Sharp Objects (2018) s01e01 Episode Script

Vanish

1 [MUSIC PLAYING] You sure Mama won't notice we're gone? Better hope not.
[MUSIC CONTINUES] [GIRL LAUGHS] [HINGES CREAK] - [WOMAN GASPS] - [PHONE BUZZING] Hello.
- [BUZZING CONTINUES] - Ohh.
Oh.
Preaker.
Sure.
Bye.
[DISTANT HORN HONKING] - [PHONES RINGING] - [LOW CHATTER] [PENCIL SHARPENER WHIRS] - [KNOCKS] - Mm-hmm? - Am I in trouble? - Always.
But you don't need me to tell you that.
Wind Gap.
What's it like? Uh, OK, well it's at the bottom of Missouri, boot heel.
Spittin' distance from Tennessee.
I know where it is.
I asked what it's like.
Small.
Population's held at 2,000 for years.
Only real industry is hog butchering, so you got your old money and your trash.
Which one are you? Trash.
From old money.
What the hell's goin' on? In Wind Gap, or? Your mom's still there.
Right, Preaker? Mom.
Yeah.
Step-dad.
They had a kid.
Have.
I don't really know her.
- But you talk to 'em? - Not if I can help it.
Well, read the wires then.
Jesus Christ, there was a murder there last August.
- Little girl got strangled.
- I didn't know.
Then you also don't know that another one's missing now.
Might be a serial.
So get your ass down to that heel or whatever, and get me a story.
Now.
Today.
We have murders here, Curry, so I don't see why I gotta go to Wind Gap.
Because nobody else is covering it.
Do you remember that piece in the Tribune last year? Guy who wrote about a killing in his hometown? It made an impact, because it was personal.
People give a shit when you give a shit.
I'm not gonna win a Pulitzer off of Wind Gap.
You're not winning a Pulitzer 'cause you're only half-good at writing.
This could change that.
And I'm your boss.
So good-bye.
All right, look, if you can't, you can't, but it might be good.
You know, flush some things out, get you back on your feet.
- And it's a good story.
- Yeah.
Could be a damn good story if you do it right.
No pressure, right? Life is pressure.
Grow up.
Get the hell out of here.
[SIGHS] [ZIPS BAG] [BOTTLES CLINK] [BOTTLES CLINK] [POURING LIQUID] Oh, oh I can't quit you, babe So I'm gonna put you down for a while Yes, yes, I am Oh [MUSIC CONTINUES] Since you know I love you, baby My love for you I could never hide Oh [BELL RINGS] - [DISTANT GUNSHOT] - [WOMAN SHOUTS] BOY: Come on! [FLIES BUZZING] [SHUDDERY BREATH] [BOY SHOUTING, INDISTINCT] [FLIES BUZZING] [DISTANT VOICES, BOTTLE CLINKS] [WATER SLOSHING] [GASPING] [GASPS] [GASPING CONTINUES] [MOANING] [GASPS] Mm.
[MOANING] [GASPING] [BREATHING SLOWS] Oh [MUSIC PLAYING] She was the queen She got all her drugs for free She walked up to - Her daddy's door - Hi, Betty.
He said, "You don't live here Anymore" She wanted love, wanted love Oh, but she just couldn't get enough Enough - And my man - [TURNS OFF ENGINE] WOMAN: That was Natalie's favorite color.
Oh.
Well, actually her folks said it was black, but that just seemed too grim.
So, her second favorite.
Well, little girls, first pink, and then it's purple, purple, purple.
My two looked like grapes on legs until they were eleven or so.
It's a terrible thing.
Practically the whole town is out there searching the woods.
Chief Vickery, he set it up.
You have children? - No.
- Well, I hate to say it, but right now that's a blessing.
I won't even let mine out of the house to get the mail, even.
- You can't imagine.
- Hmm.
My girls, every night gettin' in bed with us.
My husband, usually he wouldn't allow that, but now, not one of us is gettin' a good night's sleep, but at least we know they're safe.
[DOOR OPENS, BELL RINGS] Chief Vickery? Well, the thing is, I have no intention of letting this thing get out, so Yeah, I understand.
This isn't going to be a exploitative piece, more like a think piece on how something like this can affect a town.
If it makes you feel better, I'm from here.
Just up off Bluebird Circle.
What's your name? Camille Preaker.
My mom is Adora Crellin.
She married out of her maiden name about 30 years ago to, uh, Alan Crellin.
Sure, OK.
You're the - You moved away.
- Yeah.
So, Amma, she's your half-sister.
Yeah.
Damn.
Jesus.
Hot as hell in here, isn't it? - My kids give me that.
- Oh.
Yeah, sorry.
No, it's all right.
Stress relief.
Because of this case? Look, I just can't have you here, Ms.
Preaker.
This story gets out in St.
Louis, suddenly that's all Wind Gap's known for.
We're already "the hog killers.
" Some publicity could help, get you some information It's worked in other cases.
I have a right to be here, and I will let you do your job if you let me do mine.
Fine.
I got no comment.
On Natalie Keene, fair enough.
But what about the other girl? Ann Nash.
I can ask around and I can get the local version, or you can have a say in what gets out.
PREAKER: First girl, Ann, found last August, strangled with a clothes line and dumped in Falls Creek.
Some hunters found her.
That's all Vickery said? No leads? I don't think he has any.
It's just the way he was, um He was defensive.
Not like he was hiding something, more like he was pissed off that he wasn't.
Theory.
Jesus, Curry, I just got here.
[SIGHS] Well, you have the police.
Get me some local stuff.
I need facts and color.
Fine.
I will write you a fuckin' rainbow.
You know what I mean.
If you think this place has some small town charm CURRY: Well, give me local "bleak" then, kiddo, paint a goddamn picture.
I'm goin' out to join the search party now.
Hopefully, we'll turn up a dead little girl.
Go get 'em.
[POLICE RADIO CHATTER] You lookin' for the search? Yeah.
- That way.
- Thanks.
Are you, uh You're that reporter, right? From St.
Louis? Well, that was fast.
Gotta hand it to Wind Gap, you guys do gossip like nobody else.
That's 'cause this place is so totally dead.
- [GIRLS LAUGH] - "Dead.
" That's awful.
Anyway, better get goin' if you want to catch up.
Thanks.
[GIRLS LAUGH] [TRAIN PASSING IN DISTANCE] [ROLLER SKATES CLATTER] BOY: Camille! MAN: Did you see something? No.
You with the search? In a way.
Detective Willis.
Ah.
You're not from here, huh? No.
You? Used to be.
I'm up in St.
Louis now.
I'm with the Chronicle.
A reporter.
Great.
WOMAN: Camille Preaker! - Jackie O'Neill.
- [JACKIE LAUGHS] Detective.
JACKIE: Oh, Lord.
[JACKIE LAUGHING] I see you met our new detective.
I'd like to take him home and turn him into pound cake.
Cover him in chocolate.
He's single, by the way.
Hey, settle down.
[LAUGHING] Aw c'mere.
Look at you.
Your mama didn't say that you were in town.
'Course, she's not talkin' to me right now.
I disappointed her again.
Probably forgot to send her a card, or something.
- You know how that goes! - I haven't seen her yet.
I'm gonna head over there after this.
Aw, she's gonna be thrilled.
[CLICKS TONGUE] Baby girl, look at you.
What about you, are you well? You know, well as I can be.
Pretty grim around here.
I'm in charge of refreshments for the guys.
It's the least I can do.
You want a sweet tea? I got sweet tea with a little bit of a kick in it.
No one should face all this without a little kick.
Nah, I'm fine.
I'm on the job.
You still workin' for that newspaper? Yeah, that's why I'm here, actually.
I'm writing a story.
Oh.
Yeah, those girls? I see you when you were the same age.
And it just makes me so sad.
I mean, so much has gone wrong.
I just can't make sense of it at all.
You mind if I quote you on that? Yeah, I suppose so.
If you think anyone would be interested.
You are nothing if not interesting, Jackie.
[BOTH LAUGH] Oh.
I'm glad you're home.
Hmm.
We'll see.
Beauty, beauty, beauty.
CAMILLE: Preacher.
PREACHER: My Lord, Camille Preaker.
It has been a long time, girl.
Yeah, it has.
[STARTS CAR] Oh, oh I can't quit you, babe [FEMALE VOCALISTS HARMONIZING] [MUSIC CONTINUES] - [TURNS OFF MUSIC] - [KEYPAD BEEPING] GIRL: Mama said she saw a ghost once.
GIRL 2: Mama says a lot of things.
You don't believe her? GIRL 1: I don't know.
I'm not scared of them ghosts.
Are you? GIRL 1: Well, it's stupid to be scared of stuff that's not real.
What if after you die, part of you goes to heaven, but part of you stays here? Just to look after stuff, you know? See how things turn out.
For you, for Mom.
Stop that.
That kind of talk is for quitters.
Are you a quitter? - No.
- Well, say it.
I'm not a quitter.
Why are you mad at me? WOMAN: Camille? Goodness.
Is something the matter? No, Mama, not at all.
I'm just in town on business.
Business.
I didn't expect you.
My house is not up to par for visitors, I'm afraid.
Looks just fine.
Come on inside.
Goodness.
Can I get you something to drink? Alan and I are having amaretto sours.
- I'll just have what you're having, thanks.
- We're in back.
It's nice and cool now with the breeze.
Where are you stayin'? Well, it's funny you should ask.
I was hoping that I could stay here for a few days.
I just wish you'd phoned.
I would have known, had dinner ready.
Go say hello to Alan.
Alan? Camille's here.
ALAN: Who? [CHUCKLES] Camille.
- Hi.
- Hello there! Adora didn't say you were comin'.
She didn't know.
I'm sorry to, uh just drop in like this.
My editor sent me down last minute, so Your editor.
Did he? Yeah, I'm here about Natalie Keene and that other little girl, Ann Nash.
To write a story? Yes, Mama.
It's a newspaper.
Camille, I just don't understand why a young woman like you would want to even dwell on such things.
Well, it could be an important story, and being from here I knew those children.
And I'm having a very hard time, as you can imagine.
And to To write about it? "Wind Gap Murders its Children.
" Is that what you want people to think? It can be really helpful to get information out.
People come forward I just can't have that kind of talk around me.
Hurt children.
Just don't tell me what you're doing, what you know.
While you're here I'll just pretend you're on summer break.
[DISTANT FOOTSTEPS] How's Amma? Amma? She's managing.
You know, the children have a curfew now.
She's asleep already.
Why do you ask? Just being polite.
We do that in the big city too, you know.
I'll go make sure your room is in order.
Thanks.
ALAN: Well this is my new toy.
ADORA: Your old room is the best for visitors.
It has that nice bath.
[STEREO PLAYS IN DISTANCE] Good night, Camille.
Good night, Mama.
[MUSIC CONTINUES PLAYING] [SIGHS] Ohh.
GIRL: See? It's a heart.
GIRL 2: You're high.
GIRL 1: What? It's something kids at school say.
It's like you're crazy.
You're high.
No, you are.
It's a chicken.
Clearly a chicken.
Where? See? There's its eyes, OK, and there's its face, and [GASPING] M-Mama! Mama! Mama! [MUSIC PLAYING] [MUSIC CONTINUES] [TURNS OFF IGNITION] [MUSIC PLAYING IN JUKEBOX] Motherless children have a hard time Camille? I heard you were back in town.
How about we catch up over your finest well whiskey, hmm? Well whiskey? No.
Screw the well.
This is a homecoming drink and this homecoming drink is on me.
- Thank you.
- Yeah.
So, how about the place, huh? It's mine now.
Yeah, I bought it from those guys.
They moved out to California.
We don't really get that type around here anymore.
Whatever they call 'em now.
I mean, I got nothing against 'em, but they would have tried to eat that one down there alive.
Always recruitin'.
[LAUGHS] Still a smart-ass.
Still a dumb-ass.
Dumb-ass with the hottest karaoke club in seven counties.
Shit, you oughta see this place on Friday nights.
Tell me, what's your song? "Ring of Fire.
" Oh, nice! "Bohemian Rhapsody.
" I crush it.
Gay bait down there seems a little young to be drinkin'.
Yeah, yeah.
I'm cuttin' him some slack.
[WHISPERS] It's John Keene.
John Keene, Natalie's brother? Yeah, yeah.
Poor son of a bitch.
He's takin' it really hard.
- Excuse me for a sec, OK? - Yeah.
Ms.
Preaker.
At Sensors.
Yeah.
Why, is this your spot? - Hmm? - This what you do? You come here and you drink and you just, I don't know, dream about the one that got away? Sarcasm.
Thank you.
Most I get from your hometown pals is a sugary passive-aggression.
Well, that is our specialty.
We just nod and smile until the out-of-town asshole leaves us alone.
Is that what I am? Where are you from? Kansas City, by way of a lot of other places.
So, yes on the "out-of-town," and jury's still out on "asshole.
" How long you worked on the case? Since the Keene girl.
Vickery called for backup.
I think he regrets it now.
He doesn't like my style.
Which is? - Not his, I guess.
- Hmm.
At least I'm investigating.
You don't think he is? - Funny girl.
- Come on.
You know I'm gonna get the story one way or another.
Wouldn't you rather be in control of the conversation? That's a good line.
Maybe, but it's true.
[SIGHS] Well, like you were about to go talk to young Keene over there.
Oh, is that who that is? Yeah, reporters aren't supposed to talk to minors without parental permission.
Jesus, I was just gonna hit on him.
[SCOFFS] Well, that's different.
So, is he a suspect? - You know I can't answer that.
- So he is.
Everybody's a suspect right now.
So, that's it.
You don't have any leads? Nothin'? Camille, can we just talk? I'm starved for some city folk conversation.
I'll ask you a question about your life, you can ask about mine Yeah.
I don't really do that chat.
Got it.
OK.
Well, Camille enjoy your evening.
Detective.
Shit.
Love is a burning thing And it makes - A fiery ring - Come on.
Bound by wild desire I fell in - To a ring of fire - To a ring of fire [CHUCKLES] I fell into a burning ring of fire [BEEPING] And if I say to you tomorrow Take my hand, child, come with me It's to a castle I will take you Where what's to be they say will be Catch the wind, see us spin, sail away, leave today Way up high in the sky, whoa whoa [BIRDS CHIRPING] [TURNING IGNITION KEY] Shit.
Fuck.
[TURNS OFF ENGINE] [WATER RUNNING] ADORA: Camille? Mornin'.
I just, uh, left my bag in the car, so I was Camille.
I'm happy you're here but, please, don't embarrass me.
Not again.
What? When you're here, everything you do comes back on me.
Understand? Uh, honestly, no.
'Cause that might have been true when I was a kid, but I'm an adult now.
Not in Wind Gap.
When you're here, you're my daughter.
You can move away and forget, but I can't.
You don't know the people here anymore.
Yeah, believe me, I do.
I haven't heard from you in months! And you just show up askin' such horrible, morbid questions, stirring everyone up.
Staying out all night.
Ohh! Look, Mama, please.
Stop, Mama.
Look, stop.
- I'm sorry, OK? - Ugh! - [SIGHS] - I'm sorry.
Honestly, it was nothin'.
I just I went for a drive.
I was, uh, beat, so I I pulled over to be safe.
S It was stupid, so You spent the night in the car? Did anyone see you? No.
No one saw me.
Look, and about my story I shouldn't have said anything.
You know You know I can't have that kind of talk around here.
[HUMORLESS CHUCKLE] I just want you to understand that I I didn't come back to cause any problems.
That wasn't my intention.
Are you ready for some eggs? [WATER RUNNING] [REGISTER BEEPING] Thank you.
[DOOR BELL RINGS] BOY: Bobby.
Come on.
[SWISHING] Sorry, Kool-Aid's all I got left.
Oh, no, that's fine.
Thank you.
And thank you for speaking with me.
Um, with all the attention on Natalie, I think it's, uh, important to remind people that, uh Ann was first.
[SOFTLY] Yeah.
Um we should talk in the bedroom.
- [CHILD TALKING] - Thank you.
Uh, you mind if I just set this Yeah.
[CLEARS THROAT] [CLEARS THROAT] Just, uh Ann, she'd been, uh riding her bike all last summer, just ride around, around the block.
My wife wouldn't let her go no further 'cause we're protective parents, like anybody.
Sure, you kept tabs on her.
- Yeah.
- Yeah.
So, uh, just 'fore school starts up, she begs to ride over to her friend Emily's house.
Not far but we usually wouldn't let her, but, uh, she's whining.
So my wife finally gets fed up and says, "Fine.
" Ann never got there.
To Emily's.
She left around seven, must've been eight o'clock 'fore we realized.
I'm sorry.
Somewhere in those ten blocks, they got her.
My wife could never forgive herself.
I would love a chance to speak with her? Uh, your wife.
She's at the store.
I'll ask, but she's not This thing She hasn't been the same.
[DOOR OPENS] GIRL: Daddy? I'm still hungry.
Can I make What do you do when that door's closed, Amanda? - I knock? - You knock.
Next time you forget, it's goin' on your chart.
Go.
She knows better.
Thing about Ann, she was plain, but she was smart.
She did for herself.
Um, so were you here when it happened? When Ann left for Emily's? Mm-mm.
I was driving back from my office in Hayti.
It's about an hour away, and Don't write that down.
Why are you writing that down? I'm sorry? People 'round here don't like us 'cause we keep to ourselves, but that doesn't mean I hurt my kid.
No, no, no, I wasn't suggesting that, Mr.
Nash.
I was just wondering if you had a chance to see her that day.
In the mornin'.
But four kids, it gets hectic.
I I don't remember what we said.
- You know what I think? - Hmm? A faggot did it.
'Cause he didn't rape her.
And the cops say that's unusual.
I'd say it's the only blessin' we got.
I'd rather him kill her than rape her.
That's her.
See? She was a willful thing.
Night before that picture was took, my wife wants to put her hair in rollers, and Ann wasn't having any of it, so she chops her hair off instead.
She gave him hell.
She gave that guy hell.
CURRY: So you got a feeling about him.
CAMILLE: His wife wasn't around.
It looks like she left.
He was kind of cagey about it.
Could be embarrassed.
Private.
Yeah.
He says that, uh people are pointing the finger at him.
Do you think he's a suspect? I don't know.
I mean, he's odd, for sure.
But, uh, I'll do some diggin'.
Good good.
Follow it up.
[CURRY COUGHS] Things at home, they're all right? Camille? - At home? - Yeah, with your family.
Yeah, I mean, they're peachy.
They're great.
OK, well [COUGHS] you call me if you need me.
I will.
Tell Eileen I said hello.
Will do.
- All right.
- OK.
- Bye.
- Bye-bye.
[DISCONNECTS] She sends her best.
You'd better be right.
Just because you've seen Dr.
Phil - doesn't make you a real doctor.
- Ha.
[KIDS LAUGHING] - [GRUNTS] - BOY: Oh! Hey! You can't take that stuff.
AMMA: We knew those girls.
Natalie was his sister.
John, right? Yeah.
No, they didn't mean anything by it.
We just wanted something to remember them by, that's all.
What's the point of lettin' all the flowers die and stuff, and It's not just the families, ya know.
We're all sad.
[DISTANT SCREAMING] - MAN: Help! We need help! - [WOMAN WAILING] WOMAN: "The wicked is thrust down by his wrongdoing, but the righteous has a refuge when he dies" [WOMAN CONTINUES, INDISTINCT] [NO AUDIBLE DIALOGUE] [SIGHS] Thanks, man.
I got this.
[PAPER BAG RUSTLES] [POURS LIQUID] Looks like you got your serial, Detective.
Congratulations.
This fuckin' business.
The things you wish for, and then and then it happens.
Yeah.
It's never real until it is.
You should let me drive you home.
You're shaking.
Not for long.
[CHUCKLES] - I'll give you a lift.
- No, no, I'm I'm fine.
- [POURS] - I brought my car, and I'm fine.
You can get it in the morning.
It's no trouble at all.
Is Bob Nash a suspect? I was gonna ask Vickery before.
He won't tell you, like I won't.
And how about John Keene? Jesus.
[SIGHS] Why? Did you find something? I'll show you mine.
Um, this isn't I'm not gonna [CLEARS THROAT] Let's table the games.
At least until that little girl's in the morgue.
- [DOOR OPENS, CLOSES] - [MUSIC PLAYING] Where were you? I was worried sick.
I had to give the police a statement.
I was there when they found her.
Don't.
That's enough.
You asked me where I was.
ALAN: I suppose it was foolish to hold out hope.
Um, I'm exhausted.
I'm gonna lie down.
Bob Nash called.
He said you spoke to him.
That's not right, Camille, not right at all.
Aren't these families in enough agony - without you hashing over it? - Mama.
Mama.
I can't I can't talk right now.
OK? I need to sleep.
AMMA: I don't think I'll sleep for a million years.
It's just so awful.
Ann and Natalie? In our nothin' town? It could happen to any of us.
Amma.
Yeah.
You've been around, though.
Why haven't you said hello? I can be shy, I guess.
I don't know.
Well, I never would have recognized you.
Adora stopped sending those Christmas pictures a while back.
ADORA: Amma, you are not to leave this house alone.
Understand? It's not safe.
I need to know where you are at all times.
But we already have to be in by 9:00 ADORA: It's not enough.
ALAN: Let's not make rules tonight, Adora.
We'll all be more sensible in the morning, I think.
Come look at my Dollhouse.
[MUSIC CONTINUES] Needs reupholstering now.
Mama changed her color scheme from gold to gray.
You promised you'd take me to the fabric store so I could make new coverings to match.
ADORA: I know I did, sweet.
I've just been so distracted.
AMMA: Isn't it beautiful? This Dollhouse is my fancy.
Yeah, well, looks like you've done a really nice job with it.
- I try.
Thank you.
- Yeah.
CAMILLE: I'm gonna go get some rest.
I put your dinner in the icebox for later.
- You have to eat.
- OK, thanks.
I'll go up with you.
I think I'll rest a while too, Mama.
Let's go rest.
[MUSIC CONTINUES] You knew it was me, didn't you? When you saw me around town.
Not at first.
Not for sure.
Then I just, um It was interesting seeing what you were like before this, you know? You're not mad, are you? No.
Just surprised, I guess.
Have you gone in to Marian's room? No.
It's like a museum.
Mama keeps it that way.
Yeah.
I miss her sometimes.
Marian.
Even though I didn't know her.
Well, Adora talks about her all the time.
Or at least alludes to her.
Was she perfect? She was, wasn't she? No.
She was close.
[LAUGHS SOFTLY] But now we can be sisters.
Everyone always says you were the prettiest girl in Wind Gap.
- No, Amma.
- You are.
You're so pretty.
And you won't tell? Mama would go bananas if she, you know, saw me in my civvies.
Is that what you call 'em? You know how she is.
I'm just her little doll to dress up.
Easier to go along.
You never did, though.
Mama says you were incorrigible.
I bet she does.
I'm incorrigible, too.
Only she doesn't know it.
We're alike.
I knew we would be.
[ADORA AND ALAN TALKING IN DISTANCE] [NO AUDIBLE DIALOGUE] [FAINT] Camille! [CAMILLE SCREAMS] [SHOWER RUNNING] [TURNS OFF WATER] [MUSIC PLAYING] Tonight I fall from far below I'm ready for Dimensional, connection gold I'm highest form Tonight I walk with matter gone I'm ready for Some mystery lost and died alone I'm highest form Tumbling lights come Tumbling lights go Tumbling lights come Tumbling lights go Tonight I call and shock the phone Already gone Dimension 'round the spirit fall I'm highest Tumbling lights come Tumbling lights go Tumbling lights come Tumbling lights go (OMINOUS TUNE PLAYS) CAMILLE PREAKER: I'm here for the paper, that's all.
But I can tell You love dead girls.
ADORA CRELLIN: You were never sweet.
How dare you harass good people? Go report somewhere else.
(SCREAMS) RICHARD WILLIS: This is a crime about power for someone who feels powerless.
What makes you say that? RICHARD: People are getting nervous.
You're hiding something.
CAMILLE: My demons are not remotely tackled.
(TIRES SCREECHING) I just survive.
(MUSIC PLAYING)