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Bloodhound (2020)
(MECHANICAL WHIRRING)
(DRAMATIC MUSIC) ABEL: It all started as a joke. At least to everyone else. A private investigator? This generation uses Facebook and Linkedln. But I was serious. I trained. I studied. This is my passion. My career. I wanted this. (DRAMATIC MUSIC) Then Jennifer Wong called. (SLOW, DRAMATIC MUSIC) Before her, there were stupid little cases. But she was different. She was desperate. My gut told me this was real. Her voice trembled. She was distraught. I followed her husband to a motel in the valley, a known hooker motel. I assumed it was what it appeared to be: just another John looking to get off after hours. But it was different. At the time, I was excited. I was catching this all on camera as it was unfolding. Cut and dry case. "Mrs. Wong, I'm afraid I have some bad news." "Your husband's having an affair with a man." Oh, it's good to see ya. Took you long enough to call me. Oh you're ready this time, huh? What, are you sure? Are you sure you're ready this time? Ready for a rough time? NARRATOR: But that's not what happened. She showed up. She was following me, and I thought maybe I should stop her, but, I decided to stay out of it. This was her truth to uncover. Why would I stop it? But I should have. Oh, he looks ready this time. Let's get it goin', let's get it on, buddy. NARRATOR: I just remember the sadness in Jennifer's trembling voice, and her husband's pleading moments. Jenny, excuse me. NARRATOR: Then. - What are you doin'? - Stay away from me. John. John. - John? - Tim, I'll explain later. Okay, just. You don't have to explain later, just... Yeah. Stay away from me. NARRATOR: You ever get that feeling in your stomach that something bad is gonna happen? Everything's just rotten suddenly. JENNIFER: Stop it, John! Please, Jenny, I love you. This, it's... (JENNY YELLS) TIM: Take it easy. It's okay, take it easy. John... (GUN COCKS) - (JENNY SOBBING) - Don't do that. NARRATOR: Then. (MEN YELLING) (GUNSHOT) No, no, don't do that. (MEN SOBBING) TIM: Oh god. NARRATOR: My first big case, my name is all over the news. All over the internet. "Local private investigator captures" "suicide on camera." My phone hasn't stopped ringin' since. (MEN SOBBING) (DRAMATIC MUSIC) Why am I calling you? CASE NUMBER 21: Dennis Stork. (DRAMATIC MUSIC) (VEHICLES PASSING) He was lookin' for trouble, and he found it. And then he dragged me into it. (DRAMATIC SYNTH MUSIC) DENNIS: Hey. Uh, you know what? I'm way behind here. I got to stick around, at least a couple hours. The lobby's piled up. Uh, it's a long story. I'll tell you later, but, uh, I'll see you in a few hours. At least three or four hours. All right babe? All right. All right, love ya, see you then. All right, bye. (DRAMATIC SYNTH MUSIC) Hey. (HEELS CLACKING) How's it goin'? What's up? DENNIS: You wanna go for a ride? I'm not a cop, I promise. I have to tell you that, right? I'm not really up on the lingo. Fuck off. DENNIS: Come on. - Come on, get in. - Fuck off. DENNIS: I just wanna hang out. Ugh, great. Turned down by a hooker. Add that to your list of accomplishments, Dennis. Oh boy. (DRAMATIC SYNTH MUSIC) Hey. Hey. You wanna go for a drive? WOMAN: What you got there, sweetheart? DENNIS: What do you think? WOMAN: Ooh. (DENNIS CHUCKLES) It looks nice. Nice and big. (DENNIS CHUCKLES) How much? DENNIS: 150. WOMAN: 150 sounds great. You wanna come and pay my daddy for me first? DENNIS: Uh, okay. WOMAN: It's okay. Come with me. Come on. Look at you, sexy little thing. You got 150 for me? DENNIS: Yeah, I got it all for you. You just got to pay my daddy over there. DENNIS: What, what? Where's your fuckin' wallet? - What? - Get the fuckin' wallet. DENNIS: Oh shit. - I got it, I got it. - What else you got in there? What else you got in there motherfucker? What else you got? Take that shit, bitch. (DENNIS MUMBLING) What else you fuckin' got? DENNIS: Nothing. Take his shit, take his shit. (ALL YELLING) Fuckin' get out of here you motherfucker. Shit. Who the fuck is you? (GUNSHOTS) Fuckin' shoot his ass, daddy. (ENGINE REVS) (MAN AND WOMAN ARGUING) WOMAN: Don't you fucking call me a bitch. Fuckin' asshole. (GUNSHOT) Who the hell are you? My name's Abel Walker. Your wife hired me. Oh shit. See, right there? Right there. That's where it died on me. I'm just, I'm really lucky I got all the footage from the memory card, you know? JIM: Oh yeah. I see what you mean. I mean, you can't really be worried about camera equipment when you got people shootin' at ya, you know? Are you getting cold feet? I mean, I told you this job can be dangerous sometimes. JIM: No, no, no, no. I've seen worse. Okay, good. 'Cause I really think this documentary series could be something great. JIM: I totally agree. Even without a camera guy, you got some really intense footage right here. Thanks. JIM: So uh, you wanna check out my camera gear? Yeah. Here's what you're gettin'. You got your GoPros, you got you video cameras. A few DSLRs. You got your lenses, and you got your audio gear. That's awesome, man. Yeah. Listen, I want you shootin' everything, though, including yourself. You never know when you're gonna get the best shot, so. No problem. Cool. You definitely got us covered with the gear, man. I just, um, I'm gonna be honest, I don't think I can afford to rent this stuff, so... No, no, no, all of this is included in the package price. Really? But, here's the thing. I shoot a lot of reality TV shows and on set stuff, so, I don't really do what you do. I don't stake out things or follow people, so, you're gonna have to show me the ropes a little bit and teach me how to do that. Yeah, no, for sure, man. No, it's a lot of sittin' and waiting, observing, watching, a lot of patience. Yeah. - I can do that. Awesome. You got yourself a deal. Cool. So, uh, when's our first case? Well, that's a tricky question. What do you say tonight we go out and try a dry run? Okay. Yes. (DRAMATIC MUSIC) JIM: Want me to shoot B-roll? ABEL: B-roll? JIM: You know, to make things cinematic. Buildings, street lights, people, stuff like that. Oh no, yeah, no, I know B-roll. Yeah, knock yourself out. I like the way you think. You're always shootin'. (SLOW, DRAMATIC SYNTH MUSIC) (PHONE RINGING) (SLOW, DRAMATIC MUSIC) Abel Walker Investigations. How can I help you? Yeah. Uh, tonight? Yeah, I can meet tonight. I know exactly where that's at. Yes, 25 minutes? Great, we'll see you then. JIM: Who was that? Looks like we didn't have to wait long until our next case. We're meeting one Bill Augustine for a possible 1057. JIM: Awesome. What's a 1057? Missing persons. Well I'm meetin' him. You're gonna shoot from afar. (DRAMATIC SYNTH MUSIC) JIM: You got to tell me where you get your hair cut. Do you just ask for the high school gym teacher cut or what? What's up with that skinny tie? You in like an 80s band? Oh, here he is. Mr. Augustine? - Yes. - Hi. Abel Walker. Hi, have a seat. (CLEARS THROAT) Before we get started Mr. Augustine... It's Bill. Just call me Bill. Sure, Bill. Yes. Before we get started, Bill, uh, I have to let you know that I videotape all client and subject interaction. I just need your verbal consent to continue filming, and of course, you'll be able to use any of this for any legal purposes in the future. Do you understand all that? Yeah, that'll be fine. I just, uh, I just really need to know you can help me. I, I need to find Maria. Now, Maria, she's your wife, correct? Yeah, I mean, no, my ex-wife. Um. We broke up about four months ago. Uh huh. Oh. If you don't mind me askin', um, how do you know Maria's actually gone missing? I mean, is there any chance she could just be avoiding your phone calls, or? Uh, well, we didn't have the best relationship. Uh huh. I mean, like, we fought a lot. Lots of broken plates and screaming matches. It was even worse with the divorce and the break up. Oh, I'm sorry. She hated me. Like, to the core, you know? After she left, I started getting these phone calls late at night. Two, three am. At first they were just hang ups, but then, like, this heavy breathing sound. And, I don't know, one night she calls, and she's with somebody. I could hear. It sounded like she was like, fuckin' some guy. She had me on speaker and she was fuckin' some guy. She knew this would infuriate me. So I'm not hiring you 'cause I want her back. I don't care what she does, or who she does. I'm just afraid she's gone too far with this revenge thing and has gotten into something bad. I hate her, okay? But I don't want her dead. You still haven't answered my question. Uh, she hasn't cashed an alimony check in over two months, so, I don't care how bad she hates me. If I send a check, she cashes it. - Sure. - That's how I know. That's a strong sign of foul play. Uh, do you have any leads? Do you have any idea who that guy on the phone could be? Yeah, this is him. And this all the information I have on her, her last address. Um. Her phone number. All my contact information is in there, along with your first payment. ABEL: Okay, good, good, good. The more information we have on her, the easier it'll be for us to find her, obviously. Good. Yeah. You know, I don't wanna make this about the money, but, um, I'm not a rich man, so the faster you can do this, the better. I'm using the alimony money to pay you, but when it dries up, we're done. Understood. No, I understand. We're gonna do our best. Now, since time is of the essence, I assume you've already been past her apartment? Yeah. Several times. So, okay. Well we're gonna start with the boyfriend first. And if he's hiding something, I'm gonna get it out of him. Oh, but, please use discretion. I mean, I do not wanna get into a legal problem with this. No worries. No, I know how to handle these types of characters. You're in good hands, Bill. We're gonna find Maria. That's what I do. Okay. - Thank you. - Yes. Thank you. (DOOR OPENS) (BLINKING) JIM: That's pretty serious stuff. Can't show your emotions when you're dealing with these clients. They'll get nervous. Lose faith in your abilities. I'll pick you up tomorrow. We're gonna head over to... Lee Brady's apartment. (DRAMATIC MUSIC) (DRAMATIC SYNTH MUSIC) (INHALES DEEPLY) (JIM CLEARS THROAT) JIM: So how long until he shows u... ABEL: Shh. What, do you see him? No. I just know what you're gonna ask. We quite literally just pulled up, and I don't wanna hear it. (DRAMATIC SYNTH MUSIC) - Thanks, man. - Mhm. (DRAMATIC SYNTH MUSIC) That's our guy. JIM: Where's he goin'? The Metro's at the end of the street. Looks like we're hoofin' it. Let's go. (DRAMATIC SYNTH MUSIC) Did he see us? (DRAMATIC SYNTH MUSIC) Come here, come here, come here. (DRAMATIC SYNTH MUSIC) Let's go, let's go. (DRAMATIC SYNTH MUSIC) JIM: Yo Abel, hold up. Come on. JIM: We're not gettin' on the Metro, are we? Yeah, let's go. Come on. JIM: But. Okay. (DRAMATIC SYNTH MUSIC) (PEOPLE CHATTERING) What now? Are we gonna get on the train with him? What part of follow the suspect escapes you? Come on. (DRAMATIC SYNTH MUSIC) (PEOPLE CHATTERING) We'll get into the car next to his. (DRAMATIC SYNTH MUSIC) Is he still there? JIM: Yes, he's still on the train, Abel. So what do you think so far? JIM: About what? The case. Pretty exciting right? JIM: I guess. What do you mean you guess? It's got to beat shooting for those nature shows, right? JIM: Yeah, this case is really, really interesting. Yeah. JIM: Yep. Just two guys following another guy on a train. Heart pounding excitement. (PINGING) - TRAIN ANNOUNCEMEN : Now arriving. Come on, let's go. (DRAMATIC SYNTH MUSIC) He's gone. JIM: How the hell did he disappear like that? ABEL: Did you see anything? What the fuck are you doing? Calm down. Mr. Brady, calm down. How do you know my name? Lee, calm down. My name's Abel Walker, I'm a private investigator. And you're following me? You son of a bitch. Hey, you better turn that shit off. Whoa, whoa, whoa, whoa, whoa. Calm down. Why are you recording me? I record all my cases in case of a legal ramification that would occur such as this, if you keep acting aggressive. I don't want that, do you want that? I don't help cops. That's good, I don't either. I'm not a cop. I'm a private investigator, okay? Cops hate me. What do you want? We're looking for a woman by the name of Maria Augustine. Augustine? You mean Maria Hendrix? You know her, right? I did. Not anymore? No. What the fuck is this about? She's gone missing. Did you check with her asshole ex-husband? Maria's ex-husband, Bill, is the one who hired us to locate her. Ha. I'm surprised that scumbag even noticed she was gone. Listen, we all know that they were in a tumultuous relationship, okay? He's just worried that she's just hanging out and associating with the wrong kind of people. You mean me. (LAUGHS) I'm not judging your character Mr. Brady, okay? I'm just trying to do my job. Well I haven't seen her, all right? Well when was the last time you did see her? Days? Weeks? A month. You know, I think I'm done answering your questions. Uh, Mr. Brady. If you don't mind, please. Do you know where she could have gone? I don't give a shit where she is, man. Not even if she's dead? (DEEPLY EXHALES) Listen, okay? I'm sure you're worried about her, right? We just need some information. Any information would help, Lee. Sandra. Sandra? I picked her up from this chick's house a few times in the valley. Sandra something. Do you have her address? Do you remember where in the valley exactly? Got it. Mr. Brady, thank you so much for the information and we're sorry if we inconvenienced you in... Fuck off. (DRAMATIC SYNTH MUSIC) JIM: You uh, really had the upper hand there, huh? That was intense. (PHONE DIALING) BILL: Hello? Hi, Bill? BILL: Yeah. Hey, it's Abel Walker. We ran into Lee Brady this morning. BILL: Yeah, how did that go? Well, let's say he's not gonna win any awards for his personality. I can see why Maria left him. BILL: So they broke up? Yeah, about a month ago. He didn't give us much to go on, but he says he hasn't seen her since. Hey Bill, have you ever heard Maria mention a woman by the name of Sandra? Sandra from the valley? BILL: Hm, no, I don't think so. Why? What do you got? Okay well, Lee says that he thinks she might be staying with her. BILL: (laughs) I doubt that. What's that? BILL: Nothing. Just, Maria hates the valley. I doubt she would stay over there. All right well we'll check it out anyway. You never know what someone's thinkin' when they're under distress. BILL: All right, well, good luck. All right, I'll check in with you tomorrow. We'll let you know what we come up with. BILL: Yeah. (DRAMATIC SYNTH MUSIC) We're attempting to make contact with Sandra, a possible friend of Maria Augustine's. Check this out. The door's open. Put these on. JIM: What for? We're goin' in. (BIRDS CHIRPING) Hello, Sandra? Maria? My name's Abel Walker, I'm a private investigator. I'm comin' in. (DOOR CREAKING) (DRAMATIC SYNTH MUSIC) (LIQUID BOILING) Whoa, what are you doin'? I was turnin' this off. It's dangerous. We're not here right now, Jim. Leave it. Sorry. Come on. (DRAMATIC SYNTH MUSIC) JIM: It's just dangerous and it's a fire hazard. Shut up, Jim. Hello? (DRAMATIC SYNTH MUSIC) This could be Maria's. JIM: Didn't you say don't touch anything? That was for you, Jim. I know what I'm doin'. (DRAMATIC SYNTH MUSIC) There's nothing in here that says it's Maria's. I mean, this could be anybody's suitcase. JIM: Why don't you text a picture to Bill? Maybe he'll know if it's hers. That's a good idea. (DRAMATIC SYNTH MUSIC) Okay, come on. (DRAMATIC SYNTH MUSIC) (DOOR CREAKING) Oh shit. JIM: What, was it? Oh what the fuck? Hey man, we got to call the cops. We got to look for signs of Maria. Oh. What the hell is this? (SLOW, DRAMATIC MUSIC) JIM: What am I lookin' at? ABEL: A woman, possibly Sandra. (SLOW, DRAMATIC MUSIC) JIM: Abel, this is some sick shit, man. Are you sure we're not pushin' it here? There's no rules when it comes to this kind of thing. We've just got to stay focused. Oh shit. JIM: What? Holy fuck, who's that for? ABEL: Us. JIM: What are you talkin' about? We're not even supposed to be here. Turn the camera off. JIM: Why? 'Cause I need to do something we can't have evidence of. (DRAMATIC SYNTH MUSIC) I don't think that was a smart move man. That was a crime scene. The only way we're gonna find out what's at 12th and Wilshire is if we go alone. If the cops see that message, they'd be all over it. Yeah, that should be all over it. This is bigger than us now. We're talkin' murder here. Don't you get it? This little 1057 just turned into a 207. A 207. - What's a 207? - A 207. A kidnapping. Come on Jim. This is a major investigation now. When we solve this, our names are gonna be everywhere. We're talkin' full time gigs man. News interviews. - Our own TV show. - I don't know, man. It just doesn't seem right. (DRAMATIC SYNTH MUSIC) Hey. It's Jim. I'm waitin' for Abel to come pick me up. We're going to 12th and Wilshire like the blood message said. I'm not gonna lie. I'm pretty fuckin' scared. I think the cops should be doin' this instead of us, but. I didn't sign up to be part of some killer's game. I'm just a camera guy. I like being a camera guy. I'd like to keep being a camera guy and I sure as hell don't wanna be a dead camera guy. If we do find that girl, though, that's fuckin' huge. (SIGHS) (HONKING) Well. There's Abel. (DRAMATIC SYNTH MUSIC) So I was thinking about the profile on this kidnapper. He's sendin' a message, right? I mean those pictures were sick. Which means he probably has a hatred towards women, most likely his mother. Probably sexualized her, too. JIM: You mean he had sex with his mom? No. No, I mean he viewed her as a sexual object but couldn't act on it, you know? Look, but don't touch. If this started when he was young, he most likely tortured small animals. Mice, squirrels, nothing larger than a cat. Unless he was a real sicko, then maybe a dog? JIM: Wow. But he's matured. He's moved up. He's powerful. Maybe a big guy. JIM: Like Lee Brady? Possibly. JIM: So he's a suspect? Everyone's a suspect until we find out who did it, Jim. He's probably ashamed of who he is, too, you know? Which makes him more of a threat. He's volatile. Lookin' to take his aggressions out on someone weak. JIM: You got all of that from some bloody Polaroids found in a bathroom? You ever think this guy is just a psycho who likes to kill women? You know, you take great pictures Jim, but I think you should leave the investigation theories up to me. I mean, look at these people, man. They go about their daily lives, not even realizing there's a killer right down the street. At any moment, one of these people could get snatched up, stabbed, murdered, raped, or strung up like that poor girl, and do you think they even give one second of thought about it? No, man. They just continue along. Like sheep to the slaughter. (DRAMATIC SYNTH MUSIC) Like sheep to the fuckin' slaughter. What are the odds that no one shows? Usually when you write something in blood, you tend to make the appointment. (VEHICLES PASSING) (BLOWS) You have to learn to control your breathing. Keep your heart rate down. That's when clarity sets in. You got all the answers, don't ya? I wouldn't say that. I'm just well versed. Been in this game a long time. How long, exactly? I don't know. I mean, if this is case number 25, that means there's 24 cases before this one, right? Well, that's how numbers work, Jim. Over how many years? I don't know. Three, maybe? What's with the inquisition? So I used to work with this guy, right? He was the host of one of those wilderness shows. Real cocky. Thought he knew everything about everything, you know? Each morning of the shoot, we'd have a safety meeting. The crew would always pay attention. Usually we were stuck out in some remote part of the world where you couldn't get to a hospital even if you wanted to. So you had to know what was up, you know? And this guy would stand behind the expert, not paying any attention. And at the end of the meeting, he'd say something really stupid like, "Follow me if you wanna live," or some stupid shit like that. You wanna know what happened to this guy? ABEL: What? He got a rhino horn through his heart. And he bled out on camera. I shot it. Shit like that doesn't leave you, man. Not even when you close your eyes. It's like those Polaroids. What's your point, Jim? My point is you can't be an expert on everything all the time. Sometimes you got to listen to what's going on around you. Read the writing on the wall. Literally, in this case. We should not be messing with these people. (VEHICLES PASSING) What the hell? Where did that come from? Wait, where are you goin'? I'm gonna go see what's in the box. JIM: Well you can't just go out there. You wanna stay here? Fine. (CAR BEEPING) Goddammit. Hold on. (VEHICLES PASSING) Oh shit. This looks like blood. JIM: Well just grab it and let's get the fuck out of here. Hold on. I want to take a picture. (VEHICLES PASSING) This is Abel Walker for case number 025. We're standing on the corner of 12th and Wilshire where someone left us this box. As you can see it's leaking a red substance, most likely blood. I'm gonna open the box. (VEHICLES PASSING) "Thanks for the help." JIM: What does that mean? Ugh. Looks like there's something underneath this film. You know what? Let's go wide on this; I wanna address the camera. You got me? JIM: Abel. Behind you. (DRAMATIC MUSIC) Hey, did you put this here? JIM: Follow him. Come on. (SLOW, DRAMATIC SYNTH MUSIC) Hold on. I just wanna ask you a few questions. (SLOW, DRAMATIC SYNTH MUSIC) Do you know Maria Augustine? (DRAMATIC SYNTH MUSIC) JIM: Should we catch up to him? No, it's too dangerous. Hey, hold up! (DRAMATIC SYNTH MUSIC) Come on. (DRAMATIC SYNTH MUSIC) JIM: Shit. Abel, hold on, my strap broke. (DRAMATIC SYNTH MUSIC) Shit. (DRAMATIC MUSIC) Fuck. Abel. (DRAMATIC MUSIC) Shit, fuck. Fuck. Shit. (DRAMATIC MUSIC) Abel? Abel? Abel? (SLOW, DRAMATIC MUSIC) Abel? (SLOW, DRAMATIC MUSIC) Abel? (SLOW, DRAMATIC MUSIC) ABEL: Psst. Jim. Over here. (SLOW, DRAMATIC MUSIC) (CREAKING) JIM: Turn that thing off, they'll see us. (BANGING) There's three of 'em. They're in here. JIM: Shh. (DRAMATIC SYNTH MUSIC) ABEL: Come on. (DRAMATIC SYNTH MUSIC) Let's find an exit. JIM: We're fuckin' surrounded. (DRAMATIC SYNTH MUSIC) (OBJECT CLATTERING) (KNIFE WHOOSHING) Oh shit. ABEL: Run! (DRAMATIC SYNTH MUSIC) JIM: Fuck me. (DRAMATIC SYNTH MUSIC) Oh shit. JIM: What, what is it? (DRAMATIC SYNTH MUSIC) (DRAMATIC SYNTH MUSIC) Should we go back to your place and check out the box? I don't want that box in my place. I know a place where we can go. (DRAMATIC SYNTH MUSIC) (TIRES SQUEALING) (DRAMATIC SYNTH MUSIC) You okay, man? Fuck it. This is Abel Walker for case number 025. My associate Jim and I had an encounter with the men whom I believe have Maria Augustine. They were wearing masks and I was unable to identify them. They chased us down with knives, and they left this. These men are dangerous. Um. I believe it's time we stop pursuing this case and turn all evidence over to the LAPD. (DRAMATIC SYNTH MUSIC) Okay, just turn the camera on. JIM: Can you please just lock the door? ABEL: What is going on? JIM: You got whiskey? (BOTTLE CLANKING) Dude, they were in my place. What? How do you know? The door was smashed. They threw my shit all over the place. - Did you record it? - No, I didn't record. I got the fuck out of there. I came over here. This shit is real, Abel. We got to go to the cops right now. All right, all right. Just, let me go find the number to my contact downtown. (WATER RUNNING) JIM: Hey Abel? ABEL: Yeah, what is it? JIM: Did you do all this? ABEL: Yeah, why? JIM: So you really know how to do this. ABEL: It's my job. JIM: What does this mean? ABEL: It means Bill's playing it too cool. Remember when we called him before we went to Sandra's place? JIM: Yeah, he said he didn't know her. ABEL: He was lying. All right, hold on a second. So you think he did it. No. I mean, that doesn't make sense. He's the one who hired us, you know? But, I don't think he's telling us all the truth. You think we should interview him? What are you sayin'? Look. I know we should go to the cops, but, maybe we should just hear what he has to say. That's not a bad idea. You know, all my other leads have gone cold anyway. Yeah. We'll give him a call first thing in the morning. You mind sleeping on the couch? It's hard sleeping when I'm at home anyway. So, what now? We go in. (CLATTERS) JIM: Maybe try the rope right there. Doesn't look like anyone's home. Let's go. Bill? JIM: What is it that Bill said he did for a living again? ABEL: He didn't say. (RUMMAGING) JIM: Holy shit, that's Sandra. What are you doin', Bill? JIM: Looks to me like he's killin' women. Oh shit, what did I just press? (SLOW, DRAMATIC MUSIC) (MAN BREATHING HEAVILY) BILL: What's the matter, darling? Don't you want to play? Hm? Now tell them your name. Tell them. Tell them your name! Sandra. BILL: Good girl. Yeah. Please, I don't, I don't wanna do this. Don't worry yourself. I'll be right back. I'm just getting ready for you. (LAUGHS) Now don't be scared. (LAUGHS) Give daddy a little bitty kiss. (LAUGHS) (SANDRA SOBBING) Don't you wanna have a little fun? Huh? Aren't you a fun girl? Don't you like to play games like a fun girl, huh? (LAUGHS) When you woke up this morning, with the sleep in your eyes, didn't you wake up and say, "I wanna have fun today." "I wanna play games today." "I wanna have a merry little time." Didn't you say that? Huh? Patty cake, patty cake. Huh? You wanna play a little game? (LAUGHS) (SANDRA SOBBING) I mean, it looks like fun when you play a little game. (LAUGHS) Don't you like to have fun? Like, you know how to have fun. Like, F-U-N! (SANDRA SCREAMS) Fun. I can't, I can't watch anymore of this, man. Listen, we are going to the cops. I mean, this is murder. I didn't sign up for this. All right, this is way too big for both of us. All right, we'll go to the cops. I think you should spend the night at my place tonight, though. Well I sure as hell aint goin' home by myself. I'm gonna get some B-roll. ABEL: Yeah. (DRAMATIC MUSIC) JIM: Whoa, Jesus Christ. ABEL: What? JIM: Sorry man. I thought I found Bill for a second. ABEL: Jesus. (DRAMATIC MUSIC) (UPBEAT ORCHESTRAL MUSIC) MAN ON TELEVISION: What are you doin' here? I thought I told you not to come. WOMAN ON TELEVISION: I had to, Don. MAN: Oh, well this is David Chase, the columnist, Fran. How do you do? FRAN: I'm Fran Bishop, a friend of Mrs. Larson's. DAVID: Have you seen Ella this morning? FRAN: No, I just got here when I heard you were at the door. We were worried about Mrs. Larson. DAVID: Just so I understand, where's her room? MAN: It's back here. (SOFT ORCHESTRAL MUSIC) DAVID: How long would you say she's been dead, Mr. Chase? MR. CHASE: Well, uh, I'm not the coroner. I wouldn't say too long. A few hours, I imagine. DAVID: Well I have my alibi. MR. CHASE: Hey you sure have. This is Abel Walker. I'm not gonna go into all the events that took place late last night in my very own home. Jim and I have decided to see this thing through. For Maria's sake. I've attempted to contact Bill Augustine and he's not answering his phone. We're gonna have to do this alone. I can't believe we didn't hear him. It doesn't matter. What do you mean it doesn't matter? Holy shit. That's a big ass gun. ABEL: You know that story you told me about the TV show host? JIM: The rhino? Mhm. If he had had this bad boy, he would've taken that rhino's head clear the fuck off. (DRAMATIC SYNTH MUSIC) (DEEPLY INHALES) (BLOWS) JIM: So what do you think? (DRAMATIC SYNTH MUSIC) It's dark. No movement. We go in there fast and silent, like a SWAT team. All right? If I'm lookin' right, you cover my left, you got it? JIM: Roger that. Let's do this. (CAR BEEPING) (DRAMATIC SYNTH MUSIC) (DOOR CREAKS) (DRAMATIC SYNTH MUSIC) (WOMAN GASPS) JIM: What the hell did you just do? ABEL: Nothing. (WOMAN SOBBING) No! This is happenin' live. JIM: Where is she? Come on. (DRAMATIC SYNTH MUSIC) Maria, are you okay? Please help me. Jim, come over here and document this. My name's Abel Walker. I was hired by Bill to come find you. MARIA: Thank you. Who did this to you? I don't know. (SOBS) Okay, okay, calm down. I'm gonna get you out of here. Come on. No! (DRAMATIC MUSIC) Drop the knife. It's over. (DRAMATIC MUSIC) MARIA: Bill! ABEL: Maria, wait! I'm gonna gut you, fucker! JIM: What the fuck? ABEL: What did she say? JIM: Abel, we got to get the hell out of here. (DRAMATIC SYNTH MUSIC) Thank you. JIM: Lee? I fuckin' knew it. Are you sure you don't want me to take care of this? Wait. You're part of this? I would do anything for Maria. I want this, Lee. What the fuck is goin' on right now? I really want to thank you. You documented this so beautifully. JIM: You're fuckin' psycho, lady. That's enough! All of you, put your weapons away, now! No, you need to toss your gun over there. Now! JIM: Abel, do not put your gun down. You shoot these son of a... Wait, what are you doin'? ABEL: I don't understand what's happenin' here, Maria. You don't know this man like I know him. (HITS) (BILL GRUNTS) Puente Butt Fuck, remember, Bill? That's what he used to call me when he'd bring his friends over. He didn't care about the money. Oh, Maria. I'm so sorry. I didn't know. But we've got to let the authorities handle this, okay? Let's do the right thing. Oh. You're still playing detective, aren't you? I bet you're still wondering about those pictures of Sandra. You wanna tell him, or should I? They're fake. This is how he makes his money, Mr. Walker. He finds them young and dumb, and then he uses them up. JIM: So she's still alive? He's a criminal, Maria. But you have to stop this game, before it's too late. You're right. It is too late. It's too late for him. And it's too late for you. JIM: Abel, Abel, Abel look out! Look out! (GUNSHOT) (GRUNTS) (SHUCKING) (JIM GASPS) No! Jim! (HITS) (GRUNTS) (SHUCKING) (HEAVY BREATHING) (DRAMATIC SYNTH MUSIC) Maria. Why are you doing this? I want you to hurt, Bill. I really do! This is all for you. You get off on death? Well, this is your moment. My ex-wife. I hate her. She's gone too far with this revenge thing. I hate her. She was fuckin' some guy. This would infuriate me. I hate her. I, I want her dead. I don't want her dead. Maria, please. It's about time you begged me. (SHUCKING) (BLOOD SPURTING) (SLOW, DRAMATIC MUSIC) (SLOW, DRAMATIC MUSIC) Let's watch that back. (DRAMATIC MUSIC) |
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