PREVIOUSLY ON "WICKED CITY"...
YOU MAY NEED TIME. I KNOW THAT. BUT I HAVE FAITH IN US, BETTY.
Jack: CORONER'S OFFICE CAME THROUGH
WITH AN I.D. ON OUR JANE DOE.
VERA BENNETT.
MAYBE SHE WAS HIS FIRST KILL.
THIS KID HAD TO BE IN HER LIFE.
ENOUGH THAT SOMEONE WOULD REMEMBER HIM.
HE WAS AROUND 11 WHEN VERA MET HIM.
HIS MOTHER HAD PASSED AWAY.
REMEMBER THIS KID'S NAME? COOPER.
I HAVE A DRUG DEALER TO BUST
YOU'RE A COP.
Paco: THIS KILLER'S JUST USING YOU.
Karen: HE'S CHOOSING ME.
Cooper: YOU'VE GOT THE RIGHT STUFF, KAREN McCLAREN.
I THINK I KNOW WHERE MALLORY'S BODY IS.
♪♪
WHAT DO WE KNOW ABOUT OUR KILLER?
WE KNOW WHO HE KILLS.
♪♪
WE KNOW HOW HE KILLS.
[ WOMAN SCREAMING ]
♪♪
LET'S FOCUS ON THE WHY.
WE KNOW HIS FIRST KILL, VERA, WAS A CRIME OF PASSION, RIGHT?
IT WAS -- IT WAS FUELED BY THE STING OF REJECTION
OF UNREQUITED LOVE.
SHE WAS DIFFERENT.
AN ACCIDENT IN HIS MIND.
SO WHY DID HE KEEP KILLING?
[ SNIFFS ]
Jack: WHAT DRIVES HIM NOW?
Rita: HOW ABOUT A MOVIE?
YOU KNOW HOW MUCH MAMA LOVES THE MOVIES.
SO MUCH THAT YOU NAMED ME AFTER MATINEE IDOL GARY COOPER.
THAT'S RIGHT, MY SWEET COOPER.
[ SMOOCHES ]
SOMEDAY, BABY, WE'LL GO TO THE MOVIES,
AND YOU'LL SEE ME UP ON THE BIG SCREEN.
ALL I NEED'S MY BIG BREAK.
I'LL GO TO ALL YOUR PICTURES, MOMMY.
MM, MY BIGGEST FAN.
[ SMOOCHES ]
THE SPEED OF THE KILLS, THE INCREASED BRUTALITY,
THE -- THE -- THE NEED FOR RECOGNITION --
THAT ALL SPEAKS TO A VOID THAT NO BODY,
NO WOMAN WILL EVER FILL.
THAT KIND OF PSYCHE HAS DEEP ROOTS IN EARLY-CHILDHOOD TRAUMA.
SO LET'S -- LET'S GO OVER WHAT WE KNOW
ABOUT HIS PRIMARY PARENT -- HIS MOTHER.
WELL, IT'S NOT MUCH.
RITA FORRESTER -- SHE O.D.'d IN '64.
BASED ON THE PROFILE, THAT PUTS THE KID AT ABOUT 8 OR 10.
AND SO FAR, THE NEIGHBORHOOD HE LIVED IN WITH HIS GRANDFATHER
HASN'T GOTTEN US MUCH, NOT ON HER OR THE KID.
ALL RIGHT, GUYS, WELL, LOOK, IF WE COULD FIND A WAY
TO CONNECT HIS PAST TO HIS PRESENT MURDERS,
THEN WE MIGHT BE ABLE TO FIND HIM.
SO CAN WE PLEASE JUST DIG UP EVERYTHING WE CAN
ON RITA FORRESTER?
THANK YOU.
♪♪
[ PAGER BEEPS ]
THE DIVE UNIT FOUND A BODY.
OKAY.
♪♪
FLY BRAND COKE.
♪♪
SAME AS THE LAST VICTIM.
WHAT IS THIS PSYCHO TELLING US?
♪ I CAN'T STOP HURTIN' MYSELF ♪
♪ I CAN'T STOP FEELIN' MY PAIN ♪
♪ I CAN'T BLAME NOBODY ELSE ♪
♪ I CAN'T GET OUT OF THE GAME ♪
♪ I CAN'T STOP HURTIN' MYSELF ♪
♪ I CAN'T STOP HURTIN' MY-- ♪
[ ENGINE SHUTS OFF, MUSIC STOPS ]
BONSOIR, MA BELLE.
VENEZ-VOUS SOUVENT ICI?
I DON'T KNOW WHAT YOU'RE SAYING.
[ CHUCKLES ] BUT IT'S WORKING.
I THOUGHT WE'D HIT THE RIOT HOUSE HOTEL.
SEEMS LIKE THE PERFECT FIT FOR
[French accent] A PHOTOGRAPHER AND HIS FOXY MUSE.
OUI. [ CHUCKLES ]
THAT'S ALL I'VE GOT. SORRY.
[ Normal voice ] THAT'S ALL YOU NEED.
[ CHUCKLES ] UM, KENT...
IS THIS ALL YOU NEED?
BEING HERE WITH YOU?
YEAH.
NO, I MEAN, FLIRTING AND GETTING PHONE NUMBERS
BUT NOT GOING ANY FURTHER.
LIKE... LIKE THE OTHER NIGHT.
I DON'T EXPECT YOU... TO GO FURTHER.
BUT SINCE THEN, I'VE BEEN HAVING THOUGHTS, URGES.
FOR MORE?
I WANT TO FEEL WHAT YOU FEEL.
BLOOD...
RUSHES THROUGH YOUR VEINS LIKE A FLOOD.
YOUR SKIN IS LIKE A LIVE WIRE -- ELECTRIC.
EVERY SENSE IS HEIGHTENED.
YOUR BODY THROBS, IT ACHES.
YOUR HEART POUNDS.
EVERYTHING IS IN YOUR HANDS.
BUT YOU'LL KNOW WHEN IT'S RIGHT.
AND NO MATTER WHAT HAPPENS,
THIS EVENING OR OTHERWISE...
IT'S YOU AND ME.
AND THAT'S ALL THAT MATTERS.
HMM.
♪♪
ALLEZ.
♪♪
[ CAR DOOR OPENS, CLOSES ]
SERIAL KILLERS RARELY USE DRUGS.
IT HINDERS THEIR ABILITY TO BE IN CONTROL AND HAVE POWER.
CONSIDERING WHAT WE KNOW ABOUT MOM'S DRUG USE,
COULD BE INTO THE PARTY GIRLS.
IT'S OEDIPAL.
SURE, SO MAYBE HE'S BUYING THE DRUGS TO LURE THEM,
BUT CLEARLY, HE'S LEAVING THEM ON PURPOSE.
I MEAN, OBVIOUSLY, MALLORY WOULDN'T PUT HER COKE
IN ANOTHER BAG TO KEEP IT FROM GETTING WET.
HE WANTS US TO SEE THEM.
WHY?
AND BOTH TIMES -- FLY BRAND COKE.
THAT'S RIGHT. FLY BRAND COKE.
THREE WORDS I'M REALLY STARTING TO HATE.
SO WE FIND THE PUSHER THAT'S SELLING TO HIM.
YEAH, THAT WOULD HELP.
BUT WE NEED TO MAKE SURE EVERY STREET BOSS
AND EVERY FLY BRAND DEALER ON THE STRIP
SEES THAT COMPOSITE OF OUR KILLER.
BET YOU MISS BODY SHOP CAN HELP US OUT.
WHY DON'T YOU GO BAT YOUR EYELASHES?
YEAH, WHY DON'T YOU GO FLUTTER YOURS AT VICE?
WE'LL SEE WHO GETS A BITE FIRST.
♪♪
Male reporter: REPORTING FROM THE SUNSET STRIP,
WE HAVE AN EXCLUSIVE INTERVIEW.
Female reporter: KAREN McCLAREN IS HERE TO SPEAK CANDIDLY
ABOUT THE HOLLYWOOD SLAYER,
THE LATEST SERIAL KILLER TERRORIZING ANGELINOS.
GOT HER RIGHT HERE.
SHE'S MET HIM.
AS A FREELANCE JOURNALIST... [ SCOFFS ]
...THIS MUST BE QUITE AN OVERWHELMING EXPERIENCE. "FREELANCE," MY ASS.
TELL ME, WHAT WAS IT LIKE FIRST MEETING THE KILLER?
HONESTLY, HE JUST SEEMED LIKE EVERY OTHER CHARMING GUY
ON THE STRIP HOPING TO MAKE IT WITH A GIRL.
WHY CHOOSE YOU TO TELL HIS STORY?
I'M NOT SURE, BUT IN HIS FIRST LETTER,
HE SAID THAT WE HAVE A CONNECTION.
AND MAYBE THAT'S TRUE.
WHAT KIND OF CONNECTION?
"TO MAKE A NAME FOR OURSELVES.
TO MAKE A DIFFERENCE."
I-I GUESS HE SAW I WAS AMBITIOUS.
AN APPEAL TO YOUR EGO.
DOES IT MAKE YOU UNCOMFORTABLE TO MAKE A NAME FOR YOURSELF
ON THE BACK OF A SERIAL KILLER?
IT'S NOT ABOUT ME.
IT'S ABOUT THE VICTIMS.
I WANT TO MAKE SURE PEOPLE REMEMBER THEM --
THEIR -- THEIR NAMES AND THE LIVES THAT WERE LOST.
[ TELEPHONE RINGING ] THANK YOU.
YEAH. AND WE'LL BE BRINGING YOU MORE DETAILS...
[ TV SHUTS OFF, RINGING CONTINUES ]
YEAH?
McCLAREN? [ CHUCKLES ]
NO, I THINK SHE STILL WORKS FOR ME, YEAH.
PAUL, ROLLING STONE.
I'M GONNA WRITE IT DOWN RIGHT NOW AND MAKE SURE KAREN GETS IT.
GOTCHA. OKAY.
OH, MY.
[ AC/DC'S "SHOOT TO THRILL" PLAYS ]
♪ I GET UNDER YOUR SKIN ♪
♪ JUST LIKE A BOMB THAT'S READY TO BLOW ♪
♪ 'CAUSE I'M ILLEGAL ♪
[ French accent ] ALL RIGHT, HERE WE ARE.
♪ I GOT EVERYTHING ♪ [ CHUCKLES ]
AH, HERE.
SOMETHING YOU LIKE?
♪ I'M GONNA TAKE YOU DOWN ♪
HUH?
♪ YEAH, DOWN, DOWN, DOWN ♪
HUH?
WHAT DO YOU SEE?
♪ SO DON'T YOU FOOL AROUND ♪
Betty: HMM.
HUH? GOOD?
♪ PULL THE TRIGGER ♪
♪ SHOOT TO THRILL ♪
♪ PLAY TO KILL ♪
♪ TOO MANY WOMEN, TOO MANY PILLS ♪
♪ SHOOT TO THRILL ♪
♪ PLAY TO KILL ♪
♪ I GOT MY GUN AT THE READY ♪
♪ GONNA FIRE AT WILL ♪
♪ 'CAUSE I SHOOT TO THRILL ♪
♪ AND I'M READY TO KILL ♪
ENCHANTé. MICHEL.
Woman: OH, HOT.
ARE YOU, LIKE, FRENCH OR SOMETHING?
OR SOMETHING. [ LAUGHS ]
CAN WE BUY YOU A DRINK?
YES, YOU CAN BUY ME A DRINK.
[ LAUGHTER ]
♪♪
[ LAUGHTER ]
CHEERS. THANKS, GUYS. [ LAUGHS ]
THIRSTY. SALUT.
NEW FRIENDS.
SHE'S PERFECT.
WOW. THANK YOU.
SEE, MICHEL'S A PHOTOGRAPHER.
ROCK 'N' ROLL. CELEBRITY SPREADS.
STUFF LIKE THAT. OH, COOL.
SO YOU SAY YOU WANT TO BE A SUPERSTAR.
WHY DON'T WE SHOOT YOU TONIGHT?
OH, UM, I-I DON'T KNOW. [ LAUGHS ]
TRUST ME, BEFORE I MET MICHEL, I WAS SO TIMID.
OH.
I WAS, UNTIL I SAW MYSELF THROUGH HIS EYES,
AND I BECAME POWERFUL, STRONG, IN CONTROL.
DON'T YOU WANT TO FEEL THAT?
MAYBE WE COULD, UH, GRAB A ROOM, TAKE SOME PHOTOS?
[ LAUGHS ]
UH, Y-YEAH, OKAY, YEAH.
UM, OKAY, UH, LET'S GET ANOTHER ROUND BEFORE WE GO UP.
I MEAN, IT'S ON ME.
OKAY, YEAH, I'LL BE BACK. YES.
♪♪
I'M READY.
TONIGHT IS THE NIGHT.
[ Normal voice ] YOU'RE SURE?
YES.
♪♪
I WANT HER TO BE MY FIRST.
[ DURAN DURAN'S "GIRLS ON FILM" PLAYS ]
[ French accent ] OUI. MORE. C'EST FANTASTIQUE.
[ CAMERA SHUTTER CLICKING ] YES! YEAH! OUI!
♪ SEE THEM WALKING HAND IN HAND ACROSS THE BRIDGE AT MIDNIGHT ♪
[ COOPER LAUGHS ] IS THIS WHAT YOU WANT?
C'EST TRES BIEN, BUT I WANT TO SEE ALL OF YOU.
♪ HEADS TURNING AS THE LIGHTS FLASHING OUT, IT'S SO BRIGHT ♪ LIKE...UM...
PLEASE. ♪ THEN WALK RIGHT OUT TO THE FOUR-LINE TRACK ♪
GET COMFORTABLE.
[ CHUCKLES ]
YOU'RE IN GOOD HANDS. ♪ THERE'S A CAMERA ROLLING ON HER BACK ♪
TRUST ME. ♪ ON HER BACK ♪
HE KNOWS WHAT HE'S DOING.
♪ AND I SENSE THE RHYTHM HUMMING ♪
♪ IN A FRENZY ALL THE WAY DOWN HER SPINE ♪ ALL RIGHT.
I'M GONNA NAIL IT.
KNOCK ON WOOD. [ IMITATES KNOCKING ]
YOU KNOW THE DRILL.
CUE ME.
"AND IF I WANTED TO SEE YOU AGAIN,
TO MAKE AN HONEST WOMAN OUT OF YOU, WHAT WOULD YOU SAY?"
"I'D SAY..."
DAMN IT, DON'T TELL ME!
"I'D SAY...
I'D SAY YOU'VE GONE MAD."
"I HAVE. IT'S BECAUSE OF YOU."
SHOOT.
I'M GONNA BE LATE.
♪♪
YOU LOVE ME, DON'T YOU, SWEETIE?
YES, MOMMY.
MORE THAN ANYTHING IN THE WORLD.
ALWAYS? AND FOREVER.
♪♪
Woman: HOW DO I LOOK?
MICHEL?
♪♪
WICKED.
[ ROCK MUSIC PLAYING ]
I KNOW YOU THINK THIS IS SOME PLAY TO SEE YOU
AND YOU'RE PROBABLY GONNA SAY NO, BUT I NEED YOUR HELP.
THE LAST TIME I TRIED HELPING YOU, IT GOT ME ARRESTED.
♪ TAKE A LOOK AROUND ♪
SO IF WE COULD JUST AVOID THAT...
♪ GOT EVERYTHING ♪
ANOTHER BODY DROPPED WITH FLY BRAND.
PLANTED?
YEAH.
SO I NEED TO GET THE COMPOSITE OUT TO ALL THE DEALERS.
COULD GET US A HIT ON HIS I.D.
I CAN'T PUSH SOMETHING LIKE THAT
WITHOUT EXPOSING MY RELATIONSHIP WITH THE COPS.
BUT IF YOU PUSH, YOU CAN GET THE HELP OF GRAHAM WALKER.
MID-LEVEL BOSS IN THE OUTFIT I'VE BEEN WORKING ON THE STRIP.
CAN YOU HELP ME GET TO HIM? [ CHUCKLES ]
BUCKET WAS MY DIRECT LINE, BUT HE'S BEEN IN THE WIND
EVER SINCE OUR LITTLE CHAT WITH YOU AND CONTRERAS.
[ SIGHS ] AND WITH BUCKET GONE, YOUR CASE HAS STALLED.
HMM.
AND BUCKET WAS A STEP CLOSER TO GRAHAM.
AND GRAHAM IS A STEP CLOSER TO THE ULTIMATE TARGET.
THE ELUSIVE "OZ," AS I LIKE TO CALL HIM.
[ CHUCKLES ]
OKAY, NOT ORIGINAL.
BUT YOU GET THE IDEA.
BAG HIM AND I GET MY PROMOTION.
SO HOW DO WE -- I -- HOW DO I GET TO HIM?
HIT HIM WHERE IT HURTS.
[ CLEARS THROAT ]
TONIGHT, WE GET THE ATTENTION OF GRAHAM WALKER.
HE'S A MID-LEVEL BOSS WHOSE MAIN SOURCE OF INCOME
HAPPENS TO BE FLY BRAND COKE.
OUR KILLER'S FAVORITE LITTLE CALLING CARD.
IF IT'S IMPORTANT TO OUR KILLER, IT'S IMPORTANT TO US,
WHICH IS WHERE GRAHAM COMES IN.
NOW, LOOK, GRAHAM WALKER IS SHREWD, ALL RIGHT? HE'S CONTROLLING.
AND HE WOULDN'T WANT PEOPLE TO THINK HE'S PLAYING NICE WITH THE COPS WITHOUT A FIGHT.
RATHER THAN HAUL HIS ASS IN, WE'RE GONNA GET AN INVITATION TO HIS HOUSE.
Jack: WE'VE GOT LOCATIONS AND TIMES
FOR EVERY CASH DROP HE'S GOT TONIGHT.
WE HIT EACH SPOT. GRAB THE CASH.
AND THEN WE LET THEM KNOW IF THEY WANT THEIR MONEY BACK,
WE'LL DELIVER IT TO GRAHAM IN PERSON.
THAT WAY, WE CAN HAVE OUR LITTLE CHAT.
LET'S HIT THE STRIP.
[ AC/DC'S "WHAT DO YOU DO FOR MONEY HONEY" PLAYS ]
[ DOOR SLAMS ]
SEE THOSE HANDS! POLICE!
SEE THOSE HANDS!
HANDS UP! YEAH, YOU! HANDS UP NOW!
LET'S GO! L.A.P.D. DONATION.
THERE YOU GO. KEEP IT GOING.
ALL OF IT. LET'S GO.
THANK YOU.
HAVE A GREAT NIGHT. Man: YEAH, RIGHT.
HEY, HEY.
UP AGAINST THE WALL. GET ON THE WALL.
WHAT DO WE GOT HERE?
MR. MONEYBAGS, HUH? GOT IT?
THANKS. STAY THERE. DON'T MOVE.
♪ NEVER GONNA GIVE IT FOR FREE ♪
Man: HOLD IT. WE'RE CLOSED HERE, HOSS.
YOU DON'T LOOK CLOSED TO ME.
♪ YOUR APARTMENT WITH A VIEW ON THE FINEST AVENUE ♪
WHAT DO WE HAVE HERE?
IS THIS A LITTLE AFTER PARTY?
I GUESS OUR INVITE GOT LOST IN THE MAIL.
WELL, WELL.
OOH.
I SPY WITH MY LITTLE EYE.
MULTIPLE COUNTS OF POSSESSION, INTENT TO DISTRIBUTE.
BINGO.
FOR THOSE OF YOU WHO HAVE NOT HAD THE PLEASURE,
I AM DETECTIVE JACK ROTH, ROBBERY-HOMICIDE.
I AM LOOKING FOR A KILLER THAT IS HIDING IN YOUR WORLD.
NOW, I NEED SOME INFO --
INFO THAT YOUR BOSS, GRAHAM, COULD HELP ME GET.
♪ HONEY, WHAT DO YOU DO FOR MONEY? ♪
WE JUST NEED TO TALK.
SO PAGE HIM. CALL HIM.
WHATEVER IT TAKES TO GET HIM THE MESSAGE.
'CAUSE UNTIL HE AGREES TO WORK WITH US,
WE'RE GONNA HAVE ONE HELL OF A BONFIRE
WITH YOUR HARD-EARNED MONEY.
AND I CAN'T IMAGINE THAT ENDS WELL FOR ANYBODY.
♪ YOU CAN SAY ANYTHING YOU TALK ABOUT ♪
Karen: WHY ARE WE ON THIS STAKEOUT, ANYWAY?
[ SIGHS ]
I'M PICKING UP FROM YOUR SUBTLE CUES THAT SOMETHING'S WRONG.
[ SCOFFS ]
YOU SAW THE NEWS.
IF YOU CAN CALL IT THAT.
WHEN WERE YOU GONNA TELL ME?
WHAT ABOUT YOU?
EVER PLAN TO TELL ME ABOUT ROLLING STONE?
THEY REACHED ME AT HOME. DUH.
[ SCOFFS ]
WELL, GOOD.
ENJOY YOUR 15 MINUTES.
♪♪
[ HORN HONKS ]
[ CAMERA SHUTTER CLICKING ]
SO, WHO TIPPED YOU OFF ABOUT THIS?
MY BEST GIRL.
♪♪
SHE ALWAYS COMES THROUGH FOR ME.
[ SIGHS ] [ CHUCKLES ]
WELL, YOUR BEST GIRL DIDN'T COME THROUGH WITH MUCH OF A STORY.
DUNNO.
MY STREET SOURCE, BUCKET, DEALS OUT THESE CLUBS.
HE'S BEEN IN THE WIND FOR A WEEK.
SOMETHING'S UP.
[ HORN HONKS ]
WELL, WELL, WELL.
[ CAMERA SHUTTER CLICKS ]
WHO DO WE HAVE HERE?
CONTRERAS AND ROTH.
IF ROBBERY-HOMICIDE IS HERE --
THIS COULD BE ABOUT THE SLAYER.
[ BOTH CHUCKLES ]
LET ME.
OHH.
EXCUSEZ-MOI.
HERE.
♪♪
OHH.
YOU ALWAYS WERE GOOD AT COLORING INSIDE THE LINES.
THANK YOU, BABY.
[ BREATHES DEEPLY ]
♪♪
MM.
MAY I HAVE THIS DANCE?
♪♪
[ CHUCKLES ]
[ SIGHS ]
[ HORN HONKS ]
WAIT. YOU JUST GOT BACK.
PLEASE DON'T LEAVE ME AGAIN.
THIS IS DIFFERENT.
I'LL ONLY BE GONE A FEW DAYS.
AND WHEN I'M BACK, ALL OUR DREAMS ARE GONNA COME TRUE.
I PROMISE.
NO. YOU'LL MUSS MY FACE.
♪♪
BE GOOD, SWEETIE. [ SIGHS ]
I LOVE YOU, MOMMY.
[ DOOR OPENS ] ALWAYS...
[ DOOR CLOSES ]
...AND FOREVER.
[ MOANING ]
OOH, LA, LA.
[ CAMERA SHUTTER CLICKING ]
♪♪
[ BOTH LAUGH ]
IT'S ALL HAPPENING.
OUI, MON ANGE.
MY ANGEL.
♪♪
[ LAUGHTER ]
MY TURN. [ SPEAKS FRENCH ]
I'M GONNA TAKE SOME DEADLY SHOTS.
OHH, DAMN IT.
DAMN IT!
WAIT, THERE -- IT'S -- THERE'S NO FILM IN HERE.
[ CHUCKLES ]
[ Normal voice ] OOPS.
THERE NEVER WAS.
[ WHITESNAKE'S "HERE I GO AGAIN" PLAYS ]
♪ I DON'T KNOW WHERE I'M GOING ♪
♪ BUT I SURE KNOW WHERE I'VE BEEN ♪
♪ HANGING ON THE PROMISES ♪
♪ AND THE SONGS OF YESTERDAY ♪
♪ AND I'VE MADE UP MY MIND ♪
♪ I AIN'T WASTING NO MORE TIME ♪
♪ AND HERE I GO AGAIN ♪
♪ THOUGH I KEEP SEARCHING FOR AN ANSWER ♪
♪ I NEVER SEEM TO FIND WHAT I'M LOOKING FOR ♪
♪ OH, LORD, I PRAY YOU GIVE ME STRENGTH TO CARRY ON ♪
♪ 'CAUSE I KNOW WHAT IT MEANS ♪
♪ TO WALK ALONG THIS LONELY STREET OF DREAMS ♪
♪ AND HERE I GO AGAIN ON MY OWN ♪
♪ GOING DOWN THE ONLY ROAD I'VE EVER KNOWN ♪
♪ LIKE A DRIFTER, I WAS BORN TO WALK ALONE ♪
♪♪
HOW ARE YOU FEELING?
LIKE YOU BROUGHT ME TO LIFE.
I KNOW IT'S WRONG TO SAY, BUT...
I'VE NEVER FELT SO ALIVE.
THERE'S NOTHING WRONG ABOUT YOU.
DID I DO OKAY?
OH, MY GOD.
YOU WERE SO POWERFUL, SO IN CONTROL.
I FELT LIKE WE WERE ONE.
I'VE NEVER FELT CLOSER TO ANYONE.
I FEEL LIKE WE'VE SHARED SOMETHING
NO ONE ELSE ON EARTH HAS.
♪♪
WHAT HAPPENS NOW?
NOT TO US -- TO HER.
HMM.
I DON'T WANT YOU TO THINK ABOUT THAT.
I'LL TAKE CARE OF IT.
BUT IT'S IMPORTANT TO YOU, RIGHT, WHAT HAPPENS AFTER?
THE RITUAL OF WHO SHE BECOMES.
♪♪
THANK YOU.
[ SIGHS ]
♪♪
UM, DO YOU WANT TO RUN THE LINES?
MAYBE IT COULD HELP YOU CALM DOWN.
IT'S ALL RIGHT, SWEETIE.
[ SNIFFLES, SIGHS ]
THEY'RE ALL UP HERE.
[ SNIFFLES ]
♪♪
[ BREATHES DEEPLY ]
MOMMY, LET ME -- NO!
♪♪
LOOK WHAT YOU DID.
♪♪
NO! [ WOMAN LAUGHS ]
YOU'VE ALREADY DONE ENOUGH!
[ MUTTERS INDISTINCTLY ]
[ WOMAN CHUCKLES ]
♪♪
DON'T LOOK AT HER!
DON'T LOOK AT US!
♪♪
[ SIGHS ]
♪♪
[ SIGHS ] I LOVE YOU, MOMMY.
AND I LOVE YOU.
♪♪
SHE DIED A FEW MONTHS LATER.
I PROMISE...
I'LL NEVER ABANDON YOU.
NEVER.
I LOVE YOU. ALWAYS.
NEVER EVER?
[ UP-TEMPO DRUMMING ]
Jack: NOT EVERY DAY
YOU GET INVITED TO A DRUG DEALER'S HOUSE.
Paco: LET'S HOPE HE'S GOT SOMETHING FOR US.
I THINK I MAY BE IN THE WRONG LINE OF WORK.
YEAH, NO ARGUMENT HERE.
[ DRUMMING STOPS ]
REGULAR CAGNEY AND LACEY, YOU TWO.
IT'S ROTH, ACTUALLY.
YES.
DETECTIVE JACK ROTH.
LET ME GUESS.
YOU DON'T WEAR A WEDDING BAND
'CAUSE YOU DON'T WANT PEOPLE LIKE ME TO KNOW
YOU HAVE A FAMILY.
BUT YOU DO SOMEHOW.
HEY, HEY, I-I GOT MY SOURCES.
YOU KNOW WHAT, LET'S NOT.
LET'S NOT WHAT? LET'S NOT TAKE THIS NUCLEAR.
M.A.D. -- MUTUAL ASSURED DESTRUCTION.
YOU KNOW, IT'S WHAT'S KEEPING US FROM NUKING THE SOVIETS.
BUT IN THIS STORY, YOU'RE THE COMMIE AND I'M U.S.A.
I FOUGHT FOR THIS COUNTRY.
YEAH?
AND LOOK AT YOU NOW.
♪♪
I TAKE IT YOU DIDN'T, UH, BRING US OUT HERE TO SHOW OFF.
YEAH, THAT'S -- THAT'S PART OF THE FUN.
I PREFER TO KEEP BUSINESS ON MY TURF.
THAT'S GREAT.
SO LET'S, UH, SKIP THE BLUSTER AND GET DOWN TO IT.
♪♪
[ SNIFFLES ]
YEAH, I GOT WORD OUT.
ONE OF MY GIRLS MATCHED A COMPOSITE
TO SOME WEIRD JOHN FROM ABOUT A YEAR AGO.
YOU GOT 10 MINUTES. SHE'S INSIDE.
OH.
LACEY HERE STAYS WITH ME.
I'M GOOD.
♪♪
JOHNS DON'T EXACTLY PAY ME TO LOOK AT THEIR FACES.
HAIR'S DIFFERENT, BUT SOMETHING ABOUT THE EYES...
I'M PRETTY SURE IT'S HIM.
OKAY, THAT'S GREAT.
UM, ANYTHING YOU CAN TELL US WOULD BE HELPFUL.
I SAW HIM A FEW TIMES.
IT WAS ALWAYS THE SAME THING.
MADE ME WEAR A BLONDE WIG AND PRETEND TO BE DEAD.
GUY ONLY GETS IT UP FOR DEAD GIRLS.
UH, ANYTHING ELSE UNIQUE YOU CAN REMEMBER?
UH, SOMETHING HE MIGHT HAVE SAID?
SOMETHING YOU SAW --
A TATTOO, BIRTHMARK, SOMETHING LIKE THAT?
HE ALWAYS PICKED ME UP IN DIFFERENT CARS.
REAL NICE STUFF, TOO, LIKE, HIGH-END, KIND OF OLD.
VINTAGE.
♪♪
THE CORPS?
YEAH, OORAH.
U.S.M.C.
TWO TOURS WITH UNCLE SAM'S MISGUIDED CHILDREN.
♪♪
I KNOW YOU, MAN.
NO, WE'VE NEVER MET.
CAME BACK FROM NAM ALL BUSTED UP,
GOT ON DRUGS OVER THERE.
STAYED ON 'EM HERE.
YOU WERE SAMPLING SOME VICES WHILE IN VICE.
YEAH, I THINK YOU GOT ME CONFUSED WITH SOMEONE ELSE.
COME ON, GIVE ME A BREAK, MAN.
YOU DON'T KNOW ME.
A VICE COP ENJOYING MY GOODS.
[ CHUCKLES ]
TRUST ME, I KNOW EXACTLY WHO YOU ARE.
OH, YEAH? YEAH.
WELL, THEN, YOU KNOW THAT I CAN DESTROY YOU.
YOU UNDERSTAND?
I'D BE VERY CAREFUL WHERE WE'RE GOING WITH THIS.
YEAH, YOU SHOULD BE CAREFUL, AS WELL.
IS THAT A THREAT?
[ CHUCKLES ]
I BET YOUR PARTNER DOESN'T EVEN KNOW YOU AS WELL AS I DO.
A GUY LIKE YOU -- LOTS OF SECRETS.
IT'S DANGEROUS.
YOU KNOW, IT'S DANGEROUS FOR YOU AND HIM.
I MEAN, I WOULD --
I WOULD HATE TO SEE EITHER ONE OF YOU GET HURT.
OKAY.
YOU LEAVE MY PARTNER OUT OF THIS.
Jack: CONTRERAS.
LET'S GO.
GOODBYE.
[ ROCK MUSIC PLAYING ]
HEY. HEY.
FOR ME? YEP.
THANKS. TO SHAKING THE TREES.
SOMETHING FALL FOR YOU?
GRAHAM'S CALLED FOR A MEETING WITH ME.
UM, I'M ON STANDBY TILL I HEAR WHEN.
AND BEFORE YOU SAY, "BE CAREFUL,"
JUST KNOW I'M -- I'M GOOD.
I KNOW YOU ARE.
GRAHAM GIVE YOU ANYTHING?
YEAH, OUR -- OUR KILLER WAS WITH ONE OF HIS PROSTITUTES
IN BETWEEN HIS FIRST KILL AND THE MOST RECENT ONE.
HE MADE HER PRETEND TO BE DEAD.
WELL, SOUNDS LIKE A BIT OF A COOLING-OFF PERIOD.
TRYING TO KEEP HIS URGES AT BAY.
YEAH, THAT'S -- THAT'S EXACTLY WHAT I WAS THINKING.
WHAT'S WITH THE SMILE?
WE'RE TALKING ABOUT A SERIAL KILLER HERE.
WELL, I LIKE TALKING SHOP WITH YOU.
YEAH, ME, TOO.
THIS PLACE IS SUCH A DUMP.
IT'S EVEN WORSE DURING THE DAY, HUH?
I LIKE IT HERE.
ME, TOO.
[ DOG BARKING IN DISTANCE ]
HI-YA, SWEET BETTY.
WHAT ARE YOU DOING HERE?
WHERE ARE THE KIDS?
UM, OUT WITH THE WIFE.
SHE TOOK ALL THE KIDS UP TO THE PARK.
TOLD HER I'D WAIT HERE FOR YOU SO YOU WOULDN'T BE WORRIED.
YOU KNOW, I WOULDN'T WANT YOU TO WORRY.
WHERE'S THE SITTER?
GAL SAID SHE HAD SOME EMERGENCY.
SHE KNOWS OUR KIDS ARE FRIENDS. ASKED ME IF WE COULD FILL IN.
AND LUCKY FOR YOU, I WAS HERE TO SAVE THE DAY.
YOU'RE WELCOME.
OKAY, GO NOW.
THAT'S THE THANKS I'M GONNA GET?
THANK YOU!
CAN YOU GET OUT?
I NEED TO GO TO THE PARK NOW AND GET MY KIDS.
I GOT AN IDEA...
ABOUT HOW YOU COULD REALLY THANK ME.
ALL RIGHT, I'M GONNA GIVE YOU A HINT.
IT INVOLVES YOUR MOUTH, BUT YOU'RE NOT TALKING.
COME ON, BABY,
YOU USED TO LOVE GETTING DOWN ON YOUR KNEES FOR ME.
GET OUT OF MY HOUSE.
OHH.
♪♪
[ DOOR SLAMS ]
[ SIGHS ]
HEY, WHAT DO YOU GOT?
WENT TO ALL RITA FORRESTER'S PREVIOUS ADDRESSES.
WAS ABLE TO COLLECT SOME OF HER STUFF
FROM AN OLD LANDLADY WHO HAD HELD ONTO IT.
REALLY? ALL THIS TIME?
THIS LADY HAD NEWSPAPERS STACKED TO HER CEILING.
I MAY NEED TO SEE A THERAPIST AFTER BEING IN THAT HOUSE.
I FEEL LIKE I SUFFERED A REAL TRAUMA.
WELL, YOU DEFINITELY NEED A SHRINK, BUT IT HAS NOTHING TO DO WITH TODAY.
UH, THERE WAS ALSO A 16-MILLIMETER FILM REEL.
I HAVE IT AT THE LAB, CONVERTING IT TO VHS.
I-I WANT THAT TAPE HANDED TO ME AS SOON AS THEY'RE DONE WITH IT.
SHE'S GOT MEMENTOS OF EVERY MOVIE SHE EVER SAW,
INCLUDING THE DATE SHE WENT ON,
BUT THERE'S NO PHOTOS OF HER KID.
YEAH, I GUESS HER PRIORITIES WERE ELSEWHERE.
DID YOU TALK TO ANYONE WHO REMEMBERED HER HAVING A SON?
YEAH. SAID HE WAS SHY, MOUSY.
MOM LEFT HIM ALONE A LOT.
THAT WAS ABOUT IT.
IT'S AMAZING THE DAMAGE WE CAN DO AS PARENTS, YOU KNOW?
YEAH.
THIS KIND OF LOOKS LIKE MARILYN
IF YOU SQUINT AND POUND FIVE BEERS.
♪♪
MARILYN IS MOM.
THE DRUGS, THE VICTIMS THAT HE TARGETS,
THE WAY HE KILLS THEM.
IT'S NOT ABOUT MARILYN.
IT'S ALL ABOUT HIS MOTHER.
YEAH.
YEAH, HE WATCHES RITA TURN HERSELF
INTO A CHEAP HOLLYWOOD SEX SYMBOL FOR MEN WHO JUST USE HER.
AND HE KILLS WOMEN WHO HAVE THE SAME DESIRE FOR FAME,
WHO HANG OUT ON THE STRIP AND HAVE DREAMS OF STARDOM.
YEAH, BUT WHY DOESN'T HE KILL THE MEN WHO TARGETED HIS MOM?
BECAUSE HE BLAMES HER FOR BELIEVING THEM,
FOR ABANDONING HIM.
RITA LEFT HIM POWERLESS, ALONE.
AND ANGRY.
HE DISMEMBERS THEM TO STRIP THEM OF THEIR IDENTITY
AND REMAKES THEM INTO THE WOMAN HE MOST DESIRES AND HATES --
HIS MOM.
WITH EACH VICTIM, HE KILLS HIS MOTHER OVER AND OVER AGAIN.
♪♪
[ MAN WHISTLES ]
AIN'T YOU A SIGHT FOR SORE EYES.
DAMN IT, BUCKET. YOU SCARED ME.
WHERE THE HELL HAVE YOU BEEN?
NONE OF YOUR BUSINESS. GET IN THE CAR.
SERIOUSLY, WHAT'S THE DEAL?
GET IN THE CAR.
GRAHAM WANTS TO SEE US.
♪♪
WHERE'S THE PARTY, RAY?
[ CHUCKLES ]
HEY, PAPA GRAHAM! YEAH!
WHAT IT IS, MAN.
STRIP.
WHAT, ARE YOU KIDDING, MAN? COME ON.
CLOTHES OFF.
SERIOUSLY?
DO IT.
JUST GREAT.
I THOUGHT THIS WAS GONNA BE A PARTY UP IN THE HILLS.
LAST NIGHT, THE COPS KNEW WHERE AND WHEN TO HIT US.
I GUESS I GOT A RAT PROBLEM.
AND I HATE RODENTS.
BOSS --
SHUT UP!
BRASS BALLS ON YOU SPEAKING UP.
'CAUSE I CAN'T HELP BUT NOTICE
THE TIMING OF YOUR LITTLE DISAPPEARING ACT.
Bucket: LOOK, MAN, I'M INNOCENT, LIKE A DAMN VIRGIN, RIGHT?
NO, NO.
SEE, YOU DIPPED OUT BECAUSE YOU WERE WORRIED
THAT I WOULD FIND OUT ABOUT THE COPS COURTING YOU.
SHE GOES TO JAIL, BUT THEY DON'T EVEN TOUCH YOU OR YOUR DRUGS.
YOU JUST WALK AWAY, JUST LEAVING YOU SITTING THERE.
YOU DIDN'T THINK I'D HEAR ABOUT THAT?
I NEGLECTED TO TELL YOU THAT, BUT I'M NOT A RAT.
TWO OF MY SOLDIERS GET FACE TIME WITH A COP
WHO ENDS UP PUTTING THE SCREWS TO ME A WEEK LATER.
I GOT TO BE HONEST.
THAT'S NOT A GOOD LOOK.
IT'S TIME TO CUT LOOSE ENDS.
[ GUN COCKS ]
♪♪
[ CHUCKLES ]
[ GUNSHOT ]
♪♪
[ GROANS ]
♪♪
YOU'RE MOVING UP.
LET'S SEE IF YOU CAN DO BETTER.
♪♪
[ KNOCK ON DOOR ]
Jack: HEY, I CAN HEAR YOU BREATHING IN THERE.
OPEN UP.
DIANNE?
JUST...
JUST GO AWAY, JACK.
WHAT YOU TALKING ABOUT?
PAGING YOU WAS A MISTAKE, OKAY?
OPEN THE DOOR, DIANNE. I WANT TO SEE YOU.
[ DOOR CREAKS ]
WELL, NOW YOU'VE SEEN ME.
COULD YOU JUST P-PLEASE, PLEASE GO?
[ DOOR CREAKS ]
YOU'RE UPSET.
WELL, WELL-DONE, SHERLOCK.
AND -- AND I'M DRUNK.
HERE, JUST HAVE A GLASS AND JUST GO.
I-I'LL GO WHEN YOU TELL ME WHAT'S WRONG.
WHAT'S WRONG?
I HAD AN AUDIENCE WITH GRAHAM TONIGHT.
OKAY?
WELL, GOOD NEWS -- I'M THE NEW BUCKET.
BAD NEWS -- I'LL BE WASHING HIS BRAIN MATTER OUT OF MY HAIR
FOR THE NEXT WEEK.
NOW YOU KNOW.
JUST, PLEASE -- JUST -- JUST GO.
DIANNE. GO AWAY, JACK.
DIANNE.
JUST -- JUST -- JUST GO, PLEASE.
JUST -- JUST -- JUST GO AWAY! DIANNE, STOP.
HEY! DIANNE, STOP.
GO! DIANNE, STOP.
STOP IT. STOP IT. STOP IT.
Shh. IT'S OKAY.
I'M NOT GONNA LEAVE.
YOU'RE OKAY.
IT'S OKAY.
OKAY, THAT'S -- THAT'S...
THAT'S NOT WHY I'M HERE.
SOMETIMES, I THINK I HATE YOU.
[ CHUCKLES ] YEAH.
NOT BECAUSE I DON'T WANT YOU OR NEED YOU.
ONLY 'CAUSE I DO.
♪♪
[ KNOCK ON DOOR ]
YEAH?
YOU BEEN HIDING IN HERE ALL DAY?
NO, WENT OUT LOOKING FOR BUCKET.
NO DICE.
SO, ROLLING STONE.
WHEN WILL I BE BUYING A COPY TO READ YOUR GENIUS?
YOU WON'T. I TURNED THEM DOWN.
I THOUGHT THAT WAS YOUR DREAM -- ROLLING STONE.
[ SIGHS ]
WHY BE A SMALL FISH IN A BIG POND...
WHEN I CAN JUST BE ME...
IN A POND WITH YOU?
McCLAREN.
THEY ONLY WANTED THE STORY, NOT MY VOICE.
I WANT MORE.
YOU LET ME TELL THE STORIES I CARE ABOUT.
THERE'S NOWHERE ELSE I'D RATHER BE.
WE'RE A GOOD TEAM.
♪♪
WHO'S THAT?
YOUR MOTHER.
THAT'S NOT HER.
IT MAY NOT BE HOW SHE STARTED OUT,
BUT THAT'S HOW SHE ENDED UP.
YOU'RE A LIAR.
I ALWAYS KNEW SHE WAS NO GOOD.
KILLED HER MAMA DAY SHE WAS BORN.
SINS LIKE THAT DON'T GO UNPUNISHED.
YOU'RE A LIAR!
TAKE IT BACK!
YOU LOOK! LOOK!
NOW, I'M NOT THE LIAR!
YOU REMEMBER THAT!
SHE PROMISED.
SHE PROMISED ME SHE'D COME BACK FOR ME.
[ SNIFFLES ]
AND TAKE ME TO THE MOVIES.
[ SNIFFLES ]
TAKE ME ANYWHERE I'D WANT TO GO.
JUST US.
♪♪
[ SNIFFLES ]
I LOVE YOU, MOMMY.
ALWAYS...
...AND FOREVER.
♪♪
Man: ROLLING.
[ SIGHS ] MARKER.
PLEASE STATE YOUR NAME AND AGE.
OH, I-I'M SORRY. CAN WE START OVER?
I-I'M JUST HAVING A BAD DAY.
WHAT DID YOU NEED AGAIN?
UH, YOUR NAME AND AGE, PLEASE?
RITA FORRESTER.
AND, UH, A LADY NEVER TELLS.
SO, UH, LET'S SAY 29.
SEE? NOT BAD, HUH?
MA'AM, PLEASE. THE SCENE.
MISS FORRESTER, IF WE COULD CONTINUE...
I'M SORRY, IT'S JUST MY SWEET BOY IS HERE.
HE'S MY LITTLE GOOD LUCK CHARM.
WE ALWAYS GO TO THE MOVIES TOGETHER -- MY DATE.
MY LITTLE MAN.
HE LOOKS JUST LIKE ME.
YOU REALLY SHOULD MEET MY BEAUTIFUL BOY.
OH. WELL --
NAMED HIM AFTER ONE OF MY FAVORITE ACTORS.
I KNOW YOU'LL JUST LOVE HIM.
THIS IS MY SOON, COOPER.
SAY HI, SWEETIE.
HI.
[ VCR CLICKS ]
♪♪