The Creep Tapes (2024) s01e04 Episode Script
Brad
1
- Okay. White balance
looks good.
[snapping]
Levels are good.
[clears throat]
[breathes deeply]
It's fine.
It's just a day gig.
It's just a day gig.
It's fine.
It's fine.
It's fine, Brad.
It's totally fine
because everybody needs money,
you know?
Even the greatest artists,
uh
Everybody needs money.
[clears throat]
Hello?
Anybody home?
[flies buzzing]
Ew.
[piano sounds]
[piano playing
continues slowly]
[door thunks open]
[piano playing continues]
[floorboards creaking]
Hello?
[piano playing continues]
[pedal thunks]
[chuckles dryly]
- Brad, that A minor chord,
it's everything.
When did you find
that chord, Brad?
- You know, it's funny, my--
uh, my uncle--
- Oh, yeah, your uncle,
the composer, right?
Darby Sanborn? Yeah.
Yeah, he's great,
except the thing is,
he doesn't exist,
'cause if one unscrambles
the letters
in the name Darby Sanborn,
what does one get?
Let's see.
Maybe it's the name
of a filmmaker who didn't want
to take all the credit,
a filmmaker with the name of
Darby--Brad--Sanborn--Branson--
Brad Branson, the composer
and also the director.
Uh-huh?
- That's very good, man.
That's a--that's a deep cut.
- Oh, man, we're gonna go a lot
deeper places than that, Brad.
Come here, buddy.
Come here.
Holy shit.
Oh, my God.
Brad Branson is in my house!
You're in my house.
I can't--I can't--
I can't believe it.
- Yeah, um, so--
- Brad, I have a--
I have a story to tell you.
Here, look at that TV.
Right there.
Look at it, look at it.
20 years ago, 20 years ago,
I sat in front of that very TV.
It's 2:30 in the morning.
I'm up late.
I was having a little bit
of a hard time.
Someone close to me
had actually died
under mysterious circumstances.
So I thought, you know what?
I'll watch
the Sundance Channel.
I'll watch
a light independent comedy,
something with Parker Posey.
And that's when I heard it
for the first time.
[vocalizing orchestral score]
And the credits roll
and here comes
"The Boy, The Man,
and The Gun."
- Wow.
Did you make that?
- Uh, I think the question is,
was I forced to make
my own bootleg DVD
of the greatest true crime
documentary series of all time
because your distributor sucked
and did not release it
on DVD themselves.
Right? Am I right?
- That's super--
- Brad Branson is here
in my house!
The godfather
of modern true crime.
I mean, you created the genre.
You blazed the trail for--
for award-winning
and multi-million dollar
documentary series
like "Making a Murderer,"
like "The Jinx,"
which some people say
is the greatest of all time.
I disagree.
"Boy, Man, and The Gun"
is the best of all time.
- All right, man.
- Right? Yes.
But it's been 20 years.
It's been 20 years.
And, uh--and you haven't
lit the world on fire then.
Have you? No.
I have IMDb.
I--I get it, you know,
and, uh, I think
about you a lot, man.
You've been forced to watch
as those who came after you,
those who are less talented,
receive all the money,
all the accolades,
all the jobs.
It must be so hard to be you.
Is it hard being you, Brad?
- I mean--
- Is it hard?
- [clears throat]
It's--it's fine.
- No, it's not fine.
It's not fine.
But you know what?
It's gonna be fine,
because today I have
the true crime pitch for you
that is going
to change everything.
- Well, I'm excited.
- You're not excited, Brad.
You're lying--and it's okay.
You're skeptical,
and you should be skeptical
because you're the greatest
of all time.
It's okay.
- Hey, you know what?
That's fair.
- Mm-hmm.
- Um[clears throat]
You are paying me
to hear your pitch.
- That's right.
Everybody needs money.
- Uh, so do you have, like,
um, a deck or a keynote or--
- No, no.
Come with me.
- Okay.
- Come on, Brad.
Chop, chop.
Don't have all day.
- Uh, in here?
[scoffs]
What is this?
What is this?
[gagging]
- Oh, the burping.
- [retches]
[breathing heavily]
[eerie electronic music]
♪
- Okay, Brad.
So yes, that is a dead body.
And I know
what you're thinking.
We've all seen
dead bodies before.
What's the big deal?
What's interesting here
is how it happened.
And I am telling you, Brad,
it is a true crime story
with twists and turns
and lies and betrayals.
And I am offering you to be
the first one to discover it
and the only one to tell it.
Or we could just
call the police right now
and put an end to it.
Honestly, I'm fine
with whatever you decide.
The choice is yours.
I'll be right outside
if you need anything.
[door closes]
- Okay.
I'm in a room with a dead body.
That is a real dead body.
There is a man
who is telling me
that I could either
call the cops
or that I could film this,
which is really fucked up.
I mean, I'll hand it to you.
This is a compelling situation.
Kind of a once-in-a-lifetime,
uh, situation.
But, uh
[burps]
Like, truly, who would do that?
What kind of a person
would do that?
Okay, sir?
I'm ready to start.
Hello?
Okay.
[shovel scraping distantly]
- Jesus, Brad.
Didn't your mother tell you
never leave a lady waiting?
I'm dying over here.
We doing this or what?
- I'm in.
- You better not be fooling me.
- No, I--
- Brad!
Brad! Brad!
Yes! Yes!
I'm gonna be
in a Brad Branson fil--
are we gonna go to Sundance?
Oh, my God.
Am I gonna go to a premiere?
What am I gonna wear?
Wait, do they let you
keep the clothes,
or do they take them back--
- Whoa, whoa, whoa.
Wait, wait, wait, wait.
What--what are you doing?
- Oh, sorry, I got excited
and I pre-dug the hole.
But I realize now,
that's valuable footage.
So I'll just reset it, and we
can kind of stage it and do--
- No, no, no, no, wait, wait.
H-hang on a second.
This is--this is a documentary.
You can't--
you can't stage anything, okay?
I know these modern
documentarian guys,
they have all kinds
of tricks and stuff.
I'm old-school.
I don't want to compromise the,
uh, integrity of the piece.
- Brad, I need
to tell you something.
When you speak to me that way,
it really makes me
admire you even more
than I ever thought I could.
[laughs] Man.
Oh, man.
- Mm-hmm.
- Whoop!
- Oh!
What the fuck
was that for, man?
- That's a dirt shot
on the lens.
Didn't you see
"Children of Men"
when that blood splatter
hits the lens?
In fact, I'm pretty sure
that filmmaker,
he came from--
from documentaries.
I think a whole slew
of big-budget
Hollywood directors,
they come from documentaries.
Oh.
Is that a sore spot?
That's a sore spot, isn't it?
I keep doing that.
I'm so sorry.
I get nervous
'cause I respect you so much
and I want you to like me,
and I just keep talking.
I'll shut up now.
So I bet you have
some questions
about what happened here.
Bet you think
I have some answers.
But I don't want to make this
easy on you, okay?
So let's set
some ground rules, okay?
You can ask me
whatever you want,
but it's gotta be
a yes or no question.
And you are not allowed
to ask me if I'm the killer.
Cool?
- O-okay.
- Okay.
- Um, is the, uh--
is the victim
a friend of yours?
- Oh, yeah. Yeah.
- Did the victim, uh,
willingly enter the premises?
- Mm-hmm.
- Did you kill the victim?
- Why would you ask me that?
Brad, why would
you ask me that?
I specifically told you not
to ask me that--
ohh.
You wanted to see
what my body language was
when I shut you down, right?
Maybe my nonanswer is better
than my answer.
Jesus, Brad!
Man, I knew you were good,
but I didn't know
you were that good, Brad.
It's really impress--oh!
Oh, God!
Ow, ow.
Ah! Oh, my back.
- You okay?
- Oh, God.
I have this bad back.
Ow!
Oh, gosh.
This boo-boo is so big.
He's so heavy.
It's okay though.
It's okay.
You know?
Nothing worthwhile
is easy, right?
Just gotta put my--oh, God.
Oh, God. Oh.
Oh, no, Brad.
This one's bad.
What are we gonna do?
I mean--
Well, here's an idea.
I mean, it's
a little unorthodox, but
you could help me.
I mean, look, of course,
you know, I would
keep you protected, you know,
you can wear these and--
Otherwise, I-I just don't know
how we're gonna get
our little buddy into the hole
over there, you know?
This is probably the seminal
scene in the film so far,
and I don't want this
to turn into a short film.
A very short film.
[both grunting]
- It's kind of nice,
isn't it, you know?
Little physical labor.
We spend so much time
in our heads.
It's nice to be outside,
get some steps in, endorphins,
check a couple of doodads
off the old to-do list.
Whew!
It's really nice.
I'm gonna take care
of a couple of things inside.
- Shit.
What the--
- Hey.
What are you doing?
- [grunting]
- Brad.
Would you like a hand?
Don't be mad.
Come on.
Here, give me this.
Give me this.
Give me this.
Okay. All right.
Come on, Brad.
Here, let me help you.
There we go.
Ow! Ow!
Help me!
Help me!
- What?
- Help!
Ah, it hurts!
My back!
I need you to walk on my back!
- What?
- Walk on my back now!
- Okay, okay.
Uh, like this?
- Oh, yeah.
[moaning]
Oh, that's good, Brad.
There you go, Br--
oh, wait, not there!
No! Ow!
- Oh--
- It hurts!
It hurts! Enough!
Get off me!
Get off!
Agh!
Okay.
Ow. Ow.
- It's you.
- What?
- You're the killer.
- Are you asking me
or are you telling me?
- I don't see anyone else here
who could've done it.
- Oh.
So you're feeling good.
You're feeling confident.
You're pretty sure it's me.
But here's the thing, Brad.
You only get one guess
at who the killer is.
One.
So you're gonna want
to make sure you're right.
Are you sure?
- Yeah.
Okay.
Okay.
Um
Well, you know what?
I think, uh,
we've got all the footage
that we need.
And I think it's time--
I think it's time to, um--
I think it's time to, uh,
jog to the fucking car.
It's time--
[car beeping]
[engine revs]
[car thumps, horn honks]
What the fuck?
What the fuck?
[car beeps]
Oh, God.
Oh, God.
- Brad.
- [gasps]
- What did you do?
- [burping]
- Oh, the burping.
- [retching violently]
[coughing]
[grunting]
- Yeah.
All right.
Doing great, Brad.
Doing really good.
Almost there.
Okay.
There we go.
Whew!
[claps] All right.
So, Brad, um,
as you may have guessed,
you were not right
about it that time.
You were not right.
I did not kill
that big boo-boo on the bottom.
But the thing is, I have killed
some people before.
So I'm gonna give you
a second chance.
I never do this.
But you are Brad Branson.
I'm gonna give you a hint.
You ready?
- Okay.
- Yeah. Yeah.
The little boo-boo right there,
the new one.
Don't be afraid.
Take a little peeky-peeky.
What do you see?
- It's the guy from the locket.
- Mm-hmm.
It's connected, Brad.
Come on, let's start
putting it together, okay?
The clues, bring it in.
- All right.
Um, okay, so the, uh,
the bottom guy was--
maybe he was--
he was obsessed
with the guy on the--
[clears throat]
The guy on the top,
and, um,
there was some kind of, uh,
I don't know, weird sex thing
with the mask.
And the bottom guy killed
the top guy.
- Okay, um,
I mean, it's not the big "aha"
and the burping moment
from "The Jinx."
But, um--but it's a start.
The question is,
is that the final answer?
Brad, is that your final answ--
- No, no, no, no.
- Okay, okay, okay.
Good, good, good,
because that was
gonna be wrong,
and we don't want that, okay?
So why don't you just
take a breath, calm down.
And look around.
Look for some clues.
- Yeah. Okay, sure.
- You got this.
You got this.
- Right. Uh, let's see.
[clears throat]
Um, well
Um
- Oh, you see something,
don't you?
Look, if you'd like to--
[laughing]
- Help!
[floorboards creaking softly]
- [whispering] Brad.
Brad.
Hey.
Check it out.
Look.
You get it?
Just keep watching.
- [grunting]
- Is this not the greatest
twist for the movie or what?
Brad,
you're the killer.
It's like you said.
Can't see anybody else here.
Ow, it hurts! Ow!
It hurts!
It hurts!
Enough! Get off me!
Get off! Agh!
Ooh, this is my favorite one.
[car horn honks]
Beep.
Okay.
I understand
you're probably upset
that I took your movie away.
I do feel like some evil
Hollywood executive.
But let's face it, Brad.
You just might not
have it anymore.
Okay, I've been trying
to prop you up all day
with positive reinforcement.
But the truth is,
your shot choices,
they're a little stock, okay?
Your guesses at the killer,
they were uninspired.
And when I gave you
a legitimate chance to escape,
that was just sad.
But still, despite all of this,
there is a part of me
that still believes in you.
So I'm gonna give you
one more chance, Brad,
to take back your movie
and make the best version,
the version where Brad
not only finds the killer,
he kills the killer.
Yes.
But you're gonna have
to work really hard.
You're gonna have to be
really, really smart.
You're gonna have
to beat me, Brad.
So take your time.
What's your next move?
Oh, yeah, th-that's an option.
Mm-hmm.
Oh, don't get
all depressed, Brad.
We're g--whoa!
[groans]
Oh, Brad.
That door's locked.
Lock's tricky, isn't it?
[laughing]
- No!
- Good call.
Good move,
locking the door, Bradski.
All right.
Okay.
[loud thud]
Hi, Brad.
- No. No.
[metallic thunk]
No! No!
No!
- Yes! Yeah!
- [groaning]
- [laughs]
- [groaning]
- [grunts]
- [rasps]
- [grunts]
- [rasps]
- [exhales heavily]
Whew!
Whew.
[footsteps approaching]
[exhales heavily]
[clicks tongue]
Well, they can't
all be "The Jinx."
[burps]
Hey, the burping.
[chuckles]
[intense piano music]
♪
[whistling]
♪
- Okay. White balance
looks good.
[snapping]
Levels are good.
[clears throat]
[breathes deeply]
It's fine.
It's just a day gig.
It's just a day gig.
It's fine.
It's fine.
It's fine, Brad.
It's totally fine
because everybody needs money,
you know?
Even the greatest artists,
uh
Everybody needs money.
[clears throat]
Hello?
Anybody home?
[flies buzzing]
Ew.
[piano sounds]
[piano playing
continues slowly]
[door thunks open]
[piano playing continues]
[floorboards creaking]
Hello?
[piano playing continues]
[pedal thunks]
[chuckles dryly]
- Brad, that A minor chord,
it's everything.
When did you find
that chord, Brad?
- You know, it's funny, my--
uh, my uncle--
- Oh, yeah, your uncle,
the composer, right?
Darby Sanborn? Yeah.
Yeah, he's great,
except the thing is,
he doesn't exist,
'cause if one unscrambles
the letters
in the name Darby Sanborn,
what does one get?
Let's see.
Maybe it's the name
of a filmmaker who didn't want
to take all the credit,
a filmmaker with the name of
Darby--Brad--Sanborn--Branson--
Brad Branson, the composer
and also the director.
Uh-huh?
- That's very good, man.
That's a--that's a deep cut.
- Oh, man, we're gonna go a lot
deeper places than that, Brad.
Come here, buddy.
Come here.
Holy shit.
Oh, my God.
Brad Branson is in my house!
You're in my house.
I can't--I can't--
I can't believe it.
- Yeah, um, so--
- Brad, I have a--
I have a story to tell you.
Here, look at that TV.
Right there.
Look at it, look at it.
20 years ago, 20 years ago,
I sat in front of that very TV.
It's 2:30 in the morning.
I'm up late.
I was having a little bit
of a hard time.
Someone close to me
had actually died
under mysterious circumstances.
So I thought, you know what?
I'll watch
the Sundance Channel.
I'll watch
a light independent comedy,
something with Parker Posey.
And that's when I heard it
for the first time.
[vocalizing orchestral score]
And the credits roll
and here comes
"The Boy, The Man,
and The Gun."
- Wow.
Did you make that?
- Uh, I think the question is,
was I forced to make
my own bootleg DVD
of the greatest true crime
documentary series of all time
because your distributor sucked
and did not release it
on DVD themselves.
Right? Am I right?
- That's super--
- Brad Branson is here
in my house!
The godfather
of modern true crime.
I mean, you created the genre.
You blazed the trail for--
for award-winning
and multi-million dollar
documentary series
like "Making a Murderer,"
like "The Jinx,"
which some people say
is the greatest of all time.
I disagree.
"Boy, Man, and The Gun"
is the best of all time.
- All right, man.
- Right? Yes.
But it's been 20 years.
It's been 20 years.
And, uh--and you haven't
lit the world on fire then.
Have you? No.
I have IMDb.
I--I get it, you know,
and, uh, I think
about you a lot, man.
You've been forced to watch
as those who came after you,
those who are less talented,
receive all the money,
all the accolades,
all the jobs.
It must be so hard to be you.
Is it hard being you, Brad?
- I mean--
- Is it hard?
- [clears throat]
It's--it's fine.
- No, it's not fine.
It's not fine.
But you know what?
It's gonna be fine,
because today I have
the true crime pitch for you
that is going
to change everything.
- Well, I'm excited.
- You're not excited, Brad.
You're lying--and it's okay.
You're skeptical,
and you should be skeptical
because you're the greatest
of all time.
It's okay.
- Hey, you know what?
That's fair.
- Mm-hmm.
- Um[clears throat]
You are paying me
to hear your pitch.
- That's right.
Everybody needs money.
- Uh, so do you have, like,
um, a deck or a keynote or--
- No, no.
Come with me.
- Okay.
- Come on, Brad.
Chop, chop.
Don't have all day.
- Uh, in here?
[scoffs]
What is this?
What is this?
[gagging]
- Oh, the burping.
- [retches]
[breathing heavily]
[eerie electronic music]
♪
- Okay, Brad.
So yes, that is a dead body.
And I know
what you're thinking.
We've all seen
dead bodies before.
What's the big deal?
What's interesting here
is how it happened.
And I am telling you, Brad,
it is a true crime story
with twists and turns
and lies and betrayals.
And I am offering you to be
the first one to discover it
and the only one to tell it.
Or we could just
call the police right now
and put an end to it.
Honestly, I'm fine
with whatever you decide.
The choice is yours.
I'll be right outside
if you need anything.
[door closes]
- Okay.
I'm in a room with a dead body.
That is a real dead body.
There is a man
who is telling me
that I could either
call the cops
or that I could film this,
which is really fucked up.
I mean, I'll hand it to you.
This is a compelling situation.
Kind of a once-in-a-lifetime,
uh, situation.
But, uh
[burps]
Like, truly, who would do that?
What kind of a person
would do that?
Okay, sir?
I'm ready to start.
Hello?
Okay.
[shovel scraping distantly]
- Jesus, Brad.
Didn't your mother tell you
never leave a lady waiting?
I'm dying over here.
We doing this or what?
- I'm in.
- You better not be fooling me.
- No, I--
- Brad!
Brad! Brad!
Yes! Yes!
I'm gonna be
in a Brad Branson fil--
are we gonna go to Sundance?
Oh, my God.
Am I gonna go to a premiere?
What am I gonna wear?
Wait, do they let you
keep the clothes,
or do they take them back--
- Whoa, whoa, whoa.
Wait, wait, wait, wait.
What--what are you doing?
- Oh, sorry, I got excited
and I pre-dug the hole.
But I realize now,
that's valuable footage.
So I'll just reset it, and we
can kind of stage it and do--
- No, no, no, no, wait, wait.
H-hang on a second.
This is--this is a documentary.
You can't--
you can't stage anything, okay?
I know these modern
documentarian guys,
they have all kinds
of tricks and stuff.
I'm old-school.
I don't want to compromise the,
uh, integrity of the piece.
- Brad, I need
to tell you something.
When you speak to me that way,
it really makes me
admire you even more
than I ever thought I could.
[laughs] Man.
Oh, man.
- Mm-hmm.
- Whoop!
- Oh!
What the fuck
was that for, man?
- That's a dirt shot
on the lens.
Didn't you see
"Children of Men"
when that blood splatter
hits the lens?
In fact, I'm pretty sure
that filmmaker,
he came from--
from documentaries.
I think a whole slew
of big-budget
Hollywood directors,
they come from documentaries.
Oh.
Is that a sore spot?
That's a sore spot, isn't it?
I keep doing that.
I'm so sorry.
I get nervous
'cause I respect you so much
and I want you to like me,
and I just keep talking.
I'll shut up now.
So I bet you have
some questions
about what happened here.
Bet you think
I have some answers.
But I don't want to make this
easy on you, okay?
So let's set
some ground rules, okay?
You can ask me
whatever you want,
but it's gotta be
a yes or no question.
And you are not allowed
to ask me if I'm the killer.
Cool?
- O-okay.
- Okay.
- Um, is the, uh--
is the victim
a friend of yours?
- Oh, yeah. Yeah.
- Did the victim, uh,
willingly enter the premises?
- Mm-hmm.
- Did you kill the victim?
- Why would you ask me that?
Brad, why would
you ask me that?
I specifically told you not
to ask me that--
ohh.
You wanted to see
what my body language was
when I shut you down, right?
Maybe my nonanswer is better
than my answer.
Jesus, Brad!
Man, I knew you were good,
but I didn't know
you were that good, Brad.
It's really impress--oh!
Oh, God!
Ow, ow.
Ah! Oh, my back.
- You okay?
- Oh, God.
I have this bad back.
Ow!
Oh, gosh.
This boo-boo is so big.
He's so heavy.
It's okay though.
It's okay.
You know?
Nothing worthwhile
is easy, right?
Just gotta put my--oh, God.
Oh, God. Oh.
Oh, no, Brad.
This one's bad.
What are we gonna do?
I mean--
Well, here's an idea.
I mean, it's
a little unorthodox, but
you could help me.
I mean, look, of course,
you know, I would
keep you protected, you know,
you can wear these and--
Otherwise, I-I just don't know
how we're gonna get
our little buddy into the hole
over there, you know?
This is probably the seminal
scene in the film so far,
and I don't want this
to turn into a short film.
A very short film.
[both grunting]
- It's kind of nice,
isn't it, you know?
Little physical labor.
We spend so much time
in our heads.
It's nice to be outside,
get some steps in, endorphins,
check a couple of doodads
off the old to-do list.
Whew!
It's really nice.
I'm gonna take care
of a couple of things inside.
- Shit.
What the--
- Hey.
What are you doing?
- [grunting]
- Brad.
Would you like a hand?
Don't be mad.
Come on.
Here, give me this.
Give me this.
Give me this.
Okay. All right.
Come on, Brad.
Here, let me help you.
There we go.
Ow! Ow!
Help me!
Help me!
- What?
- Help!
Ah, it hurts!
My back!
I need you to walk on my back!
- What?
- Walk on my back now!
- Okay, okay.
Uh, like this?
- Oh, yeah.
[moaning]
Oh, that's good, Brad.
There you go, Br--
oh, wait, not there!
No! Ow!
- Oh--
- It hurts!
It hurts! Enough!
Get off me!
Get off!
Agh!
Okay.
Ow. Ow.
- It's you.
- What?
- You're the killer.
- Are you asking me
or are you telling me?
- I don't see anyone else here
who could've done it.
- Oh.
So you're feeling good.
You're feeling confident.
You're pretty sure it's me.
But here's the thing, Brad.
You only get one guess
at who the killer is.
One.
So you're gonna want
to make sure you're right.
Are you sure?
- Yeah.
Okay.
Okay.
Um
Well, you know what?
I think, uh,
we've got all the footage
that we need.
And I think it's time--
I think it's time to, um--
I think it's time to, uh,
jog to the fucking car.
It's time--
[car beeping]
[engine revs]
[car thumps, horn honks]
What the fuck?
What the fuck?
[car beeps]
Oh, God.
Oh, God.
- Brad.
- [gasps]
- What did you do?
- [burping]
- Oh, the burping.
- [retching violently]
[coughing]
[grunting]
- Yeah.
All right.
Doing great, Brad.
Doing really good.
Almost there.
Okay.
There we go.
Whew!
[claps] All right.
So, Brad, um,
as you may have guessed,
you were not right
about it that time.
You were not right.
I did not kill
that big boo-boo on the bottom.
But the thing is, I have killed
some people before.
So I'm gonna give you
a second chance.
I never do this.
But you are Brad Branson.
I'm gonna give you a hint.
You ready?
- Okay.
- Yeah. Yeah.
The little boo-boo right there,
the new one.
Don't be afraid.
Take a little peeky-peeky.
What do you see?
- It's the guy from the locket.
- Mm-hmm.
It's connected, Brad.
Come on, let's start
putting it together, okay?
The clues, bring it in.
- All right.
Um, okay, so the, uh,
the bottom guy was--
maybe he was--
he was obsessed
with the guy on the--
[clears throat]
The guy on the top,
and, um,
there was some kind of, uh,
I don't know, weird sex thing
with the mask.
And the bottom guy killed
the top guy.
- Okay, um,
I mean, it's not the big "aha"
and the burping moment
from "The Jinx."
But, um--but it's a start.
The question is,
is that the final answer?
Brad, is that your final answ--
- No, no, no, no.
- Okay, okay, okay.
Good, good, good,
because that was
gonna be wrong,
and we don't want that, okay?
So why don't you just
take a breath, calm down.
And look around.
Look for some clues.
- Yeah. Okay, sure.
- You got this.
You got this.
- Right. Uh, let's see.
[clears throat]
Um, well
Um
- Oh, you see something,
don't you?
Look, if you'd like to--
[laughing]
- Help!
[floorboards creaking softly]
- [whispering] Brad.
Brad.
Hey.
Check it out.
Look.
You get it?
Just keep watching.
- [grunting]
- Is this not the greatest
twist for the movie or what?
Brad,
you're the killer.
It's like you said.
Can't see anybody else here.
Ow, it hurts! Ow!
It hurts!
It hurts!
Enough! Get off me!
Get off! Agh!
Ooh, this is my favorite one.
[car horn honks]
Beep.
Okay.
I understand
you're probably upset
that I took your movie away.
I do feel like some evil
Hollywood executive.
But let's face it, Brad.
You just might not
have it anymore.
Okay, I've been trying
to prop you up all day
with positive reinforcement.
But the truth is,
your shot choices,
they're a little stock, okay?
Your guesses at the killer,
they were uninspired.
And when I gave you
a legitimate chance to escape,
that was just sad.
But still, despite all of this,
there is a part of me
that still believes in you.
So I'm gonna give you
one more chance, Brad,
to take back your movie
and make the best version,
the version where Brad
not only finds the killer,
he kills the killer.
Yes.
But you're gonna have
to work really hard.
You're gonna have to be
really, really smart.
You're gonna have
to beat me, Brad.
So take your time.
What's your next move?
Oh, yeah, th-that's an option.
Mm-hmm.
Oh, don't get
all depressed, Brad.
We're g--whoa!
[groans]
Oh, Brad.
That door's locked.
Lock's tricky, isn't it?
[laughing]
- No!
- Good call.
Good move,
locking the door, Bradski.
All right.
Okay.
[loud thud]
Hi, Brad.
- No. No.
[metallic thunk]
No! No!
No!
- Yes! Yeah!
- [groaning]
- [laughs]
- [groaning]
- [grunts]
- [rasps]
- [grunts]
- [rasps]
- [exhales heavily]
Whew!
Whew.
[footsteps approaching]
[exhales heavily]
[clicks tongue]
Well, they can't
all be "The Jinx."
[burps]
Hey, the burping.
[chuckles]
[intense piano music]
♪
[whistling]
♪