All language subtitles for Nocturnal.Animals.2016.1080p.BluRay.x264-[YTS.AG]

(BREATHING HEAVILY)

WOMAN 1: (ON TV) And by the way,
honey, with all this decolletage

you should be getting a lot more
dickoletage than what he has to offer.

And as I can recall it,

you were the one that
told me that when he came,

it was as thin as coconut water.

Honey, that's a deal breaker for me.

WOMAN 2: (ON TV) It was that thin.

WOMAN 1: Well, I see we're
settling for less nowadays.

(BOTH LAUGHING)

That's beyond.

CHRISTOPHER: Mrs. Morrow,
a package arrived for you.

I found it in the mailbox this morning.

May I ask you who you'd
like on duty this weekend?

Um, actually, why don't you
give everybody the weekend off?

- Are you sure?
- Yeah, yeah.

We might go to the beach house and, uh,

if not, it might be nice
to have a weekend alone.

- I'll let everyone know.
- Thank you.

Oh, damn it.

- Christopher?
- CHRISTOPHER: Yes?

I'm sorry. Can you help me open
this? I just got a paper cut.

- Yeah, of course. Here, let me do it.
- Thank you.

Yeah, yeah. I just... A paper cut.

- There's a note.
- You can read it.

"Dear Susan, I've written a novel
that will be published in the spring.

"It's different from the kind
of things that I was writing

"when we were together."

Go ahead.

"In the end you left me with
the inspiration that I needed

"to write from the heart.

"I wanted you to be the first to
read it, so I'm sending along a proof.

"I will be in LA until
Wednesday on business

"and it would be good
to see you after so long.

"My cell number and email
address are below. Edward."

Thanks.

- Morning.
- Good morning.

- What's that?
- It's a manuscript Edward sent me.

He wrote a novel.

Edward who?

Edward, my first husband. You remember him.

I didn't know he could write.

Yes, you did. He was writing a
novel when you and I got together.

You just don't remember.

Have you guys even talked in 20 years?

19.

No. I tried calling him a couple
of years back, but he hung up on me.

I think he's teaching English
at some prep school in Dallas.

It's sad, really. He never remarried.

Where were you last night?
You didn't come by the gallery.

I'm sorry. Really, I...

By the time I left the office,
I was late for my dinner and...

It would have taken you 15 minutes.

Fifteen minutes, and it
would have meant a lot to me.

Never mind.

- You didn't come to bed last night.
- I didn't wanna wake you.

Yeah.

Well, I wasn't asleep. I was
too wound up from the opening.

It went well, by the way. Apparently.

- Good.
- Yeah.

Look, why don't you and I go to the beach?

We can go tonight and come back on Monday.

Maybe if we just spent some
time, just the two of us?

Why are you wearing this
blazer on a Saturday?

Because I gotta go back to the office,

and then I gotta go to the airport,
and then I gotta go back to New York.

- You just came from there.
- Yes, I know.

But I have to go again if
I wanna get this deal done,

and I don't wanna have
to sell anything else.

- Shit.
- It's okay.

You know, the strange thing is is,

I don't really care about all this art.

- That doesn't sound like you.
- I know, but it's true.

I care.

It pisses me off.

I know you do.

Don't worry, I can fill the
walls with some new LA artists

and people will think we're ahead
of the curve instead of going broke.

You won't have to be embarrassed.

Are things a little better?

He's just having a hard time
with his business right now.

Carlos told me.

I'm surprised. I thought we
were hiding it pretty well.

Hutton would be very upset
to find out anybody knew.

He just hates not to win.

Are you sleeping?

Did you call my psycho pharmacologist?
Did you call him?

You should call him, because he's a genius.

I'm worried about you, seriously.

Just look at me for a second. Look at me.

You scared me the last time we talked.

I'm fine.

I am fine. I am...

I am. I just can't believe that
I told you all of those things.

I'm just kind of embarrassed, you know.

Because what right do I have to
not be happy? I have everything.

I feel ungrateful not to be happy.

As much right as anyone,
Susan, as much right as anyone,

because it's all relative.

You're just awfully hard on yourself.

How do you do it?

You mean with Carlos? I just...
It's... I'm totally cool with it.

And having a gay husband is
not such a bad thing, you know?

We're best friends. We
love each other completely.

I'm certainly the only woman in his life.

And that lasts longer
than lust, doesn't it?

It's forever, really.

Hutton and I don't have that.

Did you ever?

I think we just want different
things, or I want different things.

ALESSIA: Do you still love him?

I'm being summoned. Pardon me.

He has to catch a plane.
I'm gonna say goodbye.

I hope this deal works out for you.

- I really do. I know you need it.
- We need this.

No. You need this.

- Bye.
- Bye.

CHLOE: So I said,

"Well, my mother always told me

"if you massage your pussy
with Pam cooking spray

"a month before the baby comes,

"you don't need vaginal rejuvenation."

(ALL LAUGHING)

I've gotta get some Pam.

And she is going to get
a nomination this year.

A nomination? She's gonna win.

Let's talk about your opening.

- My favorite subject.
- Not mine.

The opening was spectacular last night.

Really? That's what you thought?

- What, you didn't?
- No.

I thought the work was incredibly strong.

So perfect with all this
junk culture that we live in.

It's junk. It is junk.

Total junk.

Darling, you are a big success.

- No one really likes what they do.
- Then why do we do it?

Because we're driven.

Maybe a bit insecure.

We get into things when we're young

and because we think they mean something.

SUSAN: And then we find
out that they don't.

Oh, Susan, enjoy the
absurdity of our world.

It's a lot less painful.

And believe me, our world is a lot
less painful than the real world.

Yeah, why are we driving
this old thing to Marfa?

Because I just had it completely
rebuilt. It's a classic.

It has a terrible sound system.

Well, you're gonna have
to suffer through that.

You have two sets of boots, India?

Do we really have to stop
tonight? I'd rather just get there.

All right, ask your mother. She's the boss.

I set the alarm.

(CELL PHONE KEYS CLICKING)

India, you've been on that thing for hours.

I thought you were the one
who wanted to drive all night.

I did, but what are we supposed to
do, sing campfire songs or something?

(KEYS CONTINUE CLICKING)

- How much longer?
- TONY: I don't know.

Like three, three and a half hours.

INDIA: Well, Dad, you're
gonna get your wish.

My cell service just went out.

Jesus, can you believe
there's no service here?

How is that even possible?

TONY: Two of the things I
love most about west Texas,

no phones and no people.

(TUNING RADIO)

(SWITCHES RADIO OFF)

Oh, come on.

(HONKING HORN)

(LAUGHING)

- INDIA: Total jerks.
- Are we rid of them?

- India, don't do that.
- What?

- What? What'd she do?
- She just gave 'em the finger.

- Mom. Mom, I'm scared.
- Tony.

Speed up.

- TONY: It's all right, it's all right.
- No, I don't like this.

- TONY: It's all right.
- (CAR HORN HONKING)

LAURA: Speed up. Tony.

Shit. Oh, good.

Just let 'em go. Let 'em go.

India, don't look at them.

- But, they're...
- TONY: Just don't give them any reason.

Why is he smiling like that?

TONY: I don't know, sweetheart.
It's all right. It's all right.

Whoo! (LAUGHING)

He's crazy.

- TONY: Oh, my God.
- LAURA: Oh, my God.

Shit.

Hey, motherfucker, pull
over. Pull the fuck over!

LAURA: Oh, God, Tony.

India. Is your phone working yet, India?

No, no, but I took down the license number.

No.

No.

INDIA: Oh, no.

- Pull over. Pull the fuck over!
- Dad. Dad.

Hey, asshole, pull over. Pull over.

- INDIA: Oh, no.
- LAURA: What do you want from us?

TONY: Easy, easy. Easy, easy!

INDIA: Stop it!

TONY: Shit.

Hey, come on!

Don't worry, honey. It's okay.

TONY: They probably have a gun.

LAURA: Please, Tony, pull out.

TONY: I can't move. He's blocked the car.

What's he doing?

It's okay. Don't get out the car.

I'm not getting out of the car, sweetheart.

- Good evening.
- Good evening.

You know you're supposed to stop
when there's an accident, right?

- Yeah, I know that.
- Why didn't you stop, then?

That won't work.

No signal here.

You're not supposed to leave the
scene of an accident. It's a crime.

- After the way you were driving...
- I'm sorry, what'd you say?

LAURA: Just the way you
were driving was crazy.

Hey, Turk.

- Don't come any closer.
- TONY: All right, sweetheart. It's all right.

You know, please just get back in
your car now and leave us alone.

Calm down. We got an accident
to report, that's all.

- TURK: Calm down. Hey, lady, lady, lady.
- It's a flashlight, sweetheart.

It's just a flashlight. It's all right.

- Jesus Christ.
- Okay, so let's exchange information.

- Information?
- Yeah.

- Let's exchange information.
- Get it out of the glove compartment.

Okay, I'm a Gemini. My
favorite color's pale pink.

I like long walks and kittens.

(IMITATES KITTEN MEWING)

(LAUGHS HYSTERICALLY)

We should... You know what?
We should call the police.

- Oh, oh? Really?
- Yeah. Yeah.

RAY: That's a great idea.

- It was your fucking fault, right?
- What?

It doesn't matter whose
fault it was. Let's get going.

TURK: Hey, Ray, these
guys have got a flat tire.

- LOU: They sure do.
- Well, what do you know?

- What'd he say?
- Don't believe it, Dad.

- LAURA: He said we had a flat tire.
- TONY: What did he say?

INDIA: Don't believe
him. We don't have a flat.

- LAURA: What?
- What?

Yep, your left tire's flat. It sure is.

Must have bust it when you
were shoving us off the road.

We did not shove you off the
road. You shoved us off the road.

- INDIA: It's a lie.
- You think I'm a liar?

It's okay. It's okay.

- She's just a child.
- You think I'm a liar?

No, she's not saying that,
man. She's just a child.

You don't got a flat, go on, drive.

- Start the engine and drive.
- Please drive. Just drive.

TURK: Just drive on it, asshole.
Nobody's stopping you. Drive away.

Go. Fuck off.

Stupid motherfucker.

- Shit. God damn it!
- LAURA: Oh, God. Oh, God.

- Oh, God.
- It's okay. It's all right.

LAURA: It's not okay. We're
in the middle of nowhere.

What are we gonna do,
Tony? What are we gonna do?

What are we gonna do, Tony?

RAY: I tell you what.

We'll fix it for you, won't we, guys?

Yeah, sure.

- LAURA: Really?
- Yeah.

Just to show you we're
okay, we'll fix it for you.

You won't have to do a thing.

Then we'll go to the cops together, right?

- You and me, report your accident.
- TONY: All right.

- Thank you.
- Sound good?

- Yeah.
- LAURA: Thank you.

- TURK: You got tools, mister?
- TONY: Um, I actually, I...

No need. Use ours. Come
on, let's get going.

TONY: No, it's fine, it's just fine.

I can't fix a tire, so I
can't... I need their help.

LAURA: Please don't make
eye contact with them.

TURK: You got a spare tire, man?

Can't change a tire without a spare.

TURK: You wanna give me
the keys to the trunk?

- No, don't.
- Who the fuck do you think you are?

Just pop the trunk, honey.

I got it.

That's all right, I got that. That's fine.

It's right underneath here. There you go.

Just right under there.

Just got a lot of things in here.

It's just right under there.

- Sorry.
- TURK: Get the women out of the car.

Come on, get 'em out.

Come on, man.

Gotta lift your car up on
the jack, so get 'em out.

Dude. Has he gotta lift your
wife and your child and the car?

- Right, right.
- Get your women out the car.

It's all right, honey. Just get out
of the car. They need to fix the car.

They're fine. They're just fixing the tire.

RAY: Come over here.

Come on, here. Have you
seen what you did to my car?

- You think you're fucking hot shit, don't you?
- What are you talking about?

They definitely think
they're fucking hot shit.

- Who?
- Are you serious?

- Your bitches, man. Who else?
- TONY: Look...

No, you think you're so special, you
can just bump another guy's car...

No, we were just trying to get... You
were playing some kind of crazy game.

ALL: (SHOUTING) Hey!

- Oh, my God.
- LAURA: Oh, God.

Oh, my...

(LAUGHS)

RAY: There goes your cops.

You should have tried harder to stop 'em.

That's okay. It's okay.
We'll take good care of you.

Fucking bitch. Uppity rich bitch.

I'll teach you a fucking thing or two.

It's okay.

What? What you looking at?

- Hotshot.
- What do you mean?

RAY: What are you trying to
do there on the road, huh?

What? I... What are you talking about?

Look, look, look...

We... We are... We are just trying
to get where... Where we are going.

RAY: Where's that?

- I said where you going?
- To Marfa.

What exactly is in Marfa?

- Hey, motherfucker...
- Hey!

- INDIA: Leave my dad alone, asshole!
- Leave me alone, man.

Fuck you, baby.

She didn't mean that. She's just a kid.

RAY: Your daddy won't
tell me, so why don't you?

INDIA: Let me go! What's it to you anyway?

- RAY: Look, we're nice guys.
- LAURA: Don't touch my daughter!

We're just trying to
get to where we're going.

You wanna dance? Wanna dance?

Oh, is that it? That all?

Baby, look at your daddy. He thinks
he's so much better than me, huh?

What do you think? What do you think?

- Well, he is.
- I mean, seriously, look at him.

Let her go!

You're scum, you know!

- No! No!
- Hey! Hey, get off.

RAY: Hey, watch it, you fucking assholes.

You got no fucking right
talking to me like that.

Christ's sake! Fixing your goddamn tire.

TURK: Let's go and get the
fuck out of here, y'all.

TONY: India.

LAURA: Don't cry, sweetie. It's fine.

RAY: You all right over
there? Need a tissue?

God damn, that looks bad. You might need...

- I'm fine.
- Hey, honey, you got a tampon?

- Your nose looks like shit.
- All right, I'm fine.

- I mean it looks like shit.
- I'm fine.

This is bad news. We good?

We're good. We're set.

- We're good to go.
- LAURA: Let's go.

- All right.
- We're good.

- All right.
- Yeah.

How far up the road
till we can get a signal?

Why do you wanna get further up the road?

So you can leave the
scene of an accident again?

INDIA: Leave him alone.

- There's service up by Bailey.
- All right.

How do you think we're
gonna get there, though?

- In our cars.
- Which car?

In both cars.

- Mister, don't try no fucking shit with me.
- What?

You heard me. I know what you're
doing. I know what your plan is.

- TONY: What is the matter?
- Don't try no fucking shit with me.

No, what is the matter, man?
What the fuck is wrong with you?

RAY: How do I know you ain't just gonna
floor the gas and leave me in the dust?

You get in your car and we'll get
in ours and we'll follow you there.

- Fuck you! No way. You go in my car.
- TONY: What?

RAY: You come with us.
Lou can drive your car.

No, I'm not gonna do that. No.

Okay, fine, you drive your
car and the girl comes with us.

- TONY: What? No!
- RAY: You come with us, baby.

Listen, honey, I ain't
after your fucking ass.

No, don't touch me.

You are not doing that.

- Yeah, baby. You like it like that, huh?
- Let me go!

TONY: No. Hey, wait!

What are you doing?

LAURA: Stop! Get off her, please!

Go over there.

TONY: Get your hands off her!

India.

Bye-bye, sweetheart. I love you.

India...

- LAURA: Let go of me, please.
- TONY: Get your hands off her.

Shit.

India...

RAY: Look what you gone and did.

Hey, hey. It's okay.

She the boss? Is she
the boss of your family?

- Laura?
- Have you got a vagina?

Have you got a fucking vagina there?

Hey!

- TONY: Laura!
- RAY: Vagina boy!

- Just get her in the car. Get her in the car.
- Vagina boy!

- (SHOUTING) Stay away!
- You want fucking something, boy?

- Tony.
- RAY: You want something?

- Tony.
- TONY: Laura.

- Get in the car.
- RAY: Okay, here we go.

We're going' in both cars. Hey, Lou.

- No.
- (INDIA SCREAMING LOUDLY)

(MUFFLED SCREAM)

(PIERCING SCREAM RESUMES)

Dad. Dad.

- Hey!
- Dad. Dad.

Hey! Wait! No.

No! Please, no! No! No! Please...

(RINGING)

Susan?

Why didn't you call me and
let me know you got in safely?

'Cause it's 4:00 in the
morning. I didn't wanna wake you.

If you can't sleep, why don't
you take one of your pills?

Where are you?

I'm just walking in the door of the hotel.

- What floor, sir?
- 31, please.

That's not our usual floor.

No, our regular room wasn't available.

You should have seen the
scene I caused in the lobby.

I hope you got some sleep on the plane.

I do worry about you. Even though
you think that I don't, I do.

You must be exhausted.

- I hate that flight. It's really not...
- 31, madam.

HUTTON: I'm at my floor. I gotta run.
I'll call you later, okay? Susan?

Susan, can you hear me?

Yes. Yes, I heard you.

Get some sleep.

(INAUDIBLE)

You're driving.

- Is this the exit?
- Exit for what?

- Well, for Bailey.
- Keep going.

Keep going. Speed up.

- What the fuck are you doing to us?
- Here. Turn down here.

No, fuck you. I am not
going down that road.

Listen, mister, you wanna
see your wife and kid?

Then turn down the road.

You gonna cry now?

That's my car we just passed.

It ain't your car, man. Keep going.

I don't think you need to
worry about your wife and kid.

Like I say, you don't
need to worry about them.

What do you mean, I don't need to worry
about them? What the fuck does that mean?

Calm down. He ain't never killed
nobody yet, that's all I mean.

Least as far as I know he ain't.

Killed? What are you
talking about, killing?

I said he ain't killed nobody yet.

If you'd listen to me,
you'd hear what I was saying.

Well, looks like we've run out
of road and they ain't here.

I wonder if I made a mistake.

It's time for you to get out now, okay?

- Get out!
- TONY: What are you... What are you doing?

- You'll get killed if you don't watch it.
- Wait.

Wait!

No, wait. Wait, wait, wait!

No! No!

(COUGHING)

RAY: What did you fucking
leave him out here for?

LOU: Hey, mister!

Your wife wants you!

RAY: Get in the fucking car.

Hey, mister! Your wife!

Mister!

Shit.

(GROANS)

TONY: Hey.

Hey!

Hey! Hey!

- (DOG BARKING)
- (BABY CRYING)

Hey.

May I use your phone?

GRAVES: Mr. Hastings,
there's no town

near here called Bailey.

I was afraid of that.

There's a motel across
the street. You got money?

I have... I have credit cards.

It's still early, Mr. Hastings.

But we'll call if we get anything.

All right, thank you.

(SOBBING)

(TELEPHONE RINGING)

Hello?

GRAVES: This is Lieutenant Graves.

They found your car over in a
dried-out arroyo at Topping.

- What about my wife and daughter?
- Still no news.

They weren't in the car.

We're turning the case
over to Lieutenant Andes.

He wants to know if he can
pick you up in a few minutes.

Yeah, I'm ready now.

- Morning.
- Oh, glad to meet you.

I'm Bobby Andes. I look
into things around here.

- You found my car?
- They found it in a creek bed.

Tell you what, we take you back
to the house we picked you up at,

you think you could backtrack from there?

I could try.

Okay, then, you try. Let's go.

It's my understanding these
fellas didn't have any guns.

No.

All right.

So let me get this straight,
you say some fella named Lou

just drove you out into the
brush and left you there?

- No, he made me drive.
- He made you drive.

And then when you started to walk
out, you saw 'em coming in again.

- Yes.
- Hmm. Whose car were they in?

I think it was mine.

You think? What makes you think that?

By the look of it and the sound
of it. It sounded like my car.

Could you see 'em in the dark?

- Not very well.
- Did they say anything?

They said, "Mister, your wife wants you."

You didn't go to 'em.
Why didn't you go to 'em?

I don't know why I didn't go. I was...

Okay.

Can you take it from here?

Yeah, I came down the highway
and I walked for a long time,

'cause no one stopped for me.

Sergeant, back up slowly down the shoulder.

Put your signal lights on.

TONY: Stop the car. Stop the car!

I came out of that
barbwire fence right there.

Right by the reflector. I remember that.

Let's get out and walk. You
said you walked out, right?

I came up... I came up right here,

'cause I walked along
that arroyo over there.

ANDES: This is part of
the old Valdes place.

There's an old cattle
station down that way a bit

next to where they burn their garbage.

This road leads to it.

Is she all right?

(CELL PHONE BUZZING)

SAMANTHA: Mom? Is that you?
Is everything all right?

SUSAN: Yeah, yeah, it's fine. I
just wanted to hear your voice.

I miss you.

You woke me up. I'm still in
bed. It's Sunday morning, Mom.

Can I call you later?

Yeah. Yeah, call me later.
Go back to bed, sweetheart.

You sound weird. Are you okay?

I'm fine. I'm fine.

Go back to bed.

I love you.

Me too.

- I'll call you later.
- Okay.

(LINE DISCONNECTS)

SUSAN: Edward? Edward?

- Hi.
- Susan.

- Hi. God.
- How are you?

- It's good to see someone I know.
- It's good to see you.

You look beautiful, as always.

What are you doing in New York City?

I'm here for an interview
for a scholarship at Columbia.

Columbia? I thought that you
were at the University of Texas

becoming a great writer.

A great writer? I mean, I
don't... I don't think so.

Well, I am...

But aren't you at Yale
becoming a great artist?

Graduated Yale, but I'm at
Columbia getting my master's degree.

- Oh, wow.
- Yeah, art history.

- That's great.
- Yeah.

Listen, do you know
anybody else in New York?

- Just you.
- Just me.

Okay, well, would you like to go to dinner?

- Absolutely.
- Okay.

Okay, great. Just let me... Just let
me drop off my packages at my apartment.

All right, do you want me to grab
them for you? I can hold that.

Yeah, great. Thank you.
Oh... I miss Texas men.

You don't have blizzards
like this in Texas.

No, you don't.

(BOTH CHUCKLING)

You know that you were my first
crush when we were at Hastings?

I only spent so much time around
your brother just to be around you.

Well, you were his first crush.

- What?
- Yeah.

Well, I had no idea Cooper was gay.

I don't think he knew back then,
but he was obsessed with you.

Mmm.

- Wow.
- Yeah.

If I hadn't caught you
staring at me so much,

- I would have thought you were sleeping with him.
- (SIGHS)

I, actually... I feel terrible.

I haven't called him in a few years.

I feel like I've been a bad
friend. I hope I didn't hurt him.

You're good, you know that?

No, you are. Most guys
would have freaked out

if they found out their best
friend was in love with them.

You're very sweet.

You should call him. He would like that.

My parents have basically disowned him.

They're not really talking anymore.

- Why?
- Why? Are you serious?

Well, you know my parents, right?

They're religious,
conservative, sexist, racist,

Republican, materialistic,
narcissistic, racist.

- I could keep going...
- I'm just wondering what you really think, Susan.

It's true, I know.

But they just see us as a
reflection of themselves,

so they can't accept Cooper for who he is.

I'm not sure how I'm gonna fare.

Aren't you being a little hard on them?

No.

They have an antiquated idea
of how I should live my life.

Especially my mother.

I understand. I've always loved your mom.

- Really?
- Oh, yeah.

She was great with me when my dad died.

Mmm.

You both have the same kind
of sadness in your eyes.

- What?
- You and your mother.

That is a weird thing to say, Edward.

Oh, I'm sorry. I don't mean to offend you.

I just... She just always seemed sad to me.

She has sad eyes.

And I've thought that
since I was a little boy.

You have the same eyes.

They're beautiful.

Just don't say I'm like my mom,
okay? I don't wanna be like her.

It's funny, 'cause I
always envied your family.

I felt like such an impostor at school.

You did? I thought I was the
only one who felt like that.

- You?
- Yeah.

I was so busy trying to be perfect and...

- And you don't feel that way?
- No.

That's exactly what makes you so perfect.

You are gonna be a great novelist,

'cause you have created a fictitious
character in your head about...

- No.
- Yes.

- No.
- Yes.

No.

I don't believe that.

Why'd you give up on becoming an artist?

Because I'm too cynical to be an artist.

I think that to be really, really good,

you have to come from someplace
inside that I'm just not sure I have.

You underestimate yourself.

Do you know that?

Edward, um,

will you come home with me?

Well, that's a bit forward.

- Yeah.
- (BOTH CHUCKLING)

It's not what I'd expect
from a Texas debutante.

Well, you know all
debutantes are sluts, so...

- Hmm.
- (LAUGHS)

- Hmm.
- Hmm.

And you were my first crush too.

I know.

(DOOR BUZZES)

We got a report from Ozona.

Someone else harassed on the
highway last night just like you.

If you don't mind, we
could use your fingerprints.

Mine?

There's just a bunch of
prints on the trunk of the car.

It could help us sort 'em out.

(BREATHING HEAVILY)

There's something else.

Yeah?

We have the cause of death.

Your wife had a fractured skull.

She was probably struck with
a hammer or a baseball bat,

probably just once or twice, so...

Your daughter had a
much more difficult time.

She was suffocated.

She also had a broken arm.

And they had both been raped.

(SOBBING)

It turns out you were right
about that trailer, too.

How?

Those fellas, they took
your folks in there,

just like you thought.

How do you know that?

We found your wife's
fingerprints on the bedpost.

- Whose trailer is it?
- It's clear.

Guy doesn't even live
here. He's in El Paso.

Trailer's been broken into.
Somebody's been living in it.

There's prints all over the place.

We're gonna have to check
'em against the owner's,

see if we can separate 'em out.

- Right.
- I'm hopeful, though.

The owner hasn't been
there since last fall, so...

Looks promising.

Prom...

Promising?

ANNE: Why didn't you
tell me this before?

You're actually
gonna leave New York,

move to Austin and go to the
goddamn University of Texas?

Why are you doing this?

I mean, where is this gonna go?

What do you mean, where
is this going to go?

I'm going to marry Edward.
That's where this is going to go.

This is a ridiculous conversation.

You're too young to get married.

Really?

Mom, last summer you tried to
convince me that I had to marry Bass.

That is different.

Bass is your equal.

Oh, my God. Did you just say
that? You really just said that.

That came out of your mouth. That's...

Why do you always think the worst of me?

That is not what I meant.

What I meant is that you
are very strong-willed,

and Edward, as sweet as he
is, he's too weak for you.

Weak is not a word that I
would use to describe Edward.

Sensitive is a word that I would use,

which isn't a word I would use to
describe anyone else in this family,

except maybe Cooper.

Don't bring Cooper into this.

Sorry.

Come on, Susan.

I know you think that we don't
care about the same things,

but you're wrong.

In a few years, all these bourgeois
things, as you so like to call them,

are gonna be very important to you,

and Edward's not gonna be
able to give them to you.

He has no money.

He's not driven. He's not ambitious.

And I can promise you, if you marry Edward,

your father's not gonna
give them to you either.

No, you're right. He's not driven

the way that you would like him to be.

But he is strong.

He's stronger than I am in a lot of ways.

Just... He just has a different
kind of strength is all.

"A different kind of strength."

And what kind of strength is that?

He has the strength to believe in himself

and believe in me.

Susan,

keep seeing him if you have to,

live with him, I don't care,

but do not marry him.

(STAMMERING) I understand what
you see in Edward. I get it.

- No.
- No, wait, I do.

- No, you don't. No, you don't.
- Yes, I do.

He is a romantic.

(SIGHS)

But he is also very fragile.

I saw that when his father died.

Don't...

Don't do this.

You'll regret it.

And you'll only hurt Edward in the end.

The things you love about him
now are the things you'll hate

in a few years.

(BREATHES DEEPLY)

You may not realize it,

but you and I are a lot
more alike than you think.

No. You're wrong. You
and I are nothing alike.

Really?

Just wait.

We all eventually turn into our mothers.

(KEYBOARD CLACKING)

(CELL PHONE RINGING)

- TONY: Yeah?
- Tony Hastings?

Yes. Who is this?

Roberto Andes. I've sent
you an email. You get it?

Yes.

Well, you recognize the guy?

- No.
- Shit.

God damn it. You sure?

Yeah. The whole thing's just a blur.

Well, his prints are
all over your car.

They found 'em at the trailer
too. His name's Steve Adams.

He's got a record in
California. A stolen car,

acquittal on a rape charge.
I put out an APB on him.

He's the only lead we got, Tony,

and I sure as hell don't
have any other witnesses.

You sure you don't recognize him?

No.

Fuck. What's wrong with you, man?

Don't you wanna put these guys away?

Yeah, of course I do.

The whole thing is just some...

Just a blank.

(TONY PANTING)

(BREATHES DEEPLY)

(INDIA SCREAMING)

(GASPS)

TONY: I know it was him.

ANDES: Well, that may be, but
nobody's seen him around here lately.

Listen, I gotta be honest with you.

Right now it's not looking good.

Sometimes these cases go months
or even years without a break.

You need to prepare
yourself for that.

(PANTING)

SUSAN: Why are you
so driven to write?

EDWARD: I guess it's a way
of keeping things alive.

You know, saving things
that will eventually die.

And if I write it down, then,

it'll last forever.

- TONY: Afternoon.
- Hey, there.

Sorry I'm late. There was
traffic on the interstate.

That's all right.

You look different.

No beard.

You look... You look different too.

Yeah. So I'll tell you what we got.

We had an attempted hold-up

at the supermarket in the mall
last night just before closing.

We caught one of the guys,

one got killed and one got away.

What do you, what do you want me to do?

See if you recognize the guy we caught.

You can look at the dead one too,

although I don't really
think it's necessary.

We know who he is.

Who?

Steve Adams.

The one you called Turk that
I emailed you about last year?

Come on in.

Are you afraid to look this
fella in the eye? Let him see you?

No.

That's good. I think it will help him talk.

(DOOR BUZZING)

That's him, that guy on the left.

On the far left. That's him.

ANDES: No, no, no, no,
no, no. Hold up, son.

You ain't that lucky. Get over here.

(CLICKS MOUTH)

(DOOR CLOSES)

- This fella?
- Yes.

I see. Right. I don't think he understands.

Lou. Lou. Hey, you.

- Your name Lou?
- You know my name. I told you.

- Yeah?
- Yeah. What's going on?

Well, I guess I want you to tell me
if you've ever seen this man before.

Think carefully. You ever seen him?

No, I don't know him.

- Hmm?
- Who is he?

Why don't you tell him,
Tony? Tell him who he is.

Last summer, this man,
Lou, and his friends,

they forced us off the
road on the interstate

and two of them forced their way into
my car with my wife and my daughter.

- And then this man...
- This man? This man Lou?

Yes. Lou, he made me drive his car,

he took me to the middle of
the desert and he left me there.

And later my wife and
daughter were found dead

near the same place.

Well, that ain't right.

(ANDES CLEARS THROAT)

What you got to say about
this man's wife and daughter?

I don't know nothing about that.

I've never seen him before in my life.

What you gonna tell me about Ray and Turk?

- Who?
- Who?

What, are you an owl? You an owl, Lou?

- I never heard of 'em.
- You never heard of 'em?

No, sir.

Hmm.

Mmm-hmm.

(CHUCKLES)

All right.

- ANDES: Officer.
- (DOOR OPENS)

- Put him up.
- (DOOR CLOSES)

- Are you sure this is the man?
- Absolutely, yes.

You'll swear in a court of
law under penalty of perjury?

Yes.

Good.

Well, we got Lou.

I'm gonna charge him with murder.

What, do you have enough evidence?

Oh, you bet, between you and the
prints in the car and the trailer.

What, he went back to the
trailer after he left me?

Yeah, looks like it. Uh, he probably
just went back to tell 'em where you were.

That's why they came back with the bodies.

They were, they were gonna kill you.

You see? Yeah.

I bet your friend Ray's the
third fella in the hold-up.

- What now?
- Well, you're gonna wait for trial.

And I'm gonna go find Ray.

ALEX: Don't forget you have a
board meeting at the museum at 3:00.

I'm sorry. What was that?

You didn't sleep again, did you?

You know me. I never sleep.

My ex-husband used to
call me a nocturnal animal.

What ex-husband?

I didn't know you had an
ex-husband. Since when?

A couple of years in graduate school.

It's weird, I've been thinking
about him a lot lately,

and then recently he sent me
this book that he's written

and it's

violent and it's sad,

and he titled it Nocturnal
Animals and he dedicated it to me.

Did you love him?

Yeah, I loved him.

He was a writer and, uh,
I didn't have faith in him.

I panicked and I did
something horrible to him.

Something unforgivable, really.

- You left him?
- I left him.

I left him in a brutal way,

for the handsome and dashing Hutton.

- Who is very handsome and dashing.
- ...and dashing. Yes.

(LAUGHS)

Do you ever feel like your
life has turned into something

you never intended?

No.

Of course not. You just
started living your life.

You really didn't get any sleep, did you?

No.

(FOOTSTEPS APPROACHING)

(INAUDIBLE)

SUSAN: Where did this painting come from?

What do you mean, where did it come from?

You bought it for us, remember?

It was part of the series
like eight years ago.

- It's great, isn't it?
- Yeah.

- (BABY COOING FROM PHONE)
- What is that?

Oh, my God, it's so cool.

It's this app that lets me watch
Willow while she's in her crib.

Really? Do you not trust your nanny?

No, no, I do. I just hate her, so...

And I would like to be more involved

with Willow throughout the day, so...

Look. There she is.

And the sound's incredible. You
can actually hear her breathing.

And I can talk to her if I want to.

(GASPS) I'm sorry. I'm so sorry. I'm...

- Are you okay?
- Yeah.

Yeah, I just...

I thought I saw someone.

Well, you did see someone.

That's Willow and she's in her crib.

She's sleeping.

I'm really sorry about
your phone. I can, um...

It's fine. A new one comes
out next week anyway, so...

Thanks.

(INHALES SHARPLY) Shall we?

They're all waiting for us.

SAGE: We're under no contractual
obligations. Which is good.

I know we all have different,
you know, opinions about this,

but as far as I'm concerned...

Anyways, I think we should cut her loose.

She isn't who she sold herself
to be when we hired her.

LINDA: I disagree. I think
we should keep her for now.

- SAGE: Why is that?
- LINDA: Because she's great and we all like her.

She just needs our support and
a little bit of time, that's all.

SAMANTHA: But it's not
working. We need to fire her.

There's an awesome candidate that
we could steal from the Hammer

if we move fast.

I agree with Linda. We hired
her. We should support her.

New doctor?

No. New haircut.

SAGE: But, Susan, you were the
one who brought it up last meeting

that you were looking for a change.

I know, but now I think we should keep her.

Sometimes it's...

Sometimes maybe it's not such a good idea

to change things quite so much.

(FOOTSTEPS APPROACHING)

I don't get it. What are we doing here?

Shit. (COUGHS)

Are you okay?

(SPITS)

Yeah. I'm fine. Follow me.

That's Ray Marcus.

He's been named as a frequent companion

of Lou Bates and Steve Adams.

Part-time electrician,
part-time plumber,

hence the clever toilet facilities.

He's not a bad match to your description

and the fella at the hold-up.

No fingerprints, but we knew that before.

I wonder why there aren't any fingerprints.

ANDES: Well, his hands
were probably on your wife.

His record's clean, except for
a rape charge that got dropped.

I heard from this barman at
this place, Line Camp Bar,

that Ray lives here with a girl named Leila

but he also keeps another spot

to take girls she don't know about,

probably your murder trailer
before it got notorious.

Does he look like he could be the guy?

Yes, that's him.

Good.

Let's talk to him.

- Hey, Ray.
- What the fuck?

Who the hell are you?

Get off my property, man.

Shit, I'll call you back.

I wanna ask you some questions.

Fuck you.

I'm occupied at the moment.

- What's that?
- ANDES: Just a few questions, that's all.

- We need you to come with us.
- What for? I ain't done nothin'.

- I ain't saying you did.
- Well, ask me here.

No, we need you to take
a little drive with us.

Come on, finish up what
you're doing and let's go.

Do you mind turning round?

(SIGHS)

Believe me, I wish I could, but...

Fucking unbelievable.

(TRAIN WHISTLE IN DISTANCE)

ANDES: All right, that's enough. Come on.

Come on, now.

All right, come on. Get dressed. Come on.

(TOILET FLUSHING)

- RAY: You questioning me?
- ANDES: Yeah.

- Yeah, that's what we're doing, ain't it?
- You ain't read me my rights.

(COUGHS)

- You know your rights, Ray.
- You're supposed to read 'em to me.

I read you your rights, didn't I, Tony?

Uh-huh.

I read you your rights.

This ain't legal, man. I'm supposed
to have a lawyer or something.

Calm down, sunshine.

This is just informal
questioning, that's all.

You're helping me out. I ain't
charged you with nothing yet.

Now, if you want a lawyer, I
can take you down to the station

and charge you with something.

Oh, come on, man, listen,
you ain't gotta take me in.

I'm answering the
questions, ain't I? Come on.

(CLAPS HANDS) Give me some
questions. I'll answer your questions.

I don't know any more about this
hold-up than I did before I met you.

- (EXHALES)
- I tell you what,

I'm gonna ask you a different question.

- You recognize this car?
- (SIGHS) What car?

This one. The one we're driving around in.

Why should I recognize this fucking car?

It ain't familiar to you?

It don't remind you of
nothing, take you back?

- Why should it?
- You don't remember driving it?

- I think I'd know.
- Yeah. How about the driver?

- What?
- This fella?

This fella sitting behind the
steering wheel. My friend Tony?

You remember him?

I can't see him. Make him turn around.

ANDES: Stop the car, Tony.

ANDES: Turn around and
look at this piece of shit.

- Who is this guy?
- You don't remember him?

- Can't say I do.
- You remember him, Tony?

- Yes.
- Well, refresh his memory.

Last summer on the interstate.

Tell him what you remember he did.

You killed my wife and my daughter.

That's crazy. I never killed nobody.

- ANDES: Tell him the whole thing.
- Mmm-mmm.

You and your buddies on the
interstate, you forced us off the road.

- ANDES: Tell him who his buddies are.
- Lou and Turk.

You remember that, Ray?

You remember horsing around on
the interstate with your buddies,

playing chicken with the other cars?

You're crazy. That's crazy.

TONY: You made us stop and we had a
flat tire and Lou and Turk fixed it.

Then you and Turk got in my
car with my wife and my daughter

- and you forced me in your car with Lou.
- ANDES: What then, Tony?

Lou took me out into the
brush and kicked me out.

And you came back in my car

and you called out for me,
trying to lure me into your trap.

You came back where Lou had left me

ANDES: Oh, is that why
you went back there, Ray?

(SCOFFS)

- You're fucking crazy!
- Tell him what we found there, Tony.

- TONY: You tell him.
- Do I have to? Don't you know, Ray?

Y'all are crazy. It's crazy.

TONY: The bodies of my wife and child

which you took back there and dumped.

You're the one. I know you.

What do you say, Ray?

You're crazy. You're making a big mistake.

ANDES: Mmm. I don't think so.

I don't think so, Ray. Put
your hands out in front of you.

- You got no right.
- Got no right?

Rights, rights, rights.
You and your goddamn rights.

Speaking of rights, I
just wanna let you know

I'm recording this entire conversation.

There. You clear?

- Mmm-hmm.
- All right, let's go, Tony.

ANDES: Now, we're going to
a place you might remember,

and you can help yourself
out by telling me about it.

But if you don't remember,

Tony does, all right?

RAY: Hey, I'm sorry you
lost your folks, man.

It's a shame. But I didn't
have nothin' to do with it.

- What's this place?
- You know this place.

- Honest to God, I don't.
- You wanna get out, Tony?

- ANDES: Shall we have a look inside, Ray?
- RAY: What for?

ANDES: Come on, let's take a look.

All right, all right.

Oh, you raped them on the bed, I suppose.

- I never raped nobody.
- Stop fucking around, Ray.

We seen your record. We know
about that girl in Lubbock.

The charges were dropped.
I never raped nobody.

I wanna know, Ray.

I wanna know the exact
story, what you did to them.

- You'll have to ask somebody else.
- I wanna know what they said.

I wanna know what my wife said

and I wanna know what my daughter said.

I wanna know how you killed them.

And I wanna know if they
knew it was happening to them.

I wanna know what they felt!

I wanna know if they hurt.

Answer me!

Answer me!

Answer me, you fucking bastard!

(GRUNTS)

Is it better?

You're gonna take this
the wrong way, but, um,

I think that you should write
about something other than yourself.

(CHUCKLES)

Nobody writes about
anything but themselves.

I just, my mind started to
wander when I was reading it,

and that's not good, right?

I don't know what to do. Maybe, you know,

maybe I don't have a book in me.

Maybe give yourself some
space. Just do something else.

- Can you not do that?
- What?

Because it... That makes me feel
like you don't believe in me.

- Edward, that's not what I said.
- No, you didn't say that.

But you're saying it with your face

and you're saying it when you sigh.

Whatever, you're saying it when you
say you want me to go back to school.

Well, yeah, I do want
you to go back to school.

I don't see what's wrong with that.

I mean, I'm just being a realist.

I mean, you're gonna work at a
book store and just write a novel,

like that's what you
wanna do with your life?

I mean, that's really romantic,
but, like, what? This is it?

- This is it? This is what...
- You sound like your mother.

Well, you always said that I
reminded you so much of her, so...

You know, this is exactly why
I don't wanna read your work

because you always get
so fucking defensive.

Yeah, of course I'm defensive!

Do you know what it feels like to put
yourself out on the line creatively

and then have someone you love tell
you that they don't understand it?

No, I don't, because I'm not creative...

EDWARD: That's because
you choose not to be.

I don't wanna fight.
I'm tired and I'm edgy.

I've been writing all night. I just
wanted you to like it, all right?

Thanks.

ANDES: I got some news
you're not gonna like.

They're letting Ray Marcus go.

TONY: What? What do you
mean, they're letting him go?

The D.A. says we don't
have enough hard evidence,

what we have is circumstantial.

He needs corroboration.

(TONY SCOFFS)

I'm real sorry, Tony.

It's a goddamn shame.

At least you got to lay a good belt on him.

No, that's not enough.
What else can we do?

I can think of something.

You'd better get here quick, though.

He ain't gonna stick around for long.

Okay, all right, I'm leaving now.

What?

I told you, I got lung
cancer. It's metastasized.

- But you smoke all the time.
- Yeah, well, that's how it works.

What's the point in quitting
now? I'll be dead in a year.

- (SIGHS)
- It's this fella named Jenks.

He's the lawyer the
court appointed for Ray.

He's a little smart ass from Dallas.

He and the D.A. made a deal
and Ray got off. Politics.

When did you tell me you were sick?

See, they're trying to force me out.

They already got another
fella lined up for the job.

I don't understand what
you're talking about.

They'd drop a murder case to do that?

Oh, yeah. Give 'em the reason, ammunition.

They said my case wasn't well-prepared,
was a sloppy job, slapdash,

no evidence and evidence
improperly gathered,

won't stand up in court.

The D.A.'s too much of a chickenshit
to take a case he might lose.

They're not dropping Lou.

Well, it's no fucking
good if we don't get Ray.

Good.

That's what I was hoping you'd say.

They want me to retire and enjoy the
benefits of my cancer somewhere else.

- Fuck that.
- You never told me about the cancer.

The problem with Ray is his alibi.

You have a family?

- Ray claims he was with that little...
- Bobby. Bobby.

What?

Do you have anyone in your life?

No. No wife or...

I have a daughter in Corpus.

Has she been a help?

She doesn't know. What can she do about it?

Anyway, Ray claims

he was with that little girl,
Leila whatever her name is,

and she backs him up.

Her aunt backs her up.

What are we gonna do?

It's a question of how serious
you are about seeing justice done.

You get me?

(EXHALES) I can't eat. Gonna throw up.

How are you gonna get
anything done if you can't eat?

Sometimes I can, sometimes I
can't. This place is terrible.

I need you to eat something.

So let me ask you a personal question.

Off the record, between you and me.

What do you want me to do with Ray Marcus?

Well, what can you do with him?

- Anything you goddamn like.
- (TONY CHUCKLES)

- But I thought you said that...
- (CLEARS THROAT)

Listen,

I got nothin' to lose.

I'm not gonna let this asshole
D.A. fuck up my last case.

I'm also not gonna stand by
and watch a murderer go free.

I've seen too many sick fucks like
Ray Marcus get off over the years.

Now, are you willing to go outside
of strict procedure on this?

Yes.

- You sure?
- Yes.

(CELL PHONE RINGING)

Andes here.

You're kidding? All right, thanks.

Ray just showed up at Line Camp.

I'm gonna let that little
idiot get nice and liquored up

and then I'm gonna go grab his
ass and take him to my camp.

And I want you to come with me.

We're gonna keep him for a
little while, work him over a bit,

get a little rough, make him suffer.

And then we'll see what he does.

Would you like that?

SUSAN: You have to realize
that this is not working.

We are not working. We are too different.

- We are not right for each other.
- Susan, stop.

We're not right for each other?

No, we're not right for each other.

- We are perfect for each other.
- No, we're not perfect for each other, Edward.

We may be perfect for each other

if we didn't live in the real world,

but I live in the real world and I
need a life that is more structured.

- I need a future that is more structured.
- Hey.

I want to be the person that you
want me to be, but I just can't.

- You are. You are.
- I can't be that.

Hey, no, stop.

I, I really wanted to be this
person that you thought I was,

I really did, but I'm just not that person.

- I'm, I'm cynical, I'm pragmatic.
- No, look...

- No, I am. I'm a realist.
- You're afraid. You're afraid.

No, I'm not afraid.

- We've been through this so many times before.
- I'm not scared.

- I'm not scared. I'm unhappy.
- All right.

I'm just really, really unhappy.

You're so...

You really are so
wonderful and you're just so

sensitive and romantic and...

- Weak. That's right, yeah.
- What? I did not say you were weak.

- You've said it so many times before.
- I did not call you weak.

You've said it before, so
why don't you say it again?

- Weak.
- I did not say you were weak.

- I did not say you were weak.
- Do you love me?

- That's not the point.
- No, that is the point.

- No, it is not the point.
- That is the point!

- That is not the point.
- You didn't answer me.

- Yes, I love you.
- Well, when you love someone,

you work it out.

You don't just throw it away.

You have to be careful with it.

You might never get it again.

I can't do this with you anymore, Edward.

I just can't keep doing this.

Susan...

You can't just walk away from things

all the time.

(ANDES COUGHING)

- ANDES: Come on. Come on.
- RAY: Oh, shit. Come on.

I told you, I don't know
nothin' about this situation.

Why don't you go ask in there, man?

ANDES: I'll see you in a minute, okay?

Okay, sweetie?

We're going to my camp.

It's in White Creek near the
trailer where they took your folks.

You follow.

Sit up.

(PANTS)

(ANDES GROANS)

ANDES: Oh, Jesus. I'm gonna be
sick. Tony, get over here, quick.

Here, you use this, right?

You shoot him if he gets out of line.

(RETCHING)

(LAUGHING)

Boo.

Hey, man, this ain't
legal. If this were legal,

you'd have taken me to the
station, not this fucking place.

It's all the legal we need, boy.

- There ain't no new evidence.
- Oh, yeah?

Why don't you take me in if
you got new evidence? Huh?

I like it better here. It's more relaxed.

It seems to me you
tried this trick already.

If you think this guy's
gonna break me down,

- you already seen that don't work.
- Oh, yeah,

but what would you say if I told you

your friend Lou Bates implicated you

- in the Hastings murders?
- (RAY CHUCKLES)

If Lou had done that, you
would have taken me in.

Well, don't worry, we'll
get you to the station.

- (DOOR OPENING)
- Don't worry. Oh, who's this?

- ANDES: Well, looky here.
- You son of a bitch.

- ANDES: All right.
- (GROANS)

Okay, come on, boy. Get over there.

- Lou, what'd you fucking tell this guy?
- I didn't tell him nothin'.

No, he said you told him I was the
one who killed this guy's wife and kid.

What? That's what he told me about you.

You're supposed to be the lawman.
What kind of bullshit is this?

Fuck off

both of you.

Now, do you two have any last
words you wanna say to each other?

I think what we should do, Tony,

is we should just kill them right now.

It's gonna be rough for 'em out there,

not knowing how it's gonna come.

Maybe Ray'll get killed
for resisting arrest, huh?

Coming home late at night,

he might get shot by a burglar.

(GUN CLICKS)

(CHUCKLES)

Oh, you feeling uncomfortable, boy?

Ooh. Come on up here.

Yeah, you look like you're
feeling uncomfortable.

- What?
- Sorry. I'm sorry.

What's that?

I ain't gonna kill you, son.

I'm a policeman.

What, you gonna cry?

Are you gonna cry?

Aw, okay. Well, since you're
feeling so uncomfortable...

Tony, get over here.

Take this.

- Go on, right here, okay?
- Please don't.

- Fuck.
- Right here, right here.

Right here, okay?

- Right.
- RAY: Hey, hey.

What about me? I might be
feeling uncomfortable too.

ANDES: Oh, yeah?

Okay, come on up.

There you go. Free as a bird.

Okay? How about it?

What do you say, Tony? Now,
what shall we do with these two?

What you gonna do?

What you gonna do, son?

Come on.

Come on.

(RETCHING)

Let's go...

He's got a gun.

- TONY: Bobby?
- ANDES: Shoot 'em, Tony. Shoot 'em.

Come back here, you little fuckers!

(GRUNTING)

(COUGHING)

No. No.

No, please.

(RAIN SPLATTERING)

HUTTON: Are you okay?

I'm gonna live to regret this.

I regret it now.

You know, I'm Catholic. I
don't even believe in abortions.

I'm so sorry.

I feel so useless.

You're anything but useless. You
always know exactly what to do.

Thank you.

I just don't think I'm ever gonna
be able to look at Edward again

after what I did to his child.

He'll never find out.

What did I do? What did I do?

HUTTON: I promise it'll be okay.

(SOBS)

HUTTON: I'll make it okay.

Oh, my God, no.

Edward.

ANDES: Tony.

Mmm.

Hey.

You know I had to shoot him, right?

(TONY SOBBING)

I don't give a goddamn
fuck that you shot him!

I'm glad that you shot him!

I'm fucking glad that he's dead!

(SCREAMS)

I should have stopped it!

I should have protected them.

I should have seen it coming.

I should have stopped it.

ANDES: Hey, now. Hey, now.

I should have stopped it.

Shh.

- It's okay.
- I should have stopped it.

It's okay.

Hey.

You're okay.

I should have stopped it, Bobby.

Look at me.

You're a good man.

You're a good man.

Come on. We gotta get up.

Ray gets to the road, he's gonna hitchhike.

We gotta catch him before he gets a ride.

Now, listen to me.

When you get to the fork in
the road, you veer to the left.

That's gonna take you back
towards where he took your folks.

I suspect he's gonna go for the highway.

I'll go that direction.

You take this. I got
another one in the car.

- Bobby...
- What?

Are you in trouble for all this?

Hell, I don't know. I
don't really give a shit.

I'm dying, remember?

Fuck.

You. Where's your pal?

He's on his way.

Your cop friends?

They're around.

They here?

It's just me for the moment.

Oh.

You and that fucking gun
you don't know how to use.

What happened to Lou?

He's dead.

What?

Fucking son of a bitch.

That's big trouble for your
friend, you know that, right?

I don't think so.

(MOCKINGLY) You don't think so?

Well, then, what the fuck do you want?

You and that silly gun.

I've seen how handy
you are with that thing.

Sit down. Sit down.

You sit down or I'll fucking kill you.

Listen, man...

Why does a nice guy like you

hang out with a guy like
Andes who kills people?

You kill people.

They had it coming to 'em, your
fucking wife and that kid, but you...

You got me wrong, it was an accident.

It was an accident?

I got a certain pride
in how people talk to me.

There are certain things
I don't put up with.

When someone accuses me of something,

that's a fucking insult.

It gives me the right.

If my woman accuses me
of fucking somebody else,

well, then, I'll go fuck somebody else.

If your daughter thinks I'm
a rapist, then she gets raped.

Nobody gets away with
what you did to us. Nobody.

Nobody.

They don't?

Nobody.

Nobody.

(WHISPERS) Nobody.

Well, then, you should just kill me, then.

Right?

You should fucking kill me.

Man, you know nothing.

It's fun to kill people.

You of all people should try it sometime.

Fun?

It's fun to kill people?

Did you have fun

killing my wife and daughter?

Get up.

Get up. Go on, now.

Go on. Go on.

Go on.

Go on.

(SUCKS TEETH)

(KISSES)

I remember your fucking wife.

(LAUGHS) I remember fucking your wife.

You're too weak.

Too fucking weak, you know.

You're too weak to do anything about it.

- Son of a bitch!
- (THUD)

(FLIES BUZZING)

(MOANING)

(GUNSHOT)

(GROANS)

(GUNSHOT)

(HEARTBEAT)

(GASPS)

- (SUSAN SOBS)
- (TONY MOANS)

(MOANING)

(HEARTBEAT SLOWS)

(HEARTBEAT STOPS)

(SOFTLY) Edward.

(PHONE BUZZES)

(SIGHS)

HOSTESS: Right this way, sir.

(FOOTSTEPS APPROACHING)

(PATRONS LAUGHING NEARBY)