Original subtitles

- Okay. White balance looks good.

Levels are good.

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.

Hello?

Anybody home?

Ew.

Hello?

- 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.

- 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.

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?

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.

Um...

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?

What is this?

What is this?

Oh, the burping.

- 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.

- 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...

Like, truly, who would do that?

What kind of a person would do that?

Okay, sir?

I'm ready to start.

Hello?

Okay.

- 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.

Man.

Oh, man. - Mm-hmm.

Whoop!

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.

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?

- 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--

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!

Ah! Oh, my back. - You okay?

- Oh, God. I have this bad back.

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.

- 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.

It's really nice.

I'm gonna take care of a couple of things inside.

- Shit.

What the--

- Hey.

What are you doing?

- 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.

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.

Oh, that's good, Brad.

There you go, Br-- oh, wait, not there!

No! Ow!

It hurts!

It hurts! Enough!

Get off me! Get off!

Agh!

Okay.

- 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.

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--

What the fuck?

What the fuck?

Oh, God.

Oh, God.

Brad.

- What did you do?

Oh, the burping.

Yeah.

All right.

Doing great, Brad.

Doing really good.

Almost there.

Okay.

There we go.

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.

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--

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.

Um, well...

Um...

- Oh, you see something, don't you?

Look, if you'd like to--

Help!

Brad.

Brad.

Hey.

Check it out.

Look.

You get it?

Just keep watching.

- 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.

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.

Oh, don't get all depressed, Brad.

We're g--whoa!

Oh, Brad.

That door's locked.

Lock's tricky, isn't it?

No!

- Good call.

Good move, locking the door, Bradski.

All right.

Okay.

Hi, Brad.

- No. No.

No! No!

No! - Yes! Yeah!

Well, they can't all be "The Jinx."

Hey, the burping.