Bloodhound (2020) Movie Script
(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)
(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)