[Man Over P.A.] WELCOME TO MIAMI.
WHILE IN THE AIRPORT TODAY, PLEASE OBSERVE FLORIDA AND LOCAL LAWS...
WHICH PROHIBIT SMOKING ANYWHERE IN THE TERMINAL.
THANK YOU FOR NOT SMOKING.
BIENVENIDOS A MIAMI.
DURANTE SU ESTADIA EN EL AEROPUERTO, POR FAVOR OBSERVE...
LAS SENAS LOCALES Y DEL ESTADO DE LA FLORIDA...
QUE PROHIBEN FUMAR EN TODAS LAS AREAS DE LA TERMINAL.
GRACIAS POR NO FUMAR. UH-HUH. YEAH.
GOOD.
[People Chattering]
[Man] YOUR SON-IN-LAW DEALT WITH THE DRY CLEANING FRANCHISE DURING THE DAY.
HE SAW THAT WOMAN EVERY NIGHT.
THE SPECIFICS ARE IN MY REPORT AND INFORMATION ABOUT THE WOMAN.
IT'S UNPLEASANT, I KNOW. [Sighs]
DISCREET, ISN'T HE? WHAT AN IMBECILE.
I TRIED TO WARN MY DAUGHTER, BUT WHAT CAN YOU DO?
IT'S THE CHILDREN I'M WORRIED ABOUT THE MOST.
YOU'LL FIND MY INVOICE IN THE ENVELOPE, IF THAT'S ALL.
YES, MR. WELLES. THANK YOU. CERTAINLY, SENATOR.
LET ME KNOW IF I CAN BE OF FURTHER ASSISTANCE TO YOU. I'LL BE IN TOUCH.
[Spraying]
HELLO! [Woman] HEY, YOU'RE HOME.
WE'RE BACK HERE.
HOW DID IT GO? I THINK VERY WELL.
OH, GOOD. DADDY'S HOME, SWEETHEART.
YEAH! DADDY! HOW'S THE TEXTBOOK BUSINESS?
[Chuckles] WELL, I GOT 10,000 WORDS ON THE FEDERAL THEATER PROJECT.
IT'S SUPPOSED TO BE 4,000. AND THE WRITER DOESN'T WANT TO CHANGE ANYTHING.
SO KIND OF BAD.
HOW WAS MIAMI?
FINE. LONESOME. MM.
COULDN'T PAY ME ENOUGH TO LIVE DOWN THERE. YEAH. THEN WHY DID YOU GO?
SENATOR MICHAELSON HAS POWERFUL FRIENDS. OH.
HEY. HEY! YES.
HELLO, CINDERELLA.
DID YOU MISS ME? I SURE MISSED YOU.
YEAH, SHE MISSED YOU. AW, THAT'S MY GIRL.
SHE MISSED YOU. I MISSED YOU.
YOU BEEN SMOKING?
SMOKING? I'M NOT SMOKING.
OH, COME ON, HONEY.
YOU REEK OF IT.
AMY, I'VE BEEN SITTING AROUND IN BARS AND EVERYWHERE FOLLOWING THIS GUY.
IS THIS THE FIRST THING I GET, BEFORE EVEN "HELLO"? I SAID-- I'M NOT ACCUSING YOU.
I'M NOT. WELL, I'M NOT SMOKING.
WE'VE BEEN ALL THROUGH THAT. OKAY.
I'LL MAKE DINNER. ARE YOU HUNGRY? YOU'RE COOKING?
[Moaning]
I MISSED YOU. I MISSED YOU.
I DON'T LIKE IT WHEN YOU LEAVE.
[Baby Shrieks]
SHOULD I GO? I'M GOING TO DO IT.
OKAY.
[Shrieking Continues]
[Crying] SHH.
COME ON. WHAT'S ALL THE TROUBLE, CINDERELLA? HMM?
THERE, THERE. SHH.
OKAY. SHH.
I LOVE YOU.
[Telephone Rings]
[Ringing Continues]
[Amy] HONEY, PHONE.
OKAY, I'VE GOT IT.
SORRY. I WAS JUST SWITCHING PHONES.
[Man Speaking, Indistinct]
WELL, IT'S A PLEASURE TO MAKE YOUR ACQUAINTANCE, MR. LONGDALE.
HOW CAN I BE OF ASSISTANCE TO YOU?
[Speaking, Indistinct]
ABOUT 4:00? 4:00 WOULD BE FINE.
WELL, I THINK I-- I THINK I KNOW WHERE IT IS.
[Man] I'LL BE IN TOUCH. BYE.
MR. WELLES, DANIEL LONGDALE.
WE SPOKE ON THE PHONE. PLEASURE.
I'M THE CHRISTIANS' ATTORNEY AND ONE OF THE EXECUTORS OF THE ESTATE.
AND THIS IS MRS. CHRISTIAN. IT'S AN HONOR TO MEET YOU, MA'AM.
YOU COME HIGHLY RECOMMENDED, MR. WELLES.
I'VE SPOKEN TO ASSOCIATES OF MINE IN HARRISBURG AND LANCASTER AND HERSHEY.
YOU HAVE FRIENDS IN INFLUENTIAL PLACES. I'VE BEEN PRIVILEGED...
TO PROVIDE SERVICES FOR PEOPLE I ADMIRE.
YOU WERE PRAISED FOR YOUR DISCRETION,
YOUR STRICT ADHERENCE TO CONFIDENTIALITY.
THANK YOU, MA'AM.
DANIEL.
AS YOU KNOW, MY HUSBAND PASSED AWAY RECENTLY.
YES. MY CONDOLENCES, MRS. CHRISTIAN.
HIS PASSING HAS LEFT ME WITH SOMETHING OF A DILEMMA.
I'LL DO WHATEVER I CAN TO HELP.
MY HUSBAND'S INNER SANCTUM.
NOT MANY PEOPLE HAVE BEEN INSIDE THIS ROOM.
[Door Closes]
MY FATHER WORKED THE PITTSBURGH MILL.
IRVING UNITED STEEL, I BELIEVE.
BUT YOU ATTENDED PENN ON AN ACADEMIC SCHOLARSHIP.
- THAT'S RIGHT. - PEERS WENT INTO LAW AND FINANCE.
BUT YOU CHOSE SURVEILLANCE. I DECIDED IT WAS THE FUTURE.
YOUR HUSBAND IS A LEGEND. PLEASE.
WE WERE MARRIED 45 YEARS.
FOUR CHILDREN, SEVEN GRANDCHILDREN.
BUT HIS TRUE PASSION LAY IN HIS WORK.
BUT HE WAS ALWAYS LOYAL.
- I LOVED HIM... DEEPLY. - I UNDERSTAND.
DANIEL.
MY HUSBAND WAS THE ONLY ONE WITH THE COMBINATION TO THIS SAFE.
- WE HAD TO HIRE SOMEBODY TO OPEN IT FOR US. - I PREVENTED ANYONE...
FROM SEEING THE CONTENTS.
I FELT THESE WERE MY HUSBAND'S PRIVATE THINGS.
I DIDN'T--
I DIDN'T REALIZE--
DO YOU WANT TO TELL ME WHAT YOU FOUND, MRS. CHRISTIAN?
CASH, STOCK CERTIFICATES.
NOTHING OUT OF THE ORDINARY, REALLY, EXCEPT THAT.
IT'S A FILM...
WHERE A GIRL APPEARS TO BE MURDERED.
I'M NOT SURE I UNDERSTAND. [Longdale] IT'S VERY REALISTIC.
BUT HOW MANY PEOPLE SEEM TO BE REALISTICALLY KILLED IN MOVIES AND ON TV EVERY DAY?
IT BEGINS AS A RELATIVELY SLEAZY BIT OF PORNOGRAPHY...
AND RAPIDLY TURNS QUITE VIOLENT AND BLOODY.
WHAT YOU SEEM TO BE TALKING ABOUT IS CALLED A "SNUFF FILM."
FROM WHAT I KNOW, SNUFF FILMS ARE A KIND OF URBAN MYTH.
SEX INDUSTRY FOLKLORE. THERE'S NO SUCH THING.
THAT'S WHAT I EXPLAINED TO MRS. CHRISTIAN.
THIS IS PROBABLY AN S & M FILM OF SOME SORT.
SIMULATED RAPE, SIMULATED VIOLENCE.
IT'S HARD TO STOMACH, BUT THERE ARE WAYS OF DOING IT.
- FAKE BLOOD, SPECIAL EFFECTS. - WOULD YOU LOOK AT THE FILM AND GIVE US YOUR OPINION?
ALL I WANT IS TO KNOW THAT THIS ATROCITY IS FALSE.
I WANT THE PROOF.
[Projector Running]
[Groans]
[Groaning Continues]
[Exhales]
WELL, WHOEVER MADE THE FILM WAS ADEPT AT AUTHENTICITY. BUT I'M NO EXPERT.
I SUGGEST GOING TO THE POLICE AND LETTING THEM MAKE A DETERMINATION.
OUT OF THE QUESTION.
THAT WOULD BE SO COMPLETELY UNNECESSARY FOR ANY NUMBER OF REASONS,
NOT THE LEAST OF WHICH IS MR. CHRISTIAN'S REPUTATION.
WE WANT YOU TO FIND OUT WHO MADE THIS FILM...
AND ESTABLISH WHETHER OR NOT IT'S REAL.
YOU CAN FAIRLY NAME YOUR PRICE,
AND YOU'LL BE PROVIDED WITH WHATEVER YOU NEED TO PURCHASE INFORMATION.
THE GIRL'S ALL I'VE GOT TO GO ON.
I COULD TREAT IT LIKE A MISSING PERSONS CASE. [Longdale] UNDERSTOOD.
OF COURSE WE NEED TO BE ASSURED...
THAT YOU WOULD NOT COPY OR REPRODUCE THIS FILM IN ANY MANNER.
YOU HAVE MY WORD ON THAT. BUT I'LL BE DEALING DIRECTLY WITH YOU, MRS. CHRISTIAN.
YOUR RELATIONSHIP WITH YOUR ATTORNEY IS YOUR OWN.
NO OFFENSE. NONE TAKEN.
I-- I REALIZE YOU'VE GIVEN THIS CAREFUL CONSIDERATION.
YOU COULD'VE DESTROYED THE FILM.
TELL ME THE POOR GIRL WASN'T KILLED.
PLEASE. FIND HER ALIVE.
I'LL DO THE BEST I CAN, MA'AM.
[Projector Running]
CLEVELAND? YOU JUST GOT HOME.
AND I WISH I COULD STAY, BUT THIS IS THE MORTGAGE. IT'S CINDY'S COLLEGE MONEY.
IF I DO RIGHT BY MRS. CHRISTIAN, WITH THE CIRCLE SHE RUNS IN,
THIS COULD BE THE BREAK WE'VE BEEN WAITING FOR.
I DIDN'T KNOW WE NEEDED A BREAK. YOUR FATHER SEEMS TO THINK WE DO.
YEAH.
SO, WHAT WAS-- WHAT WAS MRS. CHRISTIAN LIKE?
LIKE YOU'D EXPECT, I GUESS. FEEL SORRY FOR HER.
IT'S A MISSING PERSONS. I TOLD HER I'D GIVE IT A COUPLE OF WEEKS. THREE WEEKS.
IT CAN'T TAKE LONGER THAN THAT. IT'S SUCH AN OUTSIDE SHOT.
THAT'S ALL I CAN TELL YOU, HONEY. SOMETIMES YOU CAN'T KNOW WHAT I'M DOING.
IT'S BETTER THAT WAY.
IT'S ALWAYS THAT WAY. [Baby Crying]
OH, SHE'S AWAKE. I'M GONNA GET HER. I'LL BE UP IN SEC.
[Crying Continues]
YOU'RE TAKING THE GUN? I'M NOT GONNA NEED IT.
ALL RIGHT, DON'T TAKE IT. I WON'T EVEN WEAR IT. IT'S JUST A PRECAUTION.
DON'T WORRY ABOUT ME. WILL YOU CALL ME WHEN YOU GET THERE, PLEASE?
[Welles] I'VE BEEN HIRED BY A COUPLE LIVING IN PHILADELPHIA,
A DOCTOR AND HIS WIFE.
A FEW DAYS AGO, THEY PICKED UP A YOUNG GIRL HITCHHIKING OFF OF 81,
A RUNAWAY ABOUT 18, MAYBE.
THEY BUY HER A MEAL. SO ALL THROUGH DINNER,
THE DOCTOR'S TRYING TO CONVINCE HER...
THAT THE VERY LEAST SHE SHOULD PICK UP A PHONE AND CALL HOME.
NOT SURPRISINGLY, THE GIRL ATE HER MEAL, EXCUSED HERSELF.
THAT WAS THE LAST THEY SAW OF HER.
WE HAD A FRIEND OF MINE AT THE DEPARTMENT WORK UP A SKETCH.
THEY WANT TO SEE IF I CAN I.D. THIS GIRL...
AND THEN SOMEHOW PASS ALONG A MESSAGE TO THE PARENTS...
LETTING THEM KNOW THAT THE KID'S ALIVE, DOING ALL RIGHT.
- YOU DON'T MIND IF I RUN A CHECK? - GO AHEAD.
YOU WANT IT, YOU GOT IT. KNOCK YOURSELF OUT.
ANYWHERE FROM 850,000 TO ONE MILLION MISSING EVERY YEAR.
WE'VE GOT AS MUCH AS WE CAN ON COMPUTER.
OTHER THAN THAT, IT'S THE WET THUMB METHOD.
FILES ARE MOSTLY BY STATE AND YEAR OF DISAPPEARANCE. WE KEEP CHILDREN AND ADULTS SEPARATE.
NO EATING OR SMOKING IN HERE. COFFEE MACHINE IN THE HALL.
ANY GOOD? HORRIBLE.
BUT IT'LL BE YOUR BEST FRIEND AFTER A FEW DAYS, IF YOU LAST THAT LONG.
GOOD LUCK.
[Welles] HI, HONEY. IT'S ME. [Amy] HI. HOW ARE YOU?
I'M GOOD. WHERE ARE YOU?
I'M STILL IN CLEVELAND. OH.
HOW'S CINDY? AW, SHE'S SWEET. SHE'S SLEEPING.
I'M MISSING YOU BIG-TIME. YEAH, I MISS YOU TOO.
[Welles] WELL, I'LL CALL YOU TOMORROW NIGHT.
[Amy] OKAY. GOOD NIGHT. GOOD NIGHT, SWEETHEART.
HELLO. MRS. CHRISTIAN? TOM WELLES. HERE'S WHERE WE STAND.
I CHECKED THE FILM STOCK. IT'S CALLED SUPRALUX 5-4-4.
NOW, THE COMPANY THAT MADE THAT STOCK DISCONTINUED IT IN '92.
SO THE FILM WAS MADE PRIOR TO THAT.
YES. AND I'M PROBABLY BEING OVERLY THOROUGH WITH THIS,
BUT YOU MIGHT WANT TO DIG UP YOUR HUSBAND'S FINANCIAL RECORDS...
ABOUT SIX OR SEVEN YEARS AGO, JUST IN CASE,
SEE IF THERE'S ANYTHING OUT OF THE ORDINARY.
OBVIOUSLY, THIS ISN'T THE KIND OF MOVIE YOU JUST DROP OFF AT THE ONE-HOUR PHOTO.
[Mrs. Christian] SO YOU THINK IT'S ONE OF A KIND.
[Welles] THE FILM THAT WENT THROUGH THE CAMERA IS WHAT WE'VE GOT.
THERE'S NO NEGATIVE. UNLIKE VIDEO, IT'S NOT REALLY DESIGNED TO BE DUPLICATED.
WHATEVER THIS IS, I HAVE A FEELING THERE AREN'T MANY COPIES FLOATING AROUND, IF ANY.
MRS. CHRISTIAN, I'M LOOKING FOR A GIRL WE'RE NOT EVEN SURE IS MISSING.
AND WITH THIS HAPPENING SIX OR SEVEN YEARS AGO,
FINDING THE GUYS WHO MADE THIS FILM, FRANKLY, IS GOING TO BE VERY DIFFICULT.
OH, I KNOW YOU CAN DO IT. YOU'RE DOING A WONDERFUL JOB, MR. WELLES.
PLEASE TELL ME YOU'LL CONTINUE THE INVESTIGATION.
I WILL. I'LL KEEP TRYING FOR YOU. YOU CAN COUNT ON ME.
GOOD-BYE, MRS. CHRISTIAN.
[Amy] WE CAN'T COME TO THE PHONE RIGHT NOW, SO PLEASE LEAVE A MESSAGE AT THE BEEP.
[Beep] HONEY, IT'S ME.
I'M SORRY I FORGOT TO CALL LAST NIGHT. I'M SORRY.
I WON'T FORGET TONIGHT.
I KNOW I'VE BEEN GONE A LONG TIME ALREADY, AND I HOPE I'LL BE HOME SOON.
BUT I LOVE YOU, AND I MISS YOU, AND WE'LL TALK TONIGHT.
[Ship Horn Blowing]
[Doorbell Rings]
[Ringing]
HEY.
YOU LOOKIN' FOR JANET?
HELLO. MRS. MATHEWS?
HI. I'M THOMAS HART. I'M A STATE-LICENSED INVESTIGATOR.
I'VE BEEN HIRED BY THE U.S. RESOURCE CENTER, MISSING PERSONS,
AS PART OF AN INTERNAL AUDIT.
I'D LIKE TO MAKE AN APPOINTMENT WITH YOU TO ANSWER SOME QUESTIONS...
ABOUT THE DISAPPEARANCE OF YOUR DAUGHTER MARY ANNE.
I SPOKE TO YOUR F.B.I. CONTACT, UH, YESTERDAY.
AGENT, UH-- NEIL. NEIL COLE?
YES, AGENT COLE. HE TOLD ME HE WAS GONNA CALL YOU AND LET YOU KNOW TO EXPECT ME.
HE DIDN'T CALL? NO.
IS THIS YOU?
YEAH. LOOK ABOUT FIVE YEARS OLD.
[Chuckles] LITTLE OLDER.
SWEET.
NOW, IT'S IMPORTANT THAT, UH-- UM, YOU DON'T LET THIS RAISE YOUR EXPECTATIONS.
IT'S NOT GOING TO AFFECT ANY ONGOING EFFORTS.
ALL I'M SAYING IS PLEASE KNOW THAT I'M NOT HERE TO CREATE ANY FALSE HOPE.
WE FOUGHT ALL THE TIME, MARY ANNE AND ME, AND HER STEPDAD.
SHE HATED HIM, 'CAUSE HE WASN'T HER REAL DAD.
TROUBLE HERE, TROUBLE AT SCHOOL.
TROUBLE.
DIDN'T LIKE RULES. TAKES AFTER ME, I GUESS.
I HAD TO LEARN THE HARD WAY.
CAN I SPEAK TO YOUR HUSBAND, HER STEPFATHER?
DAVE? GONE.
TWO YEARS AFTER MARY ANNE LEFT.
ALL THE TIME, SHE RESENTED HIM.
I LOST HER 'CAUSE OF HIM, AND THEN I LOST HIM.
I'M THE ONLY ONE STILL HERE.
DID MARY HAVE A BOYFRIEND?
SHE WAS SNEAKING OUT WITH SOMEONE.
SHE WOULDN'T TELL ME WHO.
COMIN' HOME WITH HICKEYS, LYIN' ALL THE TIME.
[Clears Throat] I-- I AM SORRY TO BRING THIS UP,
BUT IN THESE CIRCUMSTANCES WITH THE STEPFATHER,
WERE THERE ANY INDICATIONS OF ANY SORT OF ABUSE? NO.
THERE WAS NOTHING LIKE THAT.
THE POLICE AND THE F.B.I. ASKED, BUT THERE WASN'T ANYTHING HAPPENED LIKE THAT.
- SHE'D HAVE TOLD ME. - I APOLOGIZE. I HAD TO ASK.
THOSE ARE FOR HER BIRTHDAY.
ONE FOR EVERY YEAR SHE MISSED.
THEY'LL BE WAITIN' FOR HER WHEN SHE COMES BACK.
IT'S 'CAUSE I SLAPPED HER.
I KNOW.
WE WAS FIGHTING ABOUT DAVE, AND...
SHE WAS JUST PUSHING MY BUTTONS, AND I SLAPPED HER.
JESUS. THE NEXT DAY SHE WAS GONE.
WHEN KIDS RUN, THEY ALMOST ALWAYS LEAVE A NOTE.
IT'S GUILT USUALLY. THERE WASN'T ONE.
THE POLICE LOOKED. AN ABDUCTION'S ONE THING. A RUNAWAY'S ANOTHER.
SOMETIMES IT'S NOT THE PRIORITY FOR THE POLICE IT SHOULD BE.
THERE WASN'T ANYTHING. DON'T YOU THINK I WISH THERE WAS?
YOU'RE PROBABLY RIGHT, BUT WOULD YOU LET ME LOOK?
YOU TELL ME NOT TO GET MY HOPES UP,
NOT TO RAISE MY EXPECTATIONS.
GO AHEAD.
I NEED A DRINK.
THANK YOU.
[Female Voice] "DEAR MOM, IF YOU'RE READING THIS,
"IT PROBABLY MEANS I CALLED YOU FROM HOLLYWOOD, CALIFORNIA.
"I LEFT MY DIARY BEHIND BECAUSE I WANT YOU TO SEE WHY I'M LEAVING.
"AND IT'S NOT BECAUSE YOU HIT ME.
"I HID THIS SO DAVE THE DICK-HEAD WOULDN'T FIND IT.
"WARREN ANDERSON AND ME ARE IN LOVE,
"AND I'M GOING TO START A WHOLE NEW LIFE WITH HIM.
"WARREN'S DAD OWNS THAT GARAGE IN TOWN, BUT WARREN HAS EVEN BIGGER PLANS.
"WARREN WILL BECOME A STAR IN ACTION MOVIES.
AND HE SAYS I'M PRETTIER THAN A LOT OF GIRLS IN MOVIES, AND I COULD BE A STAR TOO."
[Mrs. Mathews] HEY, YOU WANT A DRINK?
"WHEN WE CRUISE INTO HOLLYWOOD,
"I'M GOING TO HAVE FIERY EYES THAT EVERYONE WILL NOTICE BECAUSE I AM IN LOVE."
YOU WERE RIGHT. I DIDN'T FIND ANYTHING.
FIXED YOU A DRINK. THANKS, NO. I'VE GOT WORK TO DO.
I'LL STOP BY TOMORROW NIGHT. OKAY.
"WE'LL PROBABLY BE MARRIED BY THE TIME YOU READ THIS.
"DON'T COME LOOKING FOR ME BECAUSE I'M NOT COMING BACK.
"MAYBE SOMEDAY YOU'LL SEE ME ON TV OR IN MAGAZINES.
DON'T WORRY ABOUT ME. LOVE, MARY ANNE."
[Welles] MR. ANDERSON?
YEAH. WHO'S ASKING?
TOM HART. EXCUSE ME NOT SHAKING HANDS.
I'M LOOKING FOR YOUR SON. YOU'VE GOT A SON NAMED WARREN, RIGHT?
SURE.
WHAT'S IT ABOUT? YOU A COP?
NO, SIR. I'M JUST A FRIEND FROM A WHILE BACK.
OWE HIM SOME MONEY, ACTUALLY. YOU OWE HIM MONEY?
THAT'S A NEW ONE.
WELL, YOU CAN LEAVE IT RIGHT HERE IF YOU WANT.
IF IT'S ALL THE SAME, I'D LIKE TO SEND IT TO HIM.
CALIFORNIA, RIGHT?
CALIFORNIA?
SON, YOU KNOW WHERE THE FAYETTEVILLE LOCKUP IS?
THAT'S WHERE WARREN IS. DOING EIGHT MONTHS ON A B & E.
THANK YOU.
YEAH, MAN, I KNEW HER.
DUMPED THAT BITCH RIGHT BEFORE I MOVED TO L.A.
SHE SHOWS UP KNOCKING ON MY DOOR LIKE A FUCKIN' STALKER.
TOLD THAT BITCH SHE COULD GO TO HELL.
WHERE'D SHE GO?
HELL, MAYBE.
I DON'T KNOW, AND I DON'T GIVE A FUCK EITHER.
SHE SAID SHE MIGHT WORK AT A TITTY BAR OR SOMETHING LIKE THAT.
YOU ASK ME, HER TITS WEREN'T ALL THAT GREAT.
DID YOU HEAR FROM HER AGAIN?
MAN, JUST 'CAUSE I WAS FUCKIN' HER IN HIGH SCHOOL DOESN'T MEAN I WANTED HER OUT THERE.
SHE CAME TO HOLLYWOOD TO BE A BIG FUCKIN' MOVIE STAR.
AND SO DID I. CHECK ME OUT NOW.
YOU KNOW WHAT, MAN? WHY DON'T YOU PASS ME ONE OF THEM SMOKES?
I DON'T SMOKE.
HOW YOU DOING? I'M OKAY.
YOU DON'T SOUND OKAY. IT'S-- IT'S NOT EASY.
- WHY? WHAT'S GOING ON? - IT'S JUST TOUGHER THAN I THOUGHT IT WAS GOING TO BE.
IS IT GETTING TO YOU? WELL, I GOT A LEAD I JUST CAN'T DROP.
I'M ALMOST DONE. I MISS YOU.
I MISS YOU TOO. I LOVE YOU.
GIVE CINDY A BIG KISS FOR ME.
I WILL. WAIT. I THINK SHE WANTS TO SAY BYE. SAY "BYE, DADDY."
HI, SWEETIE. HI, HONEY.
HI, CINDERELLA. OH, SHE'S TOUCHING THE PHONE.
OH! OH, YOU SHOULD SEE HER FACE AT YOUR VOICE.
- I LOVE YOU. - I LOVE YOU TOO. BYE.
I WAS JUST MAKIN' DINNER. I'VE MADE ENOUGH FOR TWO, AS IT HAPPENS.
I'M SORRY. I CAN'T STAY.
I JUST WANTED TO LET YOU KNOW THAT I SPOKE TO MY PEOPLE AT THE AGENCY...
AND I TOLD THEM TO KEEP MARY ANNE'S CASE ACTIVE.
WELL, UH, STAY FOR A DRINK AT LEAST.
YOU SURE YOU'RE NOT HUNGRY?
IT'D BE NICE TO HAVE A MEAL WITHOUT THE TV ON FOR ONCE.
I HAVE A LONG DRIVE AHEAD OF ME.
IT'S ONE OF THE MOST DEPRESSING THINGS: EATING ALONE.
I DON'T KNOW WHY. YOU'D THINK I'D BE USED TO IT BY NOW.
MRS. MATHEWS?
JANET. JANET.
DO YOU EVER CONSIDER-- DO YOU REALIZE...
THAT MARY MAY NEVER COME BACK?
I THINK ABOUT IT EVERY DAY.
EVERY TIME THE PHONE RINGS-- EVERY TIME--
I STILL THINK IT'S HER.
SHE'S ALL I THINK ABOUT.
CAN YOU TELL ME... IF YOU HAD TO MAKE A CHOICE--
JUST-- IF YOU WERE FORCED TO CHOOSE...
BETWEEN IMAGINING HER OUT THERE SOMEWHERE...
LIVING A GOOD LIFE, BEING HAPPY,
BUT YOU DON'T KNOW,
YOU NEVER FIND OUT,
OR THE WORST BEING TRUE,
HER BEING GONE.
BUT YOU KNOW.
YOU FINALLY KNOW WHAT'S...
HAPPENED TO HER.
WHAT WOULD I CHOOSE?
YES.
I WOULD CHOOSE TO KNOW.
I NEED TO KNOW.
EXCUSE ME. I HAVE TO USE YOUR RESTROOM.
YOU'RE LEAVING.
YES.
I'LL CALL YOU IF I FIND ANYTHING OUT.
[Shouting, Indistinct]
HOW YOU DOING?
BIG DATE TONIGHT, HUH? YEAH. GUESS SO.
SIR, COULD I INTEREST YOU IN A BATTERY-OPERATED VAGINA?
WELL, IT'S TEMPTING, BUT NO, THANKS. OKAY.
I'D HATE TO SEE YOU CAUGHT IN ONE OF THOSE EVERYDAY SITUATIONS...
THAT CALLS FOR A BATTERY-OPERATED VAGINA AND YOU JUST DON'T HAVE ONE.
I'LL RISK IT. OKAY.
AH, YOUR TOTAL IS 74.58, PLEASE.
A HUNDRED.
TOTAL'S 25 AND SOME CHANGE.
AND, SIR, I'D LIKE TO THANK YOU FOR SHOPPING AT ADULT BOOKSTORE.
AND HAVE YOURSELF A FABULOUS DAY.
WHAT ARE YOU READING? OH.
CATCHY TITLE. WHAT ARE YOU REALLY READING?
HARD TO BELIEVE THAT BOOK'S GOT ANY PARTS WORTH HIGHLIGHTING.
- CAPOTE. - YEAH, WELL, YOU KNOW HOW IT IS.
YEAH, WOULDN'T WANT TO EMBARRASS YOURSELF IN FRONT OF YOUR FELLOW PERVERTS.
THAT'S RIGHT. I MIGHT GET DRUMMED OUT OF THE PORNOGRAPHERS' UNION.
WHERE WOULD I BE THEN?
HAVE A GOOD DAY.
[Projector Running]
[Ringing]
- HELLO. - HOW ARE YOU?
HEY, HONEY. HOW YOU DOING? I'M A LITTLE BEAT.
- HOW'S CINDY? - OH, SHE'S SWEET. SHE MISSES YOU.
HOW'S IT GOING?
THE WAY THINGS ARE GOING, I'M THINKING ABOUT PACKING MY BAGS AND COMING HOME.
- REALLY? - UH-HUH.
HONEY, WAIT.
- CAN I CALL YOU BACK? - OKAY.
I'LL CALL YOU RIGHT BACK. I PROMISE. BYE, HONEY. OKAY. BYE.
[Welles] MRS. CHRISTIAN, THERE WERE THREE MEN,
NOT JUST THE MAN RUNNING THE CAMERA AND THE MAN IN THE MASK.
I CAUGHT A GLIMPSE OF A THIRD MAN. HE WAS JUST THERE WATCHING.
I'LL SEE IF I CAN GET A CLEARER IMAGE OF HIM THROUGH COMPUTER ENHANCEMENT.
BUT THIS PROBABLY HAPPENED SIX YEARS AGO, SO IT'S NOT--
YES, ALL RIGHT. I'LL KEEP TRYING.
THANK YOU. I APPRECIATE YOUR SUPPORT, MRS. CHRISTIAN. GOOD-BYE.
WHAT WE HAVE HERE IS 137 BILLABLE MAN-HOURS,
A HUNDRED-PLUS THOUSAND DOLLARS MACHINE,
AND THE RESULT IS A, UH, FULLY RASTERIZED ENHANCEMENT OF THE BACK OF SOME GUY'S HEAD.
YOU WANT IT FRAMED?
HERE YOU GO. HAVE A NICE DAY.
HEY. HEY! IT'S LIKE A GAS STATION.
YOU PAY BEFORE YOU PUMP, YOU...
REMEMBER ME?
OH, YEAH. CAME BACK FOR THE BATTERY-OPERATED VAGINA AFTER ALL.
I NEED INFORMATION. I THOUGHT YOU MIGHT BE ABLE TO HELP.
"THOMAS WELLES." NICE PICTURE.
WHAT SORT OF INFORMATION ARE YOU LOOKING FOR?
'CAUSE I GOT ALL DIFFERENT KINDS. THE KIND I'LL PAY FOR.
ALL RIGHT, MISTER, NOW, I DON'T KNOW WHAT YOU'RE LOOKING FOR,
BUT SO WE'RE CLEAR FROM THE START, I'M STRAIGHT.
CONGRATULATIONS. THANK YOU.
[Woman Moaning] HEY, ZIP IT!
NOW, I CAN HOOK YOU UP, THOUGH. YOU NAME THE VICE, I NAME YOU THE PRICE.
HOW LONG YOU BEEN WORKING HERE? AH, ALMOST TWO YEARS.
WHAT'S YOUR NAME? IF YOU DON'T MIND ME ASKING.
MAX. HERE'S THE DEAL, MAX.
THIS THING I'M ON RIGHT NOW HAS SOMETHING TO DO WITH UNDERGROUND PORNOGRAPHY.
STUFF THAT'S SOLD UNDER THE COUNTER ILLEGALLY.
WELL, THERE'S NOT MUCH ILLEGAL OUT THERE.
WELL, WHATEVER THERE IS, WHOEVER'S DEALING IT, HOWEVER IT'S DONE,
I WANNA KNOW, I WANT A GOOD LOOK.
IF YOU'VE GOT THAT KIND OF CONNECTION, GREAT. IF NOT, SPEAK NOW.
YOU'RE NOT A COP, ARE YOU? IF I ASK YOU AND YOU ARE, YOU GOTTA TELL ME.
I'M NOT A COP.
YOU'RE A PRIVATE DETECTIVE, HUH? LIKE SHAFT?
[Imitating Guitar] YOU EVER SEEN PRIVATE DICKS WITH JOHN HOLMES?
I GOT IT ON SALE RIGHT NOW. HOW MUCH YOU MAKE IN THERE?
I DON'T KNOW. AROUND 400 BUCKS A WEEK OFF THE BOOKS.
LET'S PRETEND I LIVE IN THE SAME FANTASY WORLD...
WHERE YOU MAKE $400 A WEEK IN THAT DUMP.
I'LL GIVE YOU 500 FOR A FEW DAYS.
SIX SOUNDS GOOD, POPS. FIVE.
HERE'S MY NUMBER.
WHEN CAN YOU START?
WELL, TOMORROW NIGHT I GET OFF LATE.
TOMORROW. ALL RIGHT.
OH, AND, UH, DON'T CALL ME POPS.
NO, OF COURSE NOT. I WOULDN'T WANNA HURT YOUR FEELINGS.
[Max's Voice] LOOK, I DON'T KNOW WHAT YOUR SCENE IS.
YOU MAY LIKE PORN AS MUCH AS THE NEXT GUY.
BUT YOU DON'T LOOK LIKE YOUR AVERAGE SLEAZE.
MORE LIKE YOUR AVERAGE FUCKIN' COP.
SO WHEN YOU WALK AROUND ASKING PEOPLE ABOUT FUCKIN' ILLEGAL STUFF,
IT HAS A CERTAIN PATINA TO IT. [Welles] UH-HUH. PATINA.
YES, IT'S A TRUMAN CAPOTE WORD. HELLO.
IF SOMEONE NEVER SAW OR SOLD A SNUFF FILM,
THEN THEY SHOULDN'T GIVE A DAMN WHAT I ASK ABOUT IT.
IF THEY HAVE, THEY'VE GOT A RIGHT TO BE NERVOUS.
WHOEVER ACTS INSULTED, YOU KEEP KNOCKING ON THEIR DOOR.
LOOK, POPS, IT'S NOT TOO LATE TO CHANGE YOUR MIND ABOUT ALL THIS.
THERE'S THINGS THAT YOU'RE GONNA SEE THAT YOU CAN'T UNSEE.
THEY GET IN YOUR HEAD AND THEY STAY THERE. HOW DO YOU KNOW WHAT I'VE SEEN?
OKAY, FINE. BUT EVERYBODY'S GOT THEIR LIMIT.
LOOK, I'VE BEEN HERE SIX FUCKIN' YEARS TRYIN' TO GET MY MUSIC TOGETHER.
SO I START CLERKIN' PART-TIME WHERE I WORK, YOU KNOW, TO MAKE ENDS MEET.
AND BOOM, A COUPLE OF YEARS GO BY, AND HERE I AM.
I'M JUST SAYIN', BEFORE YOU KNOW IT, YOU'RE IN IT, DEEP IN IT.
DON'T WORRY ABOUT ME. BUT THANK YOU. OH, YOU'RE WELCOME.
POPS, YOU DANCE WITH THE DEVIL, THE DEVIL DON'T CHANGE. THE DEVIL CHANGES YOU.
SOME OF YOUR LYRICS? THAT'S CUTE.
[Dog Barking] HEY, MAN. TODO BIEN?
QUIERO QUE TE HABLE. EL QUIERE VER QUE TIENE POR AQUI.
[Barking Continues] CALLATE, CABRON. QUE PERRO.
THIS PLACE HAS BEEN AROUND ABOUT THREE YEARS,
BUT THEY KEEP MOVING IT HOUSE TO HOUSE.
BUENAS NOCHES, MUJERES. ¿ COMO ESTAN?
[Woman] HOLA, CHULO.
QUE TENGO ALGO PARA TI. VEN ACA.
ALL RIGHT, THIS HERE IS THE TIP OF THE ICEBERG.
YOU GOT LOTS OF MEXICAN S & M, LOTS OF ASIAN BONDAGE,
ALL KINDS OF BESTIALITY, IF YOU'RE INTO THAT KIND OF THING.
BUT DON'T TOUCH NOTHIN'. YOU WANT SOMETHIN', YOU TELL FRIENDLY THERE.
ASK HIM. HEY, UH,
¿ TIENES PELICULAS DE-- DE SNUFF?
¿ COMO? UH, PELICULAS DE SNUFF.
[Shouting In Spanish]
HEY! DON'T DO THAT! IT'S ALL RIGHT! IT'S COOL!
[Dog Barking] ALL RIGHT, OKAY.
HEY! MI DINERO. MI DINERO.
i DAMELO! i DAMELO i i RAPIDO, CABRON!
[Barking Continues] i DAME!
ALL RIGHT, ALL RIGHT. TU TAMBIEN, CABRON.
i VAYAN! i NO SE MUEVAN!
ARE YOU A LAW ENFORCEMENT AGENT OR IN ANY WAY AFFILIATED WITH LAW ENFORCEMENT?
FUCK YOU, LARRY. ARE YOU A LAW ENFORCEMENT AGENT...
OR IN ANY WAY AFFILIATED WITH LAW ENFORCEMENT?
FUCK YOU, LARRY. HEY, YOU'RE GETTING COOL THERE, WELLES.
ALL RIGHT, YOU GOT YOUR PORN ZOMBIES HERE. JUNKIES FOR THE HARD STUFF.
BUT THESE BASEMENT SALES WON'T LAST MUCH LONGER.
ONE, IT'S TOO RISKY, AND TWO, EVERYTHING'S ON THE NET.
CHICKEN HAWKS SWAPPIN' PHOTOS WITH THEIR MODEMS.
THEN THERE'S CLASSIFIED ADS WITH HIDDEN CODES, SECRET COURIERS,
INTERSTATE WIRES THROUGH DUMMY COOPERATIONS.
SO IF SOMETHING'S NOT LEGAL, THE BUYERS ARE AS FAR AWAY AS THEY CAN GET.
NOBODY KNOWS WHAT NOBODY KNOWS. YOU KNOW WHAT I MEAN?
- HOW'S IT GOIN', SAMUEL? - HEY, MAX.
[Woman] MAX. OH, HEY.
I'M GONNA SAY HI TO HER. HEY, HOW ARE YOU?
I LOVE THAT. IT'S THE MICHAEL JACKSON LOOK, WITH THE ZIPPERS AND EVERYTHING.
WHAT ARE THESE?
EXTREME BONDAGE.
RAPE FILMS.
SICK SHIT.
BUY FIVE, GET ONE FOR FREE.
ANYTHING HARDER? THERE'S NOTHING HARDER.
SNUFF?
THERE'S NO SUCH THING AS SNUFF.
WHAT YOU SEE IS WHAT I GOT, MISTER.
DO YOU KNOW WHERE I CAN GET SOME? I HAVE A LOT OF MONEY TO SPEND.
FUCK OFF.
[Man Moaning]
THERE SHE IS. THERE SHE IS. IT'S DOUBLE SLAP DOROTHY.
THERE'S ONE CHICK IN HERE THAT COULD BE A BASEBALL PLAYER.
THE SWING ON HER IS UNREAL.
LOOK, SOME OF THESE S & M AND BONDAGE FILMS YOU'LL SEE, THEY STRADDLE THE LINE.
FOOT FETISH, ORGIES, SHIT FILMS, HERMAPHRODITES, MUTILATION.
IT'S ALL HARDER THAN HARD-CORE, BUT MOSTLY LEGAL.
STICK. ONE GUY SEES IT AND PUKES.
ANOTHER GUY SEES IT AND HE FALLS IN LOVE. [Moaning]
THIS IS THE GUY WHO I WAS TELLING YOU ABOUT. YOU GOT THE TAPES?
A THOUSAND BUCKS. TWELVE HUNDRED FOR THE TWO.
NO, YOU TOLD MAX A THOUSAND. BUT IT'S MORE FUN THIS WAY.
I RAISE THE PRICE, AND YOU GET PISSED OFF. TAKE IT OR LEAVE IT.
WAIT. I THOUGHT WE HAD A RELATIONSHIP. IS IT REAL?
SICKEST SHIT YOU WILL EVER SEE.
[Muffled Screams]
IS THAT REAL?
THAT SURE AS SHIT LOOKS REAL.
SHE'S NOT BREATHING. OH, GOD.
[Welles] WHO MAKES THESE FILMS? I DON'T KNOW.
LOOKS LIKE THE PHILIPPINES. [Woman Moaning]
[Slapping, Moaning Continue]
[Max] OH, YEAH. DEFINITELY THE PHILIPPINES.
[Screaming]
[Woman Moaning]
WAIT A MINUTE. WAIT A MINUTE. THAT'S THE SAME GIRL.
ISN'T THAT THE SAME GIRL?
WHAT? LOOK.
IT IS THE SAME.
[Welles] THEY'RE FAKES. [Max Laughing]
OH, THAT-- THAT'S GREAT. WOW.
SNUFF II: THE RESURRECTION.
OH, BOY. WELL, WHAT DO YOU EXPECT FOR 1,200?
YOU WANT A BEER OR SOMETHIN'?
I COULD JUST USE ANYTHING AFTER--
BUT I'M SORRY, MAN. I TOLD YOU SNUFF WAS BOGUS.
I JUST WISH I WOULD'VE GOTTEN YOU A RECEIPT.
"HARDSPANK. MAX CALIFORNIA."
THAT'S MY OLD BAND. WE BROKE UP.
WHEN? MAYBE ABOUT A YEAR AGO.
I DON'T MEAN ANY OFFENSE, BUT WHAT ARE YOU DOING MIXED UP IN ALL THIS?
I'M NOT MIXED UP IN ANYTHING, POPS.
YOU JUST STRIKE ME AS BEING SMART ENOUGH TO DO SOMETHING ELSE.
THANKS. I WISH YOU OWNED A RECORD LABEL.
LOOK, IT BEATS PUMPIN' GAS.
I DON'T BUY IT. I DON'T ENDORSE IT.
I JUST POINT THE WAY.
YOU SAID IT GETS TO YOU. WELL, HELL, YEAH.
PARADE OF LOSERS I SEE EVERY DAY? WELL, WHAT CHOICES HAVE I GOT?
THE MUSIC INDUSTRY IS NOT EXACTLY BEATING DOWN MY DOOR.
AND WHAT ABOUT YOU, TOM WELLES?
YOU GOT A RING ON YOUR FINGER. YOU GOT KIDS?
A DAUGHTER.
SO YOU GOT A WIFE AND A DAUGHTER...
AND A NICE LITTLE YELLOW HOUSE AND A DOG NAMED SHEP.
WHAT THE HELL ARE YOU DOING HERE?
GOOD QUESTION.
DO YOU GET TURNED ON AT PLACES LIKE TONIGHT?
- NO, I AM NOT. - HEY, YOU DON'T EXACTLY GET TURNED OFF EITHER.
DEVIL'S CHANGIN' YOU ALREADY.
GOOD NIGHT, MAX.
[Man, Woman Speaking, Indistinct]
THIS GENTLEMAN WAS ASKING IF ANYONE RECOGNIZES THIS GIRL.
YES, I REMEMBER MARY.
MARY ANNE MATHEWS? UH-HUH.
SHE LIVED HERE FOR ONLY ABOUT A MONTH, IF I RECALL CORRECTLY.
SHE DIDN'T RETURN ONE NIGHT. DO YOU KNOW WHAT HAPPENED TO HER?
NOT YET, BUT I'M LOOKING INTO IT FOR HER PARENTS.
OH. COULD YOU GET THAT FLOWERED ONE DOWN FOR ME?
THAT'S HER SUITCASE.
I'D FORGOTTEN ABOUT IT TILL YOU SHOWED ME HER PICTURE.
I SUPPOSE I ALWAYS HOPED SHE'D BE BACK.
SHE SEEMED SO LOST.
AFTER A TIME, ALL I COULD DO WAS PRAY THAT SHE'D MOVED ON TO BETTER THINGS.
CAN YOU GET THIS SUITCASE TO HER PEOPLE? IF YOU THINK IT'S APPROPRIATE.
YES, OF COURSE. THANK YOU.
[Female's Voice] "STARLIGHT, STAR BRIGHT,
"FIRST STAR I'VE SEEN TONIGHT.
I WISH I MAY, I WISH I MIGHT HAVE THIS WISH I WISH TONIGHT."
[Female Automated Voice] THE NUMBER YOU HAVE REACHED HAS BEEN DISCONNECTED...
OR IS NO LONGER IN SERVICE.
[Phone Ringing] [Man] HELLO. HOLLYWOOD WAX MUSEUM.
CAN I HELP YOU? [Phone Ringing]
[Woman] THIS IS OPERATOR 149. WHAT CITY AND LISTING, PLEASE?
[Welles] UH, I DON'T KNOW. HOLLYWOOD.
A LISTING FOR CELEBRITY FILMS, AND I NEED AN ADDRESS.
[Woman] PLEASE HOLD FOR PHONE NUMBER AND ADDRESS.
[Women Chattering]
HEY, I WAS HERE FIRST. SORRY. I'LL JUST BE A COUPLE OF MINUTES.
[Woman] EXCUSE ME.
- EDDIE POOLE? - YOU A PROCESS SERVER?
NO. I'VE BEEN INQUIRING AROUND IF BY ANY CHANCE YOU'VE SEEN THIS GIRL COME THROUGH HERE.
- YOU A COP? - I'M A MEMBER OF HER FAMILY.
YOU GOT ANY IDEA HOW MUCH PUSSY COMES THROUGH HERE?
PLEASE, IF YOU JUST TAKE A LOOK. IT WOULD'VE BEEN A FEW YEARS.
HER NAME IS MARY ANNE MATHEWS.
NEVER SEEN HER.
- YOU SURE? - YEAH, I'M SURE.
I JUST LOOKED AT THE FUCKIN' PICTURE, DIDN'T I?
NOW, COME ON. I GOT A LOT OF SHIT TO DO.
UH, WHO'S NEXT? [Woman] ME.
THIS'LL BE FINE.
[Man] WHAT KIND OF SHIT ARE YOU PEDDLING?
[Eddie] MY TAPES SELL. PEOPLE EAT THE SHIT UP.
[Man] I HAD THREE JERK-OFFS TRYING TO RETURN YOUR TAPES LAST MONTH.
YOU KNOW HOW BAD A SKIN FLICK HAS TO BE FOR A JACKASS TO COME BACK INTO MY PLACE...
WITH A FUCKIN' RECEIPT AND TRY TO FUCKIN' RETURN IT? [Eddie] HOW BAD?
[Man] GET TOGETHER SOME UPSCALE PRODUCT...
WHERE THE GIRLS STILL HAVE THEIR FRIGGIN' TEETH IN THEIR HEAD.
TILL THEN, FUCK YOU!
[Eddie] DOES YOUR MOTHER HAVE ANY TEETH? 'CAUSE IF SHE DOES, SEND HER DOWN, YOU FUCK.
[Phone Rings]
[Ringing]
[Ringing Continues]
HE'S NOT ANSWERING.
[Ringing]
[Man] HEY, BOSS. [Eddie] HEY.
[Door Slams] THERE'S A CASE OF BEER IN THERE.
[Man] HOW WAS YOUR DAY? [Eddie] GREAT.
[Eddie] IS EVERYBODY HERE? [Man] EVERYBODY BUT ONE OF THE CHICKS.
BEEN WATCHING THEM? YEAH. WHY?
'CAUSE LAST TIME THEY TOOK ALL MY SHIT, THAT'S WHY. IMAGINE THAT.
ON THE BED. OKAY.
COME ON.
HEY!
EDDIE! EDDIE!
OH, GOD.
[Phone Rings]
CELEBRITY FILMS. [Welles] EDDIE?
YEAH? I KNOW ALL ABOUT IT.
YEAH, YOU KNOW ABOUT WHAT? ABOUT THAT GIRL.
SIX YEARS AGO.
I KNOW WHAT YOU DID TO HER.
WHO IS THIS? YOU MURDERED HER.
YOU AND YOUR FRIENDS.
I DON'T KNOW WHAT THE FUCK YOU'RE TALKING ABOUT. YOU KILLED HER ON FILM.
AND NOW YOU'RE FUCKED. YOU'RE ALL FUCKED. [Phone Beeps]
COME ON.
GIVE ME SOMETHING, EDDIE.
[Phone Rings] [Man] HELLO.
IT'S ME. UH-HUH. WHAT DO YOU WANT?
LOOK, I JUST GOT A PHONE CALL. WE GOTTA TALK. AND WE CAN'T TALK ON THE PHONE.
SO ONE OF US HAS TO GET ON A PLANE OR SOMETHING, ALL RIGHT?
BLOW ME, YOU PARANOID FUCK.
[Phone Hangs Up, Dial Tone]
FUCK! FUCK!
FUCK!
SO YOU LIKE TO WATCH, PARANOID FUCK. [Tape Rewinds]
[Phone Dialing]
[Welles] PHONE IS LISTED UNDER D. VELVET IN MANHATTAN.
DINO VELVET. HE'S A PRODUCER-SLASH- DIRECTOR-SLASH-WEIRDO.
HE'S LIKE THE JIM JARMUSCH OF S & M. HOW HARD IS HIS STUFF?
HOW HARD DO YOU WANT IT? BONDAGE, FETISH, GOTHIC HARD-CORE.
DEFINITELY NOT FOR THE SQUEAMISH. IT'S KINDA HARD TO COME BY TOO, THOUGH.
MOSTLY OUT OF THE BACK OF BONDAGE MAGAZINES, THAT SORT OF THING.
BUT HE'S GOT FANS. THIS GUY I KNOW, HE THINKS IT'S ART.
NOW, HE'S TOLD ME THAT VELVET WILL DO COMMISSIONS IF THERE'S ENOUGH DOUGH.
NOTHING ILLEGAL, BUT BORDERLINE.
LIKE IF A GUY WANTS TO SEE A TRANSVESTITE IN A RUBBER IMMERSION SUIT GET AN ENEMA--
ALL RIGHT, I GOT THE PICTURE. [Man] MAX, GET IN HERE!
SO, UH, YOU'RE GOING TO NEW YORK?
MAYBE. LOOKING LIKE THAT.
YOU'LL NEED ME.
THIS GUY I KNOW, FRENCHIE, HE'S MORE THAN JUST A FAN OF VELVET FILMS.
I COULD PROBABLY GET YOU IN IF YOU WANT TO. FOR MORE MONEY, OF COURSE.
PLUS EXPENSES. I FLY FIRST CLASS. SO WHEN WE LEAVING?
[Welles] WHAT ARE YOU DOING?
[Max] HEY, MAN, MY FIRST TIME IN THE BIG BAD APPLE.
I TOLD YOU DON'T FILM ME.
FINE, HOWARD HUGHES.
OH, WOW. YOU DIDN'T SAY IT WAS GOING TO BE THIS LUXURIOUS.
IT'S THE PRESIDENTIAL SUITE. YOU HAVE A REAL COMFORTING SENSE OF HUMOR.
- I'LL BE A COUPLE DOORS DOWN. - SERIOUSLY, I DON'T KNOW WHY WE'RE STAYING IN THIS FLEABAG.
PEOPLE KNOW TO MIND THEIR OWN BUSINESS IN FLEABAGS.
I'M GONNA GO OUT FOR A COUPLE OF HOURS. YOU DIG UP WHATEVER DINO VELVET TAPES YOU CAN FIND.
GET RECEIPTS. YES, SIR.
[Mrs. Christian] MY HUSBAND HAD FIVE CASH ACCOUNTS HE USED.
BETWEEN NOVEMBER OF 1992...
AND MARCH OF 1993,
HE WROTE ONE CHECK OUT TO "CASH" FROM EACH ACCOUNT.
OKAY. MY HUSBAND NEVER DEALT WITH MONEY PERSONALLY.
CERTAINLY NOT CASH. THESE CHECKS HE WROTE ARE FOR VERY ODD AMOUNTS.
WHEN TOTALED TOGETHER,
THE FIVE CHECKS FROM THE FIVE DIFFERENT ACCOUNTS,
THEY EQUAL ONE MILLION DOLLARS.
WELL, THAT IS INTERESTING, MRS. CHRISTIAN.
I ONLY MENTION THIS BECAUSE YOU ASKED ME TO LOOK FOR ANYTHING UNUSUAL.
I'VE GOT ABOUT $5,000 LEFT IN CASH.
I'LL NEED ANOTHER 50, IF YOU APPROVE THE PLAN I MENTIONED EARLIER.
AGAIN, I'M VERY CLOSE TO ESTABLISHING THE IDENTITY OF THE MAN IN THE MASK.
I'LL HAVE MR. LONGDALE ARRANGE IT.
HOW WILL I GET IT TO YOU? IF YOU HAVE A PEN, I'LL GIVE YOU THE ADDRESS.
[Man] WELCOME TO THE WORLD OF DINO VELVET.
♪ [Alternative]
[Man] WELCOME TO THE WORLD OF DINO VELVET.
[Man Screaming]
[Screaming Continues]
- DO I GET OVERTIME FOR THIS? - WHO IS THIS? IN THE MASK, WHO IS HE?
COME ON. WAKE UP. WHO IS THIS?
HE'S ONE OF THE LUNATICS DINO ALWAYS USES. HE'S IN A BUNCH OF THESE.
WHAT'S HIS NAME? I DON'T KNOW.
THAT'S HIS WHOLE THING. HE ALWAYS WEARS A MASK.
HE CALLS HIMSELF MACHETE. NO, MACHINE.
YEAH, HE CALLS HIMSELF MACHINE.
[Chuckling] OH, HE'S A LOVER, MAN.
DEFINITELY LOVES WHAT HE DOES FOR A LIVING, I'LL TELL YOU THAT MUCH.
I WISH I COULD SAY THE SAME ABOUT YOU.
[Max] YES, YES, YES, YES.
I CAN SEE THEY REALLY APPRECIATE MY STYLE AROUND HERE.
I'M THAT KIND OF GUY WHERE I KIND OF BLEND IN WITH THE CROWD HERE.
IF YOU DIDN'T NOTICE. LIKE THESE LADIES HERE, THEY LIKE MY STYLE. YES.
[Doorbell Buzzes] [Man] WHO IS IT?
YES, THIS IS MAX CALIFORNIA. I'D CALLED EARLIER. I'M A FRIEND OF FRENCHIE'S FROM L.A.
MY PARTNER AND I WOULD LIKE TO SPEAK TO MR. VELVET, PLEASE. HE'S NOT HERE.
TELL HIM WE'RE HERE TO GIVE HIM A LARGE SUM OF MONEY.
IF HE'S NOT INTERESTED, WE'LL SPLIT.
[Door Clicks, Buzzes]
[Man] I DON'T KNOW WHAT THE FUCK YOU'RE TALKIN' ABOUT.
CAN'T YOU JUST ANSWER MY SIMPLE QUESTION?
I ASKED YOU A QUESTION. WHERE THE FUCK IS LAURA?
YEAH. THAT'S WHAT I'VE BEEN ASKIN' YOU THE LAST TEN MINUTES.
SIT DOWN. MAKE YOURSELF COMFORTABLE.
YOU IDIOT! GONNA SHOOT IN TWO DAYS!
MAN, YOU'RE SPENDING MY MONEY.
YEAH. YEAH, YOU BETTER DO THAT.
FUCKING ASSHOLE. IT'S AN HONOR TO MEET YOU. THANK YOU FOR SEEING US.
[Snorting] OH, GOD.
YEAH.
SO WHAT CAN I DO FOR YOU?
UH, WE'D LIKE TO COMMISSION A FILM,
A DINO VELVET ORIGINAL, ONE OF A KIND.
THAT'S RIGHT. I'M A HUGE ADMIRER OF YOURS.
OH, GOD, I LOVE FLATTERY.
YOU'RE A GENIUS, MR. VELVET, A GODDAMN GENIUS.
YOU'RE THE ONLY ONE THAT'S STILL TRANSFERRING FILM TO VIDEO.
NOBODY REALLY APPRECIATES THAT KIND OF INTEGRITY ANYMORE.
THE GRAIN AND THE GRITTY LOOK YOU GET.
WHICH ONE IS YOUR FAVORITE PIECE?
I KNOW IF I HAD TO CHOOSE, IT WOULD EITHER BE CHOKE OR DEVIL.
THE SUBLIMINAL IMAGERY IN CHOKE IS WHAT REALLY GETS UNDER YOUR SKIN.
WELL, DEVIL FRIGHTENED ME AS MUCH AS IT EXCITED ME.
BUT, UH, I'D BE HARD-PRESSED TO CHOOSE A FAVORITE.
WHAT KIND OF BUDGET ARE WE TALKIN' ABOUT?
FIVE THOUSAND NOW.
FIVE THOUSAND UPON DELIVERY. TWO WOMEN. ONE WHITE, ONE BLACK.
HARD BONDAGE, OF COURSE.
OTHER THAN THAT, TRUSTING YOUR OWN, UH, ARTISTIC INTERPRETATION,
I ONLY HAVE TWO STIPULATIONS.
OKAY. CHALLENGE ME.
I WANNA WATCH YOU WORK.
YOU DON'T WANT A FRANCHISE, DO YOU?
STEAL THE RECIPE FOR MY SECRET HOT SAUCE?
NO.
THAT'S GOOD. I APPRECIATE THAT.
- SECOND STIPULATION? - THE OTHER PERFORMER.
IT HAS TO BE THAT, UH-- THAT ANIMAL YOU USE.
THE MAN IN THE MASK.
- MACHINE. - YES.
I DON'T KNOW.
IT MIGHT BE INTERESTING.
BUT I'LL THINK IT'LL COST YOU ANOTHER...
FIVE TO SEVEN GRAND.
I CAN ARRANGE SOMETHING REALLY SPECIAL FOR TEN.
WE CAN DO THAT. GOOD ENOUGH FOR ME.
I'LL JUST HAVE TO PUT MY THINKING CAP ON.
[Hisses]
I'M GONNA KEEP THIS AS A DEPOSIT.
YOU MAKE SURE YOU CALL ME AFTER 10:00 TONIGHT.
10:00. YEAH.
YOU KNOW, YOU HAVE A VERY SPECIAL,
A VERY BEAUTIFUL FACE.
THE WAY LIGHT HITS IT.
I'D LIKE TO SHOOT YOU.
YOU DON'T MIND, DO YOU? I'M CAMERA SHY.
YOU TRUST ME TO TAKE YOUR MONEY, BUT NOT YOUR PICTURE?
THOSE ARE TWO DIFFERENT KINDS OF TRUST.
I HOPE WE CAN DO BUSINESS.
[Siren Blaring]
[Welles] HOYT AVENUE, BROOKLYN, 3:00.
I'LL BE THERE.
HEY, I GOT SOMETHING TO TEND TO. THANKS.
SO ARE WE IN THE MOVIE BUSINESS?
THAT'S FOR YOU. WHAT IS IT?
MONEY. PEOPLE USE IT TO PURCHASE GOODS AND SERVICES.
THAT'S AWFULLY GENEROUS AND EVERYTHING, BUT-- IT'S NOT MY MONEY.
LET'S NOT MAKE A BIG DEAL OUT OF THIS.
THERE'S A PLANE TICKET IN THERE AND THE FLIGHT YOU CAN CATCH BACK TO L.A. TONIGHT.
THIS IS AS FAR AS I WANT YOU TO GO ON THIS THING. WHAT ARE YOU TALKING ABOUT?
WE'RE A TEAM, MAN. WE'RE PARTNERS.
MAX, I'M SURE YOU REALIZE THESE PEOPLE WE'RE DEALING WITH,
THEY'RE-- THEY'RE EXTREMELY DISTURBED.
I KNOW. THAT'S WHY YOU NEED ME. I KNOW DISTURBED. LOOK AT ME. YOU GOTTA GO HOME.
YOU DID GREAT. NOW IT'S TIME FOR YOU TO GO HOME. BUT THIS IS LIKE OUR BIG CASE.
LOOK, TOM, I KNOW WHAT'S GOING ON, OKAY?
OKAY, WHAT? DINO AND MACHINE AND EDDIE, THEY MADE A SNUFF FILM, RIGHT?
WHAT I CAN'T FIGURE OUT IS WHY YOU'RE INVOLVED. LET ME IN. MAYBE THE VICTIM--
FIRST, WHO SAID YOU'RE RIGHT? SECOND, WHO SAID ANYTHING ABOUT A VICTIM?
THERE'S ONLY THREE RULES IN LIFE, TOM WELLES.
ONE, THERE'S ALWAYS A VICTIM. AND TWO, DON'T BE IT.
AND THREE? I FORGOT THREE.
THAT'S GOOD, BECAUSE I WANT YOU TO FORGET EVERYTHING WE'VE DONE HERE.
GET YOUR BUTT ON A PLANE, GO BACK TO L.A. AND FORGET IT ALL.
LOOK, I'M GETTING A LOT OF CALLS FOR WORKING ON THE WEST COAST.
I'D LIKE TO CALL YOU AGAIN, AND I COULD USE YOUR HELP. YOU'RE GONNA CALL ME?
YEAH. COULD USE YOUR HELP. I MEANT IT WHEN I SAID I THINK YOU'RE SMART.
I'M NOT PATRONIZING YOU. WELL, THANKS. YEAH.
ALL RIGHT, WELL, YOU TAKE CARE, MAX CALIFORNIA.
ALL RIGHT, TOM WELLES, DEVIL'S WAITIN' ON YOU.
[Clicking] THERE YOU ARE.
COME AND JOIN US.
HELLO, MACHINE. LOVE YOUR WORK.
[Clicks]
DID YOU BRING THE MONEY?
IT'S RIGHT HERE. GOOD.
WHERE ARE THE WOMEN?
WOMEN.
THEY'RE ALWAYS LATE.
WHAT ARE THESE FOR?
OH, THEY'RE JUST PROPS. NICE, AREN'T THEY?
MACHINE AND I, WE WERE JUST TALKING ABOUT THE BEAUTY OF KNIVES.
[Tires Screech] AH, MY GUESTS HAVE ARRIVED.
MR. W., WOULD YOU BE SO KIND AS TO REMOVE ANY FIREARMS FROM YOUR PERSON?
- WHAT ARE YOU DOING? - I HATE TO REPEAT MYSELF. IT MAKES ME LOOK SO STUPID.
SLOWLY. PLEASE SHOW ME YOUR GUN.
NICE AND EASY.
THAT'S RIGHT. EASY.
GOOD.
NOW, EMPTY THOSE BULLETS ONTO THE TABLE.
- NOW, VERY CAREFULLY. - LOOK, I DON'T KNOW WHY YOU THINK I--
YOU SHUT UP, YOU FUCK!
I'LL PUT AN ARROW RIGHT THROUGH YOUR GODDAMN THROAT, YOU UNDERSTAND?
- THAT'S HIM. - THAT'S IT. LAST ONE. THAT'S THE LAST ONE.
GOOD BOY. NOW CUFF HIM TO THE BED, EDDIE.
YES, SIR.
MACHINE!
AH, YOU KNOW, I DIDN'T KNOW WHAT TO MAKE OF YOU AT FIRST.
AND YOU CERTAINLY HAD EDDIE HERE ON PINS AND NEEDLES.
BUT, LO AND BEHOLD, FROM RIGHT OUT OF THE BLUE,
CAME AN OLD BUSINESS ACQUAINTANCE OF OURS TO EXPLAIN EVERYTHING.
SATAN EX MACHINA.
YOU REMEMBER MR. LONGDALE, DON'T YOU?
- LET'S GET THIS OVER WITH. - SHUT UP. NOBODY'S TALKING TO YOU.
OOH, WHAT I COULD DO WITH FACES LIKE THESE ON FILM.
AND ON SECOND THOUGHT, WHY WOULD I NEED THEIR FACES?
YOU'RE GONNA LISTEN TO ME. YOU'RE GONNA GO AND GET THAT FILM.
YOU'RE GONNA BRING IT BACK HERE, GIVE IT TO ME.
JUST SO WE MAKE THIS AS EFFICIENT AS POSSIBLE,
THERE IS AN INCENTIVE.
[Muffled Sobbing]
HE'S GOT NOTHING TO DO WITH THIS.
JUST LET HIM GO. HE DOESN'T KNOW ANYTHING.
CAN'T YOU GUESS WHAT I'M ABOUT TO SAY NEXT, IDIOT?
IF YOU DON'T BRING ME THAT FILM,
WE'RE GONNA KILL HIM, FUCK HIM...
AND FILM IT.
AND IF THAT'S NOT ENOUGH FOR YOU,
WE'RE GONNA GO AFTER YOUR FAMILY.
I'LL GET THE FILM.
GOOD BOY. YOU'RE BEING VERY COOPERATIVE.
AND MR. LONGDALE HERE WILL KEEP YOU COMPANY.
WHY ME?
BECAUSE I DON'T LIKE YOU, MR. LONGDALE.
MR. W.
HURRY BACK.
[Longdale] SINCE JUST BEFORE I MET YOU,
THERE ISN'T MUCH YOU'VE SAID OR DONE THAT I HAVEN'T BEEN PARTY TO.
NONE OF THIS WOULD BE HAPPENING IF YOU WOULD'VE JUST GIVEN UP AND WALKED AWAY.
OR BETTER YET, NOT EVEN TAKEN THE JOB IN THE FIRST PLACE.
I NEVER EXPECTED YOU TO GET THIS FAR.
I HIRED YOU BECAUSE YOU'RE YOUNG, NOT TERRIBLY BRIGHT...
AND COMPLETELY OUT OF YOUR LEAGUE.
BUT I UNDERESTIMATED YOUR AMBITION.
YOU TOOK ONE LOOK AT THE CHRISTIAN COMPOUND. IT WAS HEADY, WASN'T IT?
HUH? YOU WEREN'T JUST PEEKING THROUGH THE GATES THIS TIME.
NO, MRS. CHRISTIAN WELCOMED YOU IN.
DO YOU THINK THAT PEOPLE LIKE THE CHRISTIANS HIRE PEOPLE LIKE YOU, LIKE ME...
AS AN INVITATION TO THEIR DINNER PARTIES?
NO, WE'RE THERE TO CLEAN UP THE MESS, TO WIPE THEIR ROYAL ASSES.
YOU WERE ASKED TO BUY A SNUFF FILM.
THEY COULDN'T FIND YOU ONE, SO YOU PAID THEM TO MAKE YOU ONE, RIGHT?
ISN'T THAT WHAT HAPPENED? THE GIRL WAS ALIVE TILL YOU PAID TO HAVE HER MURDERED.
HOW MUCH DID CHRISTIAN PAY YOU FOR YOUR CONSCIENCE?
A MILLION? I'VE BEEN WELL COMPENSATED.
BUT YOU, I BOUGHT CHEAP.
JUST BECAUSE MRS. CHRISTIAN PRAISED YOUR DISCRETION, YOU SAT ON EVIDENCE OF MURDER.
YOU DRAGGED YOUR FRIEND INTO IT, YOUR FAMILY...
INTO SOME OLD GRAVEYARD TO DIG UP A DEAD GIRL WITH NO NAME...
THAT NOBODY CARES ABOUT OR EVEN REMEMBERS. MARY ANNE MATHEWS.
THAT WAS HER NAME. HER MOTHER REMEMBERS HER. OH, I'M BORED WITH THIS.
YOU KNOW THE ONLY DIFFERENCE BETWEEN YOU AND ME?
I WILL SURVIVE THIS AND PROFIT BY IT, WHEREAS YOU--
YOU WILL NOT.
NOW GET THE FILM.
DID YOU WATCH IT WITH HIM? WHAT?
THE SNUFF FILM. DID YOU WATCH IT WITH HIM?
THIS IS NOT HELPING YOUR FRIEND. NOW GET THE FILM AND LET'S GO.
DID IT GET HIM OFF? HUH? MR. CHRISTIAN?
WATCHING THEM CUT HER UP LIKE THAT? DID HE JERK OFF TO IT?
YOU SIT THERE, HOLD HIS COCK, GIVE HIM THE HAND-JOB WHILE MARY ANNE MATHEWS WAS DYING?
WHAT THE HELL ARE YOU TRYING TO DO? I'M TRYING TO UNDERSTAND!
WHAT THE FUCK DID HE WANT WITH A SNUFF FILM? YOU'RE ASKING ME WHY?
YES, WHY? WHY?
WHY DID HE WANT A FILM OF A LITTLE GIRL BEING BUTCHERED?
BECAUSE HE COULD. HE DID IT BECAUSE HE COULD.
WHAT OTHER REASON WERE YOU LOOKING FOR?
[Cocks Gun]
NOW.
HERE.
SHOOT ME.
MR. WELLES, THE FILM, PLEASE.
LET HIM GO FIRST. YOU CAN DO WHATEVER YOU WANT TO ME, BUT JUST LET HIM GO.
VERY WELL. SET HIM FREE, MACHINE.
NO!
IS THAT IT? THAT'S IT.
BRAVO.
I DON'T THINK YOU WANT TO MISS THIS, MR. WELLES.
OOH.
SO IT ENDS.
AS IF SHE NEVER EXISTED.
COME ON. DON'T BLAME YOURSELF. YOU WERE IN WAY OVER YOUR HEAD.
[Sobbing] YOU MOTHERFUCKERS.
YOU SMALL-TIME MOTHERFUCKERS.
YOU WANNA KNOW SOMETHING?
WHY ARE YOU ALL STILL SMALL-TIME WITH A MILLION DOLLARS TO SPREAD AROUND?
- A MILLION? - YEAH! THAT'S WHAT CHRISTIAN GAVE LONGDALE.
THAT'S WHAT HE GAVE YOU, RIGHT? A MILLION IN CASH!
YOU STUPID FUCKING TRASH!
WHAT THE HELL IS HE-- IS HE TALKING DOLLARS HERE?
- NO, HE'S LYING. - [Eddie] DID YOU FUCK ME? HEY!
DID YOU FUCK ME ON THIS? 'COURSE NOT, EDWARD.
THEN WHAT'S HE TALKIN' ABOUT, A MILLION DOLLARS?
HE'S SAYING THAT LONGDALE FUCKED US,
WHICH IS SO TOTALLY, COMPLETELY BIZARRE.
STAY BACK. STAY AWAY FROM ME.
PUT THE BOW DOWN!
FUCKIN' RICH MAN'S LAWYER. I TOLD YOU NOT TO TRUST THE PRICK.
MR. LONGDALE, IF THERE'S NO HONOR AMONG PERVERTS AND PORNOGRAPHERS,
THE WHOLE FUCKIN' BUSINESS WOULD FALL APART, WOULDN'T IT?
BECAUSE THERE'S NO RECORDS, NO CONTRACTS, NO LEGAL RECOURSE.
SO IF SOMEONE CHEATS US,
THAT PERSON CAN'T BE TRUSTED.
THAT PERSON COULD TURN US IN, HAVE US KILLED.
SO WE DON'T HAVE A CHOICE, DO WE, MR. LONGDALE?
I JUST WANT THIS TO BE OVER. NOBODY ELSE NEEDS TO GET HURT.
- EDDIE, YOU HAVE A GUN. TAKE IT OUT. - FUCK YOU.
TAKE IT OUT NOW! AND DROP IT, OR I WILL SHOOT.
DON'T BE STUPID, EDWARD.
[Gun Clatters On Ground]
- NOW KICK IT IN MY DIRECTION, HARD. - [Gun Skids On Ground]
NOW, DINO, DROP THE CROSSBOW.
OKAY.
ACTION.
[Groaning]
[Groans] THIS IS WRONG.
SOMETHING'S WRONG. FUCK. OH, GOD, NOT LIKE THIS.
I'M SUPPOSED TO HAVE...
SOMETHING MORE CINEMATIC.
KILL THEM, MACHINE.
KILL THEM ALL.
MACHINE!
FUCK.
STOP, EDDIE!
I SWEAR TO CHRIST, I'LL SHOOT YOU IN THE BACK!
TAKE OFF THE MASK.
- TAKE OFF THE FUCKING MASK! - HE'S ONLY GOT ONE BULLET!
[Engine Starting, Revving]
FUCK!
- HELLO? - AMY, IT'S ME. LISTEN CAREFULLY.
TOM, WHERE ARE YOU? AMY, JUST LISTEN!
TAKE CINDY. GET OUT OF THE HOUSE NOW. GO TO WHERE WE SPENT FOURTH OF JULY WEEKEND.
WHY? WHAT'S WRONG? AMY, PLEASE. I CAN'T.
I'LL BE THERE IN THREE HOURS.
I'M ON MY WAY. GO NOW!
- TOM, YOU'RE SCARING ME. - PLEASE, AMY, JUST DO IT!
TOM-- OKAY, BYE. I'M GOING.
MRS. CHRISTIAN, IT'S TOM WELLES. LONGDALE IS DEAD.
HE WAS KILLED BY THE MEN WHO MADE THE FILM.
HE HIRED THEM FOR YOUR HUSBAND. KEPT MOST OF THE MILLION FOR HIMSELF.
THE FILM IS REAL! THEY KILLED THAT GIRL!
MRS. CHRISTIAN? I'M, UH-- I'M STILL HERE, MR. WELLES.
I'M SORRY. I KNOW THIS MUST BE--
ARE YOU IN DANGER? WE HAVE TO GO TO THE POLICE.
I'LL TELL YOU EVERYTHING TONIGHT. WE CAN CALL THE POLICE IN THE MORNING.
ALL RIGHT. 8:00?
YES, 8:00 IS FINE.
DO YOU KNOW... WHAT THE...
POOR GIRL'S NAME WAS?
MARY. MARY ANNE MATHEWS.
MARY.
THANK YOU. MR. WELLES, GOOD-BYE.
AMY?
[Amy Sobbing] ARE YOU--
WHY HAVEN'T YOU CALLED ME?
WHY-- WHY-- WHY DID YOU DISAPPEAR OFF THE FACE OF THE EARTH?
HUH? YOU'RE BLEEDING.
ARE THOSE HANDCUFFS? WERE YOU LOCKED UP?
HUH? KEPT FROM A PHONE? WHAT? WHAT HAPPENED?
YOU BETTER START TALKING, TOM, 'CAUSE IF YOU WANT TO STAY MARRIED,
YOU CAN'T TREAT ME THIS WAY!
YOU'RE RIGHT. EVERYTHING YOU SAY IS RIGHT.
THAT'S NOT GONNA DO IT. THAT'S NOT GONNA BE ENOUGH, TOM. NOT ANYMORE.
I'M NOT GONNA LET ANYTHING HAPPEN TO US.
LOOK WHERE WE ARE! [Sobbing]
LOOK AT YOURSELF! LOOK AT YOURSELF! LOOK!
[Sobbing] YOU SON OF A BITCH.
YOU DON'T EVEN HAVE ANY IDEA WHAT YOU'RE PUTTING ME THROUGH.
WHAT WAS I SUPPOSED TO THINK HAPPENED TO YOU?
I CAN'T--
GODDAMN IT. AMY.
WHAT? I WANT YOU TO STAY HERE A FEW DAYS.
IT'S JUST A FEW DAYS. I'M SORRY.
THERE'S NO OTHER WAY AROUND THIS. LOOK, I SWEAR, I SWEAR--
I'M NOT GONNA LET ANYTHING HAPPEN TO US. I'M GONNA TAKE CARE OF THIS.
I SWEAR IT. OKAY?
I SWEAR IT.
NOW, I HAVE TO GO BACK OUT. NO.
WH-WHERE?
OH, MY-- OH! I HAVE TO SEE MRS. CHRISTIAN.
SHE'S THE ONLY WITNESS.
TO WHAT? [Water Running]
[Panting] I'M GONNA BE OKAY.
WE'RE GONNA BE OKAY.
TOM WELLES. MRS. CHRISTIAN'S EXPECTING ME.
YES, SHE LEFT INSTRUCTIONS.
NO, I HAVE TO SEE HER NOW. IT'S EXTREMELY URGENT.
MRS. CHRISTIAN CHOSE TO TAKE HER OWN LIFE THIS AFTERNOON, MR. WELLES.
BUT I JUST--
NO, NO. I JUST--
I JUST SPOKE TO HER.
MRS. CHRISTIAN'S INSTRUCTIONS WERE THAT THIS FIRST ENVELOPE...
IS FOR MARY'S FAMILY.
SHE WROTE THAT YOU WOULD UNDERSTAND WHAT THAT MEANT.
THE SECOND ENVELOPE IS FOR YOU.
SERVICES WILL BE HELD NEXT WEEK... IF YOU'D LIKE TO ATTEND.
UH-- I AM SORRY, SIR.
GOOD NIGHT, SIR.
WHAT ARE YOU DOING?
I HAVE TO GO BACK.
TOM.
WHATEVER IT IS,
WHEREVER YOU WERE,
JUST FORGET ABOUT IT.
YOU STAY HERE.
I CAN'T.
AND RISK US? RISK YOUR FAMILY? WHY?
THERE'S NO ONE LEFT TO FINISH THIS BUT ME.
I'LL CALL YOU WHEN IT'S SAFE TO GO HOME.
WE MAY NOT BE THERE WHEN YOU GET BACK.
[Suitcase Zipper Closing]
CINDY'S EDUCATION AND A LOT MORE.
I LOVE YOU.
[Door Opens]
[Door Closes]
PUT YOUR HANDS ON YOUR HEAD. GET DOWN ON YOUR KNEES.
YOU THINK I'M FUCKIN' AROUND?
- HURTS, DOESN'T IT? - WHAT THE FUCK DO YOU WANT?
WHO'S MACHINE? WHERE DOES HE LIVE?
I DON'T KNOW. I WANT HIS NAME.
I DON'T KNOW HIS FUCKIN' NAME.
I WILL NEVER GET TIRED OF HURTING YOU, EDDIE.
I DON'T KNOW HIS NAME. HE SHOWS UP IN HIS MASK, HE LEAVES IN HIS MASK.
HE'S DINO'S FUCKIN' BOY. HE'S FROM NEW YORK SOMEWHERE. I DON'T FUCKIN' KNOW.
GET IN THE CAR.
WHY?
YOU'RE GONNA SHOW ME WHERE YOU KILLED HER.
FUCK YOU.
ALL RIGHT, YOU FUCK.
[Welles] WHAT'D YOU DO BEFORE YOU BROUGHT HER HERE?
TELL HER HOW BEAUTIFUL SHE WAS?
HOW YOU'D MAKE HER A BIG STAR?
TALK HER UP?
WHAT THE FUCK DO YOU WANT FROM ME?
HMM?
I WANNA KNOW.
YOU WANNA KNOW? YES.
SHE WAS NOTHIN'. SHE WAS A PIECE OF PUSSY OFF THE STREET.
GIRL LIKE THAT DISAPPEARS, NOBODY GIVES A SHIT.
YEAH. I TALKED HER UP. I TOLD HER EVERYTHING SHE WANTED TO HEAR.
I TOLD HER SHE WAS GONNA BE A BIG STAR,
SHE WAS GONNA MAKE A LOT OF MONEY AND ALL THE REST OF THE BULLSHIT.
BY THE TIME I WAS FINISHED WITH HER, SHE WAS ALL EXCITED ABOUT HER BIG SCREEN TEST.
I CALLED UP DINO,
AND HIM AND MACHINE FLEW OUT HERE AND WE HAD OUR LITTLE PARTY.
WHAT ELSE YOU WANNA KNOW?
YOU SAW THE FILM, RIGHT?
YOU KNOW THE ENDING.
NOBODY ELSE SAW YOU BRING HER IN?
WHO'S GONNA SEE? PLACE IS A FUCKIN' SHITHOLE.
I BROUGHT HER IN AND SHE...
SAW MACHINE STANDIN' IN THE CORNER.
SHE STARTED CRYIN',
MAKIN' THESE LITTLE NOISES.
SO I SLAPPED HER AROUND A LITTLE JUST TO SHUT HER UP.
DINO... FED HER A BUNCH OF PILLS.
MACHINE PUT DOWN THE PLASTIC OVER HERE.
JUST STARTED CUTTIN' HER UP.
THAT'S IT. SHE'S DEAD.
SHE'S BEEN DEAD A LONG FUCKIN' TIME, AND NOBODY GIVES A SHIT BUT YOU.
[Laughing]
[Coughing, Laughing]
YOU WANTED TO KNOW. NOW YOU KNOW.
YOU WERE IN HERE.
YOU WATCHED MARY ANNE BLEED TO DEATH FROM HERE.
WHY?
WHY DID YOU WATCH?
I FELT LIKE IT.
I NEVER SAW NOBODY GET DONE BEFORE.
WH-WHY? DID IT--
DID YOU GET HARD? DID YOU COME? WHAT?
NO. IT MADE ME SICK.
BUT WHAT DO I GIVE A SHIT IF SOME RICH FUCKIN' WACKO...
WANTS TO BEAT OFF TO SOMETHIN' LIKE THAT, HUH?
STAY DOWN! [Yells '
It was somethin' I did for money.
I needed the fuckin' money.
Where is she? Where'd you put her body?
I buried it in the woods. You're not gonna find it.
And even if you do fuckin' find it, so what? What do you got?
You got a girl's skeleton. That's it.
Without the film, you got nothin'.
All you can do is cut me loose, 'cause without the film, you got nothin'.
What the fuck are you doin'?
Put your hands behind your back. Fuck you!
Put your hands behind your back! [Groaning]
ALL RIGHT.
WHAT THE FUCK ARE YOU DOIN'?
I'M GONNA KILL YOU, EDDIE.
I'M GONNA KILL YOU.
AND I'M GONNA LEAVE YOU HERE JUST LIKE YOU LEFT HER.
YOU'RE NOT GONNA KILL ME. YOU DON'T HAVE IT IN YOU.
[Cocking Hammer] WHAT ARE YOU GONNA DO? SHOOT ME WITH YOUR OWN GUN?
IT'S REGISTERED IN YOUR NAME, HUH?
[Laughing] YOU REALLY FUCKIN' THOUGHT THIS THROUGH, DIDN'T YOU, GENIUS?
YOU'RE GONNA HAVE TO DIG THE BULLETS OUT OF MY HEAD.
THAT'LL BE NICE, HUH?
OR YOU COULD DIG A HOLE.
DIG IT WITH YOUR OWN HANDS, AND BURY ME IN IT NEXT TO YOUR FUCKIN' GIRLFRIEND.
GO AHEAD. PULL THE FUCKIN' TRIGGER.
WELL, GO AHEAD. WHAT ARE YOU WAITIN' FOR?
GO AHEAD AND DO IT, YOU FAGGOT.
WHAT DO YOU WANT ME TO DO? START CRYIN' LIKE A LITTLE BABY?
[High-Pitched Voice] I'M SO SORRY I KILLED THE LITTLE GIRL.
[Normal Voice] WELL, FUCK YOU, AND FUCK HER! GO AHEAD.
PUT ME OUT OF MY FUCKIN' MISERY. PULL THE FUCKIN' TRIGGER.
[Laughing] COME ON. PULL THE FUCKIN' TRIGGER.
DO IT! DO IT!
[Laughing] YOU CAN'T DO IT.
YOU LITTLE PANSY BITCH.
[Laughing] LOOK AT YOU. BIG FUCKIN' HERO MAN.
YOU CAN'T FUCKIN' DO IT.
LOOK AT HIM.
BIG FUCKIN' HERO, HUH?
GO ON HOME TO YOUR WIFEY!
YOU PUSSY!
YOU BIG, FUCKIN' PUSSY!
[Eddie] WHAT ARE YOU GONNA DO NOW, FAGGOT? HUH?
YOU CAN'T CALL THE COPS!
SEND ME YOUR WIFE AND YOUR DAUGHTER, AND WE'LL MAKE A FILM,
YOU FAGGOT!
AW, SHIT. YOU PUNK-ASS!
[Ringing]
HELLO?
MRS. MATHEWS? IT'S THOMAS.
THOMAS HART.
I WAS THERE A FEW WEEKS AGO ASKING ABOUT YOUR DAUGHTER.
OH. OH, YEAH, YOU FOUND HER DIARY.
THANK YOU. UM, SHE DID LEAVE A NOTE, AND...
HER STUPID BOYFRIEND DUMPED HER IN CALIFORNIA,
SO I TOLD THE F.B.I.
REMEMBER WHEN--
WHEN I ASKED YOU IF YOU'D WANT TO KNOW...
THE TRUTH,
NO MATTER WHAT. WHAT?
SOME MEN, THEY TOOK HER AND THEY KILLED HER AND THEY BURIED HER.
NO, NO, NO, NO, I'M SORRY.
NO, NO, NO, NO-- I'M SORRY.
I WANNA PUNISH THEM FOR WHAT THEY DID.
[Crying] WHY ARE YOU SAYING THIS?
I CAN HURT THEM.
GIVE ME YOUR PERMISSION TO HURT THEM, PLEASE.
TELL ME HOW MUCH SHE MEANT TO YOU.
JUST TELL ME THAT YOU LOVED HER.
PLEASE TELL ME THAT YOU LOVED HER. I LOVE HER.
I LOVE HER SO MUCH.
OH, NO.
WHO'S THAT? HEY.
- NO! - DIE!
[Blows Landing, Eddie Screaming]
[Tom's Voice] DIE! DIE!
[Jet Engine Passing]
[Phone Dialing]
[Phone Ringing]
[Woman On Phone] NEW YORK HOSPITAL.
[Welles's Voice] CAN YOU CONNECT ME TO THE DUTY NURSE?
- [Man On Phone] EMERGENCY. - [Welles] THIS IS LIEUTENANT ANDERSON, 13th PRECINCT.
CAN YOU TELL ME IF YOU'VE ADMITTED AN ADULT MALE WITH AN ABDOMINAL WOUND...
IN THE LAST 48 HOURS?
IT'S A STABBING INCIDENT. ABDOMINAL WOUND?
NO, NOT ONE. THANK YOU.
[Phone Ringing, Clicks] I'M LOOKING FOR A STABBING VICTIM.
MALE. HE'S BIG, MAYBE SIX FEET. FILED A BOGUS REPORT.
[Woman On Phone] YEAH, WE HAD A GUY IN ON MONDAY, I THINK.
[Welles] THIS WOULD HAVE BEEN YESTERDAY OR THE DAY BEFORE.
[Woman] SORRY. [Phone Clicks, Rings]
[Woman On Phone] QUEENS COUNTY EMERGENCY. HI, LT. ANDERSON, 13th PRECINCT.
WE HAD A STABBING INCIDENT A COUPLE OF DAYS AGO AND SUPPOSED VICTIM...
GAVE US A FALSE NAME AND ADDRESS.
CAUCASIAN MALE WITH AN ABDOMINAL WOUND.
[Woman] HOLD ON. LET ME CHECK MY RECORDS.
YEAH, THERE WAS A PATIENT TREATED YESTERDAY.
[Welles] STAR TATTOO ON HIS RIGHT HAND? [Woman] YES.
GEORGE ANTHONY HIGGINS.
INSURANCE POLICY IS UNDER HIS MOTHER'S NAME-- DORIS VERONICA HIGGINS.
BET THAT'S HIM. CAN YOU GIVE ME AN ADDRESS?
[Woman] HE REGISTERED UNDER HER ADDRESS. DOUGLASTON. NEED A STREET?
I REALLY WISH YOU WOULD GO TO CHURCH WITH ME TONIGHT.
WELL, MAYBE NEXT WEEK.
I LOVE YOU, SON.
I'LL BE HOME BY 10:00. BYE-BYE.
[Thunder Rumbling]
♪ [Techno-Pop]
♪ [Continues]
♪ [Ends Abruptly]
[Needle Scratching]
[Scratching Continues]
♪ [Techno-Pop Resumes]
[Yelling]
KNOW THE BEST PART OF KILLING SOMEONE?
THE LOOK ON THEIR FACE.
IT'S THAT LOOK, NOT WHEN THEY'RE THREATENED,
NOT WHEN YOU HURT THEM,
NOT EVEN WHEN THEY SEE THE KNIFE.
WHEN THEY FEEL THE KNIFE GO IN. THAT'S IT.
IT'S SURPRISE.
THEY JUST CAN'T BELIEVE IT'S REALLY HAPPENING TO 'EM. SHE HAD THAT LOOK--
THE GIRL-- WHEN SHE KNEW IT WASN'T JUST PORNO.
YOU FEEL HOW HARD I AM-- [Groans]
TAKE OFF THE MASK.
WHAT'D YOU EXPECT, A MONSTER?
M-MY NAME'S GEORGE.
PROBABLY KNEW THAT ALREADY.
CAN'T GET YOUR MIND AROUND IT, HUH? I DON'T HAVE ANY ANSWERS TO GIVE.
NOTHIN' I CAN SAY IS GONNA MAKE YOU SLEEP EASIER AT NIGHT.
I WASN'T BEATEN. I WASN'T MOLESTED.
MOMMY DIDN'T ABUSE ME.
DADDY NEVER RAPED ME. I'M ONLY WHAT I AM.
AND THAT'S ALL THERE IS TO IT.
THERE'S NO MYSTERY.
THINGS I DO, I DO THEM BECAUSE I LIKE THEM.
BECAUSE I WANT TO.
HOW MANY TIMES? SIR, CAN YOU TELL ME YOUR NAME?
[Muffled Sobbing]
[Amy] TOM? [Crying]
TOM, IS THAT--
IS THAT YOU?
OH, MY GOD.
[Wailing]
SAVE ME.
S-SAVE ME.
[Mrs. Mathews' Voice] DEAR MR. WELLES.
THANK YOU FOR WRITING ME AND TELLING ME YOUR REAL NAME,
WHO YOU REALLY ARE AND WHAT REALLY HAPPENED.
I'M GLAD THOSE MEN ARE DEAD,
BUT NOTHING WILL EVER FILL THE HOLE IN MY HEART.
I WILL TRY TO USE THE MONEY YOU SENT FOR SOME GOOD...
AFTER I GET SOME HELP FOR MYSELF.
I HATED YOU FOR TELLING ME THE TRUTH,
BUT NOW I REALIZE YOU AND I ARE PROBABLY THE ONLY PEOPLE...
THAT EVER REALLY CARED ABOUT MARY ANNE.
YOURS TRULY, JANET MATHEWS.
♪
♪ [Man Vocalizing]
♪ [Men Singing In Foreign Language]
♪ [Singing Continues]