on the right.
This little girl came up to me.
She was lost.
She said she was looking for her father.
After a while, a man came looking for her.
Seemingly concerned about the girl.

[door creaking]
DAIMON: What are you doing?
‐ There's someone else up here.
‐ Are you okay?
‐ What, you think I'm up here
taking shrooms?
‐ You don't have visions now?
We're playing that game?
‐ Actually, I am having a vision,
of an asshole in my presence.
‐ Oh yeah, you're okay.
‐ Something's not right
with our little Zoe.
‐ Or Mother planted a seed in your head,
and it's growing wild, like crabgrass.
‐ Wow. That's the nicest way
anyone's ever told me
that I'm being hysterical.
You must be a hit at the faculty lounge.
‐ I am. Don't put words in my mouth.
‐ It's called subtext, professor.
‐ For a long time, I blamed myself
for what happened.
I rarely went out.
It always felt like
people were looking at me.
[Daimon shouting]
Judging me.
It took years of therapy for me
to get to a place where I could even
talk about it with others.
[Ana shouting]
Online support groups.
‐ You found them helpful?
‐ Very, but I can't shake the fear
that it could happen again.
In the back of my mind,
there's this feeling like
ANA: What about your issues?
‐ did I do something wrong?
Did I deserve this?
‐ No.
No one does.
ANA: All I know is that there's
somebody else in this house.
‐ That's actually why we're here.
‐ Does anyone else live here?
ZOE: I live alone.
‐ Why don't I believe you?
‐ Excuse me?
‐ What was your attacker wearing?
What did he smell like?
Can she tell you?
‐ Zoe, I'm sorry.
‐ Who are you people?
‐ She's lying.
‐ That's it, we're done here.
‐ Get out of my house.
‐ Please, Ana has a similar history.
She's under considerable strain‐‐
‐ Just go!
Get out!
Get out!
Get out!
‐ We're leaving.
We're leaving.
‐ If you ever want to talk,
you have my card.
DAIMON: I don't know what prompted
that shit show in there,
but we should have been honest
with her from the start.
ANA: It doesn't matter.
‐ What was that about?
Why did you grab her like that?
‐ Because she's lying.
DAIMON: How do you know?
Did you feel anything when you‐‐
‐ No, nothing, but I wasn't finished.
GABRIELLA: I don't understand,
finished with what?
‐ Ana can read certain people,
she sees things.
‐ Zoe's story doesn't add up.
No one got away from Dad. Not ever.
Certainly not her.
‐ How can you be sure?
‐ Just for once, can you take
my word for it
that I actually know
what I'm talking about?
‐ I will, when you actually know
what you're talking about.
Now come on, you're giving me feelings.
Hunches. Seeing people that aren't there.
I need more, Ana.
‐ You shouldn't.
‐ Well, I do.
ANA: I know her story isn't true
because I was there.
Dad burned that girl alive!
‐ Ana.
CARETAKER: How long before
they're coming back?
HASTINGS: No idea. Daimon didn't say.
‐ Oh, is that, uh, something else
you're hiding or is that the truth?
‐ I'm going to lunch.
‐ All right, then, I have some people
I have to touch base with.
But now that you mention it,
I am starving.
‐ Is that your way
of inviting yourself to lunch?
‐ I don't know. If it works.
Is it working?
‐ You need to stop.
‐ I was thinking
of checking out a taco truck
folks around here have been raving about.
‐ Hmm!
‐ And I wouldn't mind the company.
‐ You don't have to twist my arm.
[fire alarm blaring]
[people screaming]
‐ I need to check security.
I'll see you outside.
[people chattering]
[fire alarm continues in distance]
[fire alarm continues blaring]
[Hastings grunts]
CARETAKER: You all right?
‐ I'm fine.
Go on outside.
[indistinct radio chatter]
Dramatic music playing ♪

MOTHER: No stone unturned.
DAIMON: We shouldn't have left.
Like, we should've stayed and kept
an eye on Zoe Richards' place.
‐ Are you starting to think
Ana was on to something?
‐ I mean, who the hell knows.
‐ About what Ana said.
‐ Mmm.
‐ Being there when it happened.
Did you know?
‐ I knew that the odds were pretty high
that she'd seen some horrific shit
on the road with Dad, but
to witness something like that is‐‐
‐ You never talked about what happened?
‐ I'm sorry, have you met my sister?
Ana always kept me at arm's length.
Which I get.
And frankly, I was grateful for.
I wasn't exactly Dr. Phil.
‐ There's no use beating yourself up.
What could you have done? You were a kid.
It's obvious it was a traumatic event.
Add to it the separation from your mother.
The breakup of the family unit.
Not to mention her time in foster care.
That kind of experience
makes it harder to trust.
How it forces you to rely on yourself
to solve your problems.
You're not on the hook
for any of what happened to her.
‐ You're good.
‐ I try.
‐ Mm‐hmm.
I just don't know how to talk to her.
I don't. I feel like all we do is fight.
‐ My advice?
She needs empathy.
I mean, put yourself in her shoes.
How does she feel?
How do you think she'll react now
that you know what she witnessed?
You know, what would she do?
‐ Well, you said it yourself,
she's a foster kid.
She wants to solve her own problems,
prove me w‐wrong‐‐
‐ What?
‐ She's going back to the house.
‐ You think so?
‐ Yeah.
Electronic dance music playing
on speakers ♪

[door closes]
‐ I know that patient.
He's never been like that.
He's not violent.
‐ It ain't him, it's her.
Mother doesn't want me here.
Man, she's a master manipulator.
A demon that can make
nonviolent people violent.
Including her children.
Which is why we need to stick together.
And be honest with each other.
I'm worried about you, Louise.
‐ I need to beef up security,
switch some of the patients' rooms.
‐ Louise, please.
You're moving differently.
You know, you're on these
prescription pain meds.
Look, I know you.
‐ Can we skip ahead to the part
where I tell you not to worry about me?
‐ No. No, we can't.
It's cancer, isn't it?
What kind?
‐ Lung.
[exhales sharply]
I've hired a replacement,
uh, Gabriella Rosetti,
a novitiate, to take over for me.
She comes highly recommended.
I'm training her.
‐ So when were you planning to tell me?
‐ Everything will be taken care of.
Again, she comes highly recommended.
‐ Louise!
I'm not talking about the job.
‐ You're right.
I should have told you.
‐ Who else knows?
‐ Other than a doctor on staff,
just you.
‐ And treatment?
‐ I am not doing chemo.
And I don't have the time or the strength
to justify that choice to you right now.
I already got a lecture earlier.
All I want
is to go get a decent taco
with an old friend.
Electronic dance music playing ♪
[people chattering]

‐ What's your name?
‐ Jake.
‐ Jake,
you wanna do some very bad things
in a dark alley?

‐ Hey, where you goin'?
[body thuds on ground]
WOMAN 1: Hey,
somebody get security‐‐
WOMAN 2: Somebody call 911!
MAN: Buddy, you okay?
‐ Hello? Is anybody home?
‐ Zoe?
‐ What are the chances she took
the dog out for a walk?
‐ She didn't have a dog.
‐ Maybe she got one.
‐ Something's not right here.
‐ I'm gonna check upstairs.
Tense music ♪

[door creaks]

‐ Hello.
Where's Zoe?
‐ I'm Zoe.
Tense music ♪

[people chattering]
‐ Hey!
‐ Where's my sister? Where's Aubree?
Don't come any closer.
I mean it. Stay back.
GABRIELLA: I don't understand.
‐ Aubree thought she was protecting me.
Told me the world couldn't accept me.
It was suffocating.
And you brought that woman here.
I saw her.
She has the same eyes
since she was a little girl.
‐ Everything your sister told me,
it happened to you.
‐ She said she was lost.
I tried to help her find her father.
But she led me right to him.
She knew what he'd do to me.
‐ I wanna help you.
‐ No. Aubree said the same thing.
‐ I know she loves me,
but she's killing me.
This is me helping myself.
‐ Gabriella!
GABRIELLA: We're in the cellar!
Zoe, please.
ZOE: No more guilt.
GABRIELLA: You don't have to do this.
ZOE: No more pain.
‐ Zoe, right?
Come on, let's get out of here.
We can talk outside.
‐ No. This is the only way
to get rid of the burden.
‐ Just take my hand. We can help you.
‐ I don't need your help.
‐ You don't have to do this.
‐ I should have died in that fire.
‐ I don't believe that.
‐ We need to find another way out.
‐ We're not leaving you here, Zoe.
Look, we go together or we stay together.
‐ We gotta go.
‐ Zoe, please.
‐ Let's go.
Dramatic music ♪

[Zoe and Gabriella coughing]
[low growl]
ZOE: The college kid came
right after you left.
He told us we could get revenge.
I'm so sorry.
I just want the pain to stop.
‐ You can start now.
You can make that choice.
‐ Where's Aubree?
ZOE: Leading your sister into a trap.
‐ Trust me, Ana can handle herself.
‐ Yes, but Aubree won't be alone.
‐ You talking about the college kid?
‐ No. He said there'd be
someone else there.
Someone strong enough to "finish the job."
AUBREE: I should have been there that day.
I could have done something.
So, today, I get revenge.
For Zoe.
You were right. I was lying.
But then again, so were you.
‐ What are you talking about?
[Ana yells]
‐ Hello, Button.
‐ It's you.
Dramatic music ♪

[Ana groans]
[low growling]
‐ No, I‐I‐I did what was asked.
No. Leave me alone.
She's the one you want.
What are you?
[Aubree screaming]
[screaming continues]
[high‐pitched ringing]
ANA: He was different,
but I felt it.
It was him.
It was him.
‐ I know.
‐ He was so strong.
‐ It's okay. It's okay.
I believe you.
I believe you.
You're not even giving her a chance.
She studied at the Vatican.
Vatican shmatican.
‐ Did you just say Vatican shmatican?
‐ I'm pretty sure that's Latin.
Honestly I don't care
where she studied.
You are irreplaceable.
And that fire alarm chaos, [scoffs]
that's child's play
compared to what's to come.
‐ Gabriella is very capable.
‐ It's not about capability, Louise.
It's history.
Lord knows why we got saddled
with those two kids, but we did.
We were supposed
to keep them apart and we did.
That's the deal.
But none of that matters
if, if you're giving up.
And look, I‐I can't do this alone.
‐ I am tired of feeling tired, Henry.
I'm tired of fighting
for everyone under the sun.
I don't have anything left for me.
‐ Then let me help you.
Let me in.
Too many secrets is not a good thing.
I learned that the hard way.
You don't have to carry this alone.
I mean it.
I'm here for you.
'Cause our job's not done.
People are going to get hurt.
And not just them.
There are other forces at play here.
The last thing the world needs
is a Helstrom family reunion.
We light that fuse,
and God help us all.
You're No Good
by Dionne Warwick ♪

‐ Feeling better now
that we're through ♪
Feeling better 'cause I'm over you ♪
I learned my lesson, it left a scar ♪
But now I see how you really are ♪
You're no good,
you're no good ♪
You're no good,
baby, you're no good ♪
Hey, oh, hey ♪
You hear what I say ♪
You're no good
you're no good ♪
You're no good,
baby, you're no good ♪
Hey, oh, hey, oh ♪
Hey, hey ♪
Well, I broke a heart
that's gentle and true ♪
I left her for, for someone like you ♪
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