So, what happened
this morning, Ray?
I don't fucking know, man.
It just come over me,
Iike something
unstoppabIe, you know?
Next thing...
...I'm on top of him with
a fucking shiv, and there's bIood...
...aII over the pIace.
AII over the pIace.
Fucking...
You know, pumping up 6 feet
in the air from his throat, right?
So how does this
make you feeI, Ray?
Taking someone eIse's Iife.
How does this make
you feeI about yourseIf?
How do you feeI?
How do you...? How...?
What do you mean?
I feeI... I feeI...
I feeI great.
I fucking feeI fantastic.
How shouId I feeI, man?
I'm the one's gonna be aIive
come morning, not that son of a bitch.
Hey, yeah.
How you feeI?
How do you feeI, doc?
You feeI OK?
You're sitting there Iooking at me Iike
I'm some kind of fucking head case.
You think I Iike that?
Hey!
I don't Iike it.
You think I Iike that I'm gonna spend
the rest of my Iife in this shit-hoIe?
If I'm Iucky enough
not to fry first?
The truth is, doc, I am...
...massiveIy fucked.
OK?
And you sitting there with your...
Your IittIe fucking
prissy tape recorder
and your questions.
No way you do me not one...
...ounce of fucking good, man.
Am I wrong?
Can you heIp me?
Can you...? You know...
Can you heIp me?
Can you do something?
Like rewire me
so I start doing the right...
...fucking thing?
No!
I don't think so!
You're worthIess, man.
You got no moves.
What are you gonna do?
Do it.
Go ahead, fix me.
I'm here. I'm here.
Fix me, goddamn it!
Read the Iast part again, honey.
OK.
''How and in what way the chiId
sense of his body is converted
''by acts of parentaI
and other externaI vioIence
''into a kind of theater
of fantastic horror.
''How, in a sense, demons
are introduced into the seIf
''stiII remains to be seen.''
It sounds good, honey.
- What'd you do that for?
- I don't know.
Sometimes I just...
I just hate what I'm doing.
- What do you mean?
- Sometimes it just doesn't seem
to make any sense.
You're upset about the new
case at the prison, right?
Yeah, I am.
I am. This KoIberg, right?
He's in for 20 years for cutting
up his high-schooI sweetheart.
Now, Iast week
he kiIIs his ceIImate.
Now, if I can prove
that he can be redeemed,
that there's some vestige
of conscience, of sanity,
weII, that makes
this guy eIigibIe to fry.
Come on.
You don't pass sentence.
That's for the judges,
juries and Iawyers.
You have to fight to get
this guy back to his souI...
...before anybody worries about
what happens to him in court.
You know what
I'd reaIIy Iike to do?
I'd just Iike to cure
one human being.
That's aII. Just one.
I'd Iike to prove once and for aII
that you can shake
a shattered mind
and put it aII back together again.
That's what I'd reaIIy Iike to do.
The truth is,
in aII my cIinicaI experience,
I've never reaIIy seen it happen.
Yeah, maybe it's aII buIIshit.
Maybe I'm just a fraud.
Oh, honey, come on.
You're not a fraud.
You're the best man I know.
- Is that right?
- Yeah.
The best?
The best.
Even though I'm not
interested in footbaII?
Even though you're
not interested in footbaII.
OK. Ready for breakfast?
- Stop it.
- Samantha. Knock it off.
Come on.
- Ouch.
- Samantha!
Stop it.
Now eat the cereaI.
- Here, BiIIy. Here's your stuff.
- Stop it.
- Want some coffee?
- I'II take it with me.
- I'm gonna knock you out right now.
- Hey, hey, hey, hey.
- God.
- Hey.
Eat the cereaI, come on.
Let's go say goodbye to your father.
Come here.
What time wiII you be home, honey?
- About 6:00.
- OK.
Here.
Come on. Hurry up.
Here, honey.
Here.
Get this.
Say goodbye to your father.
- Bye. We Iove you.
- Love you.
Stop at the grocery, OK?
- The grocery?
- Yeah. For garbage bags.
- Garbage bags?
- PIease?
- OK.
- Come on. Kids, Iet's go.
Bye.
Mary, I'm headed down to the prison
for my fourth session with KoIberg.
Oh, pIease remind
Professor CoIIins that
he'II be seeing aII my fourth-year
thesis advisees this afternoon.
Put a note on my desk,
wiII you pIease, in big Ietters:
''Garbage bags.''
And, oh, you'II be receiving a copy
on criminaI psychoIogy this afternoon
for the Psych Quarterly Review.
I'd appreciate it if you'd...
I'd appreciate it if you'd...
If you'd send a copy
to aII the members
of my postgraduate seminar.
And indicate that...
...this wiII be groundwork
for the next few months of cIasses.
Mrs. Chrushank?
Yes?
I'm Dr. Webb.
Your husband's
condition has stabiIized.
Oh, thank God.
It's a miracIe
he survived that accident.
He'II Iive.
But, Mrs. Chrushank,
I'm sorry, we can't save his arm.
Oh, God.
- No.
- Now...
...I want you to Iisten
to me very carefuIIy.
I can give him a new arm.
What do you...?
What do you mean? You...
OK, why don't you sit down.
Mr. Dean Kates,
Main Reception.
Mr. Dean Kates,
Main Reception.
You mean, Iike...?
Like a pIastic or...
...prosthetic or something?
We have a donor
who suits your husband,
who can give him a normaI human arm
as fuIIy functionaI as the one he's Iost.
Now, unfortunateIy, I need to
perform the operation immediateIy.
To maximize
the chance of success,
I need your signature right away.
God. I don't know.
CouIdn't we...?
CouIdn't we wait and ask him?
There's no time, I'm afraid.
Every second counts.
Police officers and life support
techs report to O.R. 5.
BiII...
BiII...
There's nothing to worry about.
Everything's gonna be just fine.
Hi, honey.
Hi.
BiII...
...I'm Dr. Webb.
You Iost your arm
in a car accident yesterday.
We've transpIanted
another arm for you.
I'm sorry.
CouId we be aIone
for a few minutes, pIease?
Of course.
It's going to be aII right, honey.
We'II get through this, OK?
I swear.
Can you move it?
It's a process.
We take it one step at a time,
one day at a time.
Try again.
Shit.
Good.
Very good.
Lab 3-1 3 to the emergency room.
Lab 3-1 3 to the emergency room.
You can do it.
- Did you see that?
- I did.
You're not supposed
to touch that, you dumbbeII.
Hey, hey, hey.
Come on guys, stop it.
Hey, you two.
Remember me?
- You gIad Daddy's coming home?
- Yeah.
HeIIo, Karen.
Hi, doctor.
BiIIy.
Dr. Webb, I...
I can't find the words
to thank you.
- Get in cIoser.
- Mr. Chrushank, how does it feeI
- to have someone eIse's arm?
- Come on.
How does your famiIy
feeI about the operation?
Mr. Chrushank, do you think the
operation wiII affect your sex Iife?
Mr. Chrushank, can you show us
your arm so we couId get a shot?
- HoId it up to the cameras.
- Let's have a Iook at it.
I reaIIy don't think you peopIe
shouId be taIking to me.
You shouId be pointing
the cameras at Dr. Webb.
She's going to be
a NobeI Prize winner.
CouId we have a comment?
- Dr. Webb.
- Question, pIease.
We hope that in a few years' time
the procedure which BiII Chrushank
underwent wiII become commonpIace.
Other than to pay tribute
to the courage of BiII Chrushank,
there's nothing more to say.
- Thank you.
- Thank you, Dr. Webb...
- Move in. Move in. Got that?
- Did you get that?
- Dr. Webb!
- HoId on!
You know, guys,
Mommy expIained why
I was away in the hospitaI, right?
And she toId you I got hurt and...
WeII, they took care
of me in the hospitaI,
and I'm aII better now.
And I just want to know
if you have any questions.
No, Dad, no questions.
No questions.
No questions?
I Iove you guys very much.
And...
WeII, I don't want you
to worry about anything.
I'm here now.
And I'm the same
oId daddy I was before.
OK, and if you did worry about
anything, you'd teII me, right?
- Can we see the arm, Daddy?
- Oh, honey.
Daddy just got home.
Maybe Iater, OK?
- PIease?
- Dope-head.
It's aII right.
- Yeah.
- You sure?
Sure.
They gotta see it sooner or Iater,
no time Iike the present.
There it is, guys.
- Mommy.
- Oh, honey, it's OK.
- It's aII right. Come on.
- Dad,
it's sort of gross.
Come on, guys,
I know it Iooks a IittIe funny, but...
It's not how it Iooks,
it's how it works, right?
And it does work
as good as the oId arm.
Matter of fact, it works
even better in some ways.
- Even better, Pop?
- Even better, BiIIy.
I stiII Iove you, Daddy.
I Iove you, baby.
BiIIy, I teII you what, why don't we
go out and throw the footbaII around.
- You mean it, Pop?
- Yeah, come on.
Oh, yeah.
- Throw it to me, Daddy.
- Throw it to you?
How about if I throw you?
Come on, BiIIy.
I missed you so much.
It doesn't bother
you to touch the scars?
I thought it wouId, but...
Keep doing that.
Bye.
What?
What are you guys Iaughing at, huh?
Get in there.
Now, four months ago,
we were discussing
the psychoIogicaI roots
and weIIsprings of human vioIence.
To continue on that, what we
have before us, a paradox, you see.
Because vioIence, when it's
sanctioned by the state,
is acceptabIe to us.
For exampIe,
poIicemen defending our famiIies
and soIdiers defending our country.
We ceIebrate them as heroes.
But this is not the case
with the so-caIIed
freeIance individuaI.
Because we regard
individuaI acts of vioIence
with repugnance and revuIsion.
What is it that makes a man,
or a woman for that matter,
who is normaI in most respects...
...Iose controI...
...of the restraints...
...that make him...
a civiIized being...
...and do severe harm to others?
WeII...
...that's a mystery.
And a mystery that you
and I must expIore...
...to its very depths.
Shit!
Son of a bitch!
- Daddy, Daddy, what happened?
- Shit!
- What are you Iooking at?!
- BiII, what's the matter?
- Jesus.
- Oh, man.
- How's it going, doc?
- AII right.
Heard you've been on the TV.
Heard you were
a reguIar freak of science.
- I've been pretty Iucky.
- Is that right?
You don't Iook reaI good.
What do you mean?
What do you mean,
what do I mean?
You Iook...
...Iike about how I usuaIIy feeI.
Be more specific.
What do you mean?
You Iook Iike shit, man.
Do you speak EngIish?
Maybe you got some kind of...
...IittIe demon inside
of you these days.
How about that, doc?
You been Iosing sIeep IateIy?
Let me ask you, does it
make it easier for you to taIk to me,
seeing me Iike this?
Do you trust me?
Yeah.
I don't know.
I want you to trust me.
They onIy give those
out on death row, paI.
You gotta be a stone
kiIIer to wear that shit.
What kind of shrink are you, man?
You get away from me!
Get away from me!
Get away,
I'm not taIking to you, man.
You got that fucking thing
on your arm. Get away! Get away!
Get away from me!
Two weeks and
they haven't found the guy?
- I toId the cops, back off.
- Excuse me.
- Come on!
- You're hurting my arm.
Don't give me any grief.
- Is there a warrant?
- Judge signed it.
Get down to Forensics
and check it out.
Hey, BiII.
What can I do you for?
I want you to run my prints.
- You want me to run your prints?
- Yeah.
Any past record I had wouId
show up on the printout, right?
Sure. Why, you got some
bIackouts you're worried about?
No. Just induIge me, wiII you?
Give me your thumb.
Jesus Christ.
Honey...
...what's the matter?
How Iong you been
sitting here Iike this, hon?
I don't know.
Why can't you sIeep, honey?
I don't know.
BiII, come on. TaIk to me.
I think there's something
the matter with me.
What?
It's the arm.
The arm's OK.
No, I think there's something
wrong with it.
What are you taIking about?
I found out who it beIonged to.
You did? Who?
A vicious kiIIer.
Somebody who makes KoIberg
Iook Iike a...
Like an aItar boy.
Honey...
...you have this guy's arm.
You don't have his personaIity.
I don't know.
You know nothing
about this guy, right?
Except his rap sheet?
You aIways say when you're
confused, get more information.
Find out who the guy reaIIy was.
The differences between you
and this creep wiII emerge.
I chose not to teII you
about FIetcher,
because I thought it wouId
impede your recovery.
In the Iong run, scientificaIIy speaking,
the psychoIogicaI makeup
of the donor is irreIevant.
It's your arm now,
not CharIey FIetcher's.
Yeah. WeII...
...that's what my wife says.
You shouId make a practice of
Iistening to her more cIoseIy.
Dr. Webb...
...you put a kiIIer's arm onto my body,
and you didn't teII me.
I now have a murderer's bIood
in my bIood.
I can't beIieve a man with your
psychiatric background
can be saying what you're saying.
That arm can't do anything
you don't want it to.
- How do you know that?
- Listen, BiII.
Any physicaI probIems you have
with the arm,
I and my staff wiII be thriIIed
to heIp you with.
But as to these other matters
you're bringing up...
WeII...
...I suggest you taIk
to a good psychiatrist.
Thanks for your time, doctor.
Dr. Webb.
Mr. Draper is having some probIems.
I'II take a Iook at him right away.
Damn it, who is that?
What do you want?
I need to taIk to you.
You need to taIk to me?
What about?
About your arm.
My arm?
Yeah, I got the other one.
Yeah...
...so Iike...
...you want to arm-wrestIe,
or what?
That arm used to beIong to a kiIIer.
OK.
You got my attention.
This is it, oId man.
Magic digit saved my Iife.
Death,
transfiguration.
CompIete rebirth.
Best work I have ever done.
Best work anyone's ever done.
In this century anyhow.
You're a true beIiever
in Dr. Webb, huh?
Agatha Webb is the most
briIIiant woman I have ever met.
ProbabIy on a genius IeveI.
Darwin...
...Edward Hopper...
...WiIheIm Reich, EIvis PresIey
and Agatha Webb.
I put her right up there.
This is CharIey FIetcher.
CharIey who?
CharIey FIetcher, the kiIIer.
KiIIed 20 peopIe.
With his bare hands.
With that hand that you paint with.
The arm that Webb sewed
onto your shouIder, that...
That kiIIed peopIe.
Yeah?
WeII, what did he do with your arm?
Don't you wonder
where these images come from?
If maybe they come from him?
Oh, Iook, paI,
I don't know what you do,
but you sure the heII ain't no art critic.
Where do my images come from?
If you or anybody have
a sound theory on that one,
I recommend you
bottIe it and seII it at auction.
They just come to me, man.
I snatch them out of the air.
Thank God.
I want to show you something.
You see this?
For the Iast...25 years...
...I was a hack. I can say that now.
Dumb...
...Cape Cod Iandscapes.
WaII fiIIers for banks, hoteI rooms,
that was the best I couId do.
Nobody had two seconds
of their precious fucking time
for my serious work.
I get this arm, and, hey,
I make $250,000
in the first three weeks.
My deaIer's phone
never stops ringing.
The New York-fucking-Times is taIking
about my ''searing, originaI taIent''.
I got no compIaints.
The worId is my fucking oyster.
I'm a 1 0-year-oId kid on the street
corner fIying a red, white and bIue kite.
You hear what I'm saying?
This isn't art. This...
These, these...
These aren't your pictures.
This is...
These are CharIey FIetcher's pictures.
Don't you see? That's what he saw.
This, this right here?
This is what he saw
when he was breaking a girI's neck.
That over there, that's what he saw
when he kiIIed five poIice officers.
And this one right here?
This is what he saw
when he was Iaying
on the operating tabIe,
and they were cutting him to pieces!
These are his pictures!
I know what I'm taIking about
because I see these pictures
in my mind!
You see those pictures in your mind?
Yeah?
You see this?
It's a paintbrush.
You see this?
This is paint.
Go ahead. Have at it!
Everybody's a fucking painter.
I'm sorry that you got a probIem
with aII this, but, hey.
I'm busy.
The inspiration is on the fIow.
The bIuebird is on the wing,
and I gotta catch it.
I gotta, see?
I'm working on my first miIIion here.
Nice taIking to you.
lt's childish of me, l know.
But l'm somewhat disturbed to learn
that l'm not the only beneficiary
of Dr. Webb's experiments.
l must find out if other
experimental subjects are...
...having the same
turbulent shifts in mood
and activity
that l've been experiencing.
Does the arm really have a soul
of its own?
These questions are...
...l know, monstrous and fantastic.
But what has happened
since the accident...
ls it not fantastic?
- Honey, we're Iate.
- Jesus Christ. What?
You scared the shit out of me.
What?
WeII, piss off. I'm not the one who said
we had to go
to this facuIty dinner party for the new
German guy in your department.
Oh, shit. I forgot aII about it.
If you think Iistening to a bunch
of facuIty cIowns gossip
is my idea of a good time,
you've got another thing coming.
If you don't want to Ieave
your bIessed study, Iet's not go.
Hey, hey, hoId on a second!
- What are you so angry about?
- What am I so angry about?
I don't know. What have I got
to be so angry about?
Last night you scare the shit out of
me about the guy who had your arm.
Today you bury yourseIf in here
with your books.
What have I got to be
angry about, huh?
OK. I'm sorry. AII right?
I'm sorry. There's nothing wrong.
I'm sorry. Everything's fine.
I taIked to Dr. Webb,
everything's perfect.
You saw Dr. Webb
and you didn't teII me?
Why shouId I? There's nothing
wrong. Everything's fine.
I got this guy FIetcher's arm.
It's no big deaI. Who cares?
Everything's perfect.
- So it's OK?
- Yeah, it's OK. It's great!
He took five of my men.
Good ones.
I took him in.
The judge gave him the chair.
Then it kind of gets...
...hazy.
There's this Iady doctor
who wants to experiment
grafting techniques on convicts.
She's up to her neck in poIitics.
CharIey's got no famiIy.
No Iawyer. No money.
He's nobody.
She puIIs the right strings...
...and cha-cha-cha...
...you've got his arm.
I was in the operation room
with eight armed officers
when they sawed his head off.
End of story.
I'm home.
Hey! Where is everybody?
Hey!
- Dad!
- Hey!
Come here, you.
Damn it!
- BiIIy!
- Mom!
What's going on?
BiIIy, what is it?
What is wrong with you?
Are you crazy?
- I'm sorry.
- He's a chiId. You don't...
You don't hit a chiId!
Don't you ever put your hands on him!
Come here.
Mommy, what's wrong with Daddy?
That arm can't do anything
you don't want it to.
Go, go, go.
Go for a shot. Put it up.
Nice shot.
Hey, Mark!
- Pump it up, Mark.
- Yo, Mark, what's up?
Hey, guys.
- Hey, Mark, how you doing?
- Good.
- You positive you're up for this?
- I'm positive. Let's do it.
- OK. You're on my side.
- Hey, Mark, throw it here.
AII right, Iet's go. PIay it tight, now.
PIay it tight.
Come on, Iet's go.
- Bring it down.
- Man-to-man.
Watch that hoIe. Watch the zone!
- Watch the pick there!
- Get on him.
Go from the side. Go for it.
Let me have it.
Look around.
Harris, go for the boards, now.
- Hey, over here.
- Come on, Casey. Come on, now.
- Get at him.
- AII right. Go for it, Mark.
HoIy shit!
Yeah!
Jesus Christ!
What the fuck?
Oh...
You aII right?
- Huh?
- Yeah, I... I think so.
What happened?
I...
I don't know what happened.
Just, my Ieg...
- Fuck.
- Your Ieg?
What's the matter with your Ieg?
I don't know, it just kind of...
Just kind of stomped on the gas there.
And I couIdn't...
I couIdn't get it to hit the fucking brake.
- It sounds pretty nuts, huh?
- No, it doesn't.
Doesn't sound nuts at aII.
My name's BiII Chrushank.
Hi.
I know this sounds weird
but I got my arm
from the same pIace
you got your Iegs.
- I'm Mark. Mark Draper.
- Hi, Mark.
Hi.
Mark, you aII right?
OK.
Can I taIk to you a IittIe bit?
Yeah.
Sure.
Listen, I, I...
See, I've been having
some side effects from...
From this operation, and I just... I need
to taIk to somebody who's been
through the same procedure,
you know what I mean? And...
WeII, my arm, it's kind of Iike...
It's been doing things on its own.
And, and something's wrong.
See, something's wrong with this
operation. I don't know what it is.
It's...
...probabIy just rehabiIitation,
you know? I mean,
it takes a whiIe for it to come back.
I think that's what happened.
I just was having troubIe
with my coordination.
Coordination? Mark.
Mark, I foIIowed you.
I, I saw you pIay basketbaII.
You Iooked pretty coordinated
on the court there.
What's the matter with the car here,
that's not coordination.
Hey, it was an accident, you know.
I mean, accidents happen.
Hey, Iook, I can waIk.
I had an accident three years
ago at work.
It crushed both my Iegs.
Put me in a fucking wheeIchair.
Lose your Iegs sometime,
I'm teIIing you,
aII your other probIems
shrink to nothing in comparison.
Jesus Christ. Why...?
Why doesn't anybody want to ask any
questions about these operations?
What are you taIking about,
ask questions? I mean...
Look, aII I want to do is get good with
these babies and get on with my Iife.
I suggest you do the same.
Yeah, aII right. AII right, Mark.
Yeah. OK.
Listen, I'II teII you what.
Here's my card, aII right?
Here. I'm sorry I bothered you.
If you...
No bother, it's just, you know...
I have to get on with it.
- Yeah.
- AII right.
Thanks for... Thanks for stopping.
BiII.
BiII. BiII.
Stop it.
Karen.
Get away from me!
Just stay away from me!
Stay away from me.
Wake up, honey.
Daddy, I'm asIeep.
Sit down here.
BiIIy. BiIIy.
Dad.
I was asIeep.
What's the matter?
Where's Mommy?
Daddy has to go away
for a IittIe whiIe, guys. OK?
How Iong?
I don't know, BiIIy.
Daddy Ioves you guys...
...very, very much.
Why? Are you sad with Mommy?
No, honey.
Can I come?
No, BiIIy, you can't.
I want it off.
- Are you insane?
- I got serious probIems, doctor.
I hit my kid.
I tried to strangIe my wife.
I have nightmares every night!
Look, it's...it's OK, aII right?
The arm's fine. I don't want it.
Give it to somebody eIse.
Just give me a hook or something.
Do you reaIize what I
and my team have accompIished
with that arm of yours?
Don't you reaIize that if a gun were put
to my head, I wouIdn't jeopardize
the accompIishment
that your surgery represents?
Can't you see this arm is kiIIing me?!
I'm sorry to put this so bIuntIy, BiII.
But the pain you're in
just isn't that important
when I baIance it against
the significance of the experiment.
You won't perform the operation
to remove the arm?
No.
And I'II see you put
in a mentaI institution
before I Iet you undo
what I've done.
Let me be bIunt, doctor.
Why don't you go fuck yourseIf.
Get the heII out of this office.
Fuck you and aII your buIIshit!
I want this fucking arm off!
l don't know how
we got to be like this.
lt all seemed to go so well at first,
and now...
Now we can't seem to have a
normal moment with you around here.
lf only l hadn't signed
that damn piece of paper,
none of this would be happening.
The corollary of violence
is loneliness.
Humanity shrinks from the violent man
as if he were a carrier of disease.
Cut off from my family,
l'm terrified of what l am becoming.
l need someone
to share my sense of isolation with.
And yes, a growing sense of horror.
l'm alone...
...and afraid.
I reaIIy appreciate
you guys showing up.
Every time I Iook at my hand...
...I keep thinking...
...about how many peopIe it's kiIIed.
How can one man
kiII so many peopIe?
I'm having terribIe nightmares,
you guys.
Look...
...I've had some probIems
with the Iegs too, but I mean...
...just as soon keep them, right?
It's just pieces of this guy we've got.
Not his...
Not him, you know.
That's what I'm wondering, see?
I mean, where is eviI...?
Where does it Iive?
Does it Iive in the souI?
In the mind?
Maybe it Iives in the heart.
Maybe it Iives in the fIesh.
How can one man kiII
so many peopIe?
Look, BiII.
You gotta stop torturing yourseIf.
Lay off the metaphysicaI specuIation.
It's a waste of fucking time,
you know what I'm saying?
Maybe eviI Iives in the skin.
I don't know.
Look, why don't you taIk
to Agatha Webb about this.
She knows what she's taIking about.
I mean, she's Iooked into these things.
She's spent her whoIe Iife on it.
She's gone to the mountain, man.
How come you guys don't have
the same symptoms I do, huh?
I mean, why wasn't my transpIant
a success Iike yours?
I mean...
She might be briIIiant.
You might be right.
Maybe...
Maybe it is me.
You gotta stop fighting it.
Go with the fIow.
Don't be so stiff.
Listen to what your
arm's saying to you.
What's my arm saying?
Right now it's saying,
''Have another drink, oId buddy.''
Now, that's funny. Because that's
just what my Iegs are saying too.
GentIemen.
I'd Iike to propose a toast.
To our benefactor, CharIey.
- To CharIey.
- To CharIey.
Thanks, Chuck.
Hey.
Hey, asshoIe.
I know you.
I've seen you on the TV news.
- Oh, yeah?
- Yeah.
Come on, Iet's see the hand.
It's just a hand,
just Iike any other hand.
You wanna see mine too?
It's a matched pair.
I wanna see the one from the TV.
Hey, come on,
I ain't no circus attraction.
Yeah?
You're some kind of fucking freak.
I wish he hadn't said that.
Come on.
Let me see the hand.
- Back off, man.
- Come on, Iet me see that hand.
Take it outside, come on!
HeIIo, poIice.
This is L.B.'s Bar.
Get over here right away.
There's a fight going on.
Hey!
Move it. Move it!
Somebody get these
peopIe out of here.
Come on, BiII.
Everybody get back.
What the heII is going on?
Get an ambuIance!
What is up here?
Come on, Iegs.
This is Bill Chrushank in exile.
Current location, the Hillcrest Hotel.
Well, enough about me.
How are you doing?
Leave a message at the beep,
and tell me all about it.
Hey, Bill.
Hey, Bill, it's Mark Draper calling.
Just caIIing to, just, you know,
to see what's going on with you.
To see what's up.
I'm at home. Just...
- Mark?
- No.
No!
- HeIIo.
- Karen.
- Take the kids, go to your mother's.
- What?
Mark Draper's been murdered.
Now, just go.
Just don't pack.
Just go now!
Samantha?
BiIIy?
Samantha.
OK, Iift.
TeII me again.
You were home when you got his caII.
And you hadn't seen
Draper since the bar.
What was your fight about
at the bar?
- We weren't fighting.
- It sounded Iike a fight to me.
- He was just trying to stop me.
- Stop what?
Listen, I'm tired.
- You got any more questions?
- Yes, I do.
BiII.
I'm sorry.
I'II have to start asking
them downtown.
- You better check with Remo Lacey.
- What for?
Because I think his Iife
is in danger.
Give me back...
You'II be safe.
From now on, you'II be with me.
I'm not safe.
I'm next.
It's CharIey!
What the heII's going on?
You son of a bitch!
- Hang on!
- Look out!
Oh, shit!
Turn right!
Right, right!
Stay on him!
- Stay with him!
- HeIp me, kid.
Shoot him.
Where's your gun?
Goddamn it!
Shoot him!
No. No, don't shoot him!
Don't shoot him, stop!
You son of a bitch!
- Son of a bitch!
- Get out of the fucking way!
Shit!
Go Ieft! Go Ieft!
Shit!
Give me the gun,
I'II shoot him!
Shit.
Dearest Karen,
This may be my final journal entry.
Having read this,
you know the truth.
l hope you understand why
l have to do l what l'm about to do.
l love you, Karen. You and the kids
are the best thing l've known.
Bill.
WeIcome, BiII.
You wanted to give back
CharIey's arm? We're ready to take it.
You're compIeteIy out
of your fucking mind.
You're a threat to every
Iiving thing you touch.
The grafting on of Iimbs
was onIy the beginning.
The beginning?
Saving CharIey FIetcher's head so he
couId run around and kiII peopIe?
That's quite an achievement, doctor.
Science, Iike nature,
destroys to buiId.
I'm part of a process
that's bigger than aII of us.
Now we transpIant heads...
...with fuII brain chemistry
and functions intact.
Don't you see where this can Iead?
Yeah.
Straight to heII!
Fuck you.
Get me Detective Sawchuck.
Homicide.
- Homicide.
- This is Chrushank.
I'm over at the cIinic.
CharIey FIetcher's dead.
I've got Dr. Webb here.
You better get over here.
As l sit here today, the only survivor
of Dr. Webb's experiments,
l feel somewhat resigned.
The questions l've been asking
are quite simply beyond my reach.
Where does evil live?
ls evil in the flesh?
lf a tree falls in the forest,
and nobody is there to hear it,
does it make a sound?
lnquiring minds want to know.
And life goes on.
l do know that evil
does not live in my arm,
because since Charley has died,
l've experienced
none of the violent tendencies
the arm initially manifested.
l've adjusted and accepted
the fact that l am the recipient
of a miraculous
new surgical technique.
And to that end,
l owe Dr. Webb and Charley.
The arm's mine now, Chuck.
l won it, fair and square.
You're not Ieaving those
Iast Iines in, are you?
Sure.
I thought you said
it was gonna be pubIished
in the Journal of Medicine?
It is. I just thought
I'd inject a IittIe humor.
WeII, then it's briIIiant.
- You think so?
- The rest of it ain't so bad either.
I Iove you.