Original subtitles

(dramatic music)

Downloaded from YTS.BZ

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(uplifting music)

(upbeat music)

- I know what we need to do.

Hold on. Hildegard. - Minute change.

- Yes, please change.

- Okay. - Let's get some costume

changes in here. - Ooh. Okay.

Should I too? - Yes, please.

- Okay. - Thank you my dear.

Thank you for asking. Thank you.

Flick the freaking hat, man.

Listen, come here. I can't do this.

I want you to use your interrogation skills.

I want you to go back to that time.

Go back to Iraq, go back to Afghanistan,

go there in your mind right now.

And I want you to use those skills, okay?

You remember the work you did?

You were doing it for the United States, okay?

- I do.

- I don't care what they said in the media.

What you did, you had to do.

- It was is my duty. - It was your duty.

And I'm proud of you and I'm thank you for your service.

But what I want you to do is I want you to interrogate,

Hildegard and in your interrogation,

you don't make it seem like an interrogation at first.

What you do is you ask her these questions about performance

and life and why she came here today

and what's her purpose as an actor.

And but then you, you, you, you flip it. Okay?

You start to, you start to ask her questions about,

you know, where were you on Wednesday night

or whatever late, something like this.

You try to get it out of her if you do it right,

she might even confess to the murders.

- Oh yeah. Good idea, good idea.

Okay. Alright.

- You'd do that?

- Yeah. - All right.

- I'll do that.

- Thank you for your service.

- You're welcome. - Welcome. Jack.

- Hildegard. - Yes.

I want to do like a, like an interview kind of scene.

Like a cha, like an interview challenge.

And you're gonna do it with Steve.

- Okay. - Put the phone away though.

Seriously. Like when?

I'm Welcome back to the new season of Price Master.

I'm the hat man Without a hat. Alright.

The Hatless man we're gonna do now is Steve is gonna conduct

a very creative interview

because we wanna learn more about

what makes a creative person tick.

Today's program is educational. Educational.

You're learning to be a more creative person.

You're learning to be a more creative human being.

I was once told that I'm not a human being

and I was told that repeatedly and repeatedly and repeatedly

and repeatedly until I started to believe it.

- By whom? - I don't wanna get into that,

but I was told this

and maybe it's true, maybe it's true, but maybe it's not.

Because I feel that art humanizes us.

I feel that art truly makes us human.

And like I said, now we're gonna dive deep into the mind

of a very creative individual.

Hildegard, what's your last name?

- Smith. - Smith.

Hildegard Smith from?

- Upper Michigan. - Upper Michigan.

Let the interrogation begin.

He's supposed to be sitting there.

Steve, do you even know where he is?

- [Crew] No. Probably on his phone.

- Get this. No, get it.

Do you want to go back into the dress?

- I just answering, answering production.

- We don't have time.

- Sit down, call her over when you're ready

and then you start the interrogation.

- [Steve] Can you come over here for a few moments?

I've got some questions for you.

Please have a seat. - Thank you.

- [Steve] Just be polite.

So what brought you out here to Los Angeles?

- The weather. - The weather.

- I couldn't stand the snow anymore.

- The snow. Where? - In upper Michigan.

- [Steve] It does get cold up there.

- It does and there's, there's snow on the ground

for like seven months out of the year.

- [Steve] What was the coldest

you've ever experienced up there?

- What? Okay.

There was a, there was a day I was a kid there.

It was a wind chill of negative 30.

- Negative 30. - Yes, we were snowed in.

- Amazing. - I know.

No, it's not amazing.

- [Steve] Amazing that it could get that cold on earth.

- Yep. - So you came out here,

how long have you been out here for?

- Four years. - Four years? Okay.

And why did you come over here?

Not just for the good weather, right?

- Good weather. A lot going on out here.

- [Steve] Yeah, I mean, there's a lot to do.

Keep yourself occupied out here for sure.

- Keep self occupied. Yep. - But like any dreams

or occupations that you wanted to?

- No dreams. - No dreams at all?

- No. - Just for the better weather.

- Can't someone just go somewhere

and not have not need to have a 30 page reason why?

- [Steve] We'll just make it 29 pages then.

So what drew you to our little project here today?

- Well, interesting you should ask.

I was interested in this project

because it's an exploration of death.

It is. And I think that's interesting.

And not many people are doing that these days,

these people are afraid of it.

- [Steve] Are you like drawn to stories

or incidents of death?

- Who isn't? Are you?

- [Steve] Sometimes. Not all the time though.

I don't really think about it that much.

- But you're a cop right.

- [Steve] I wouldn't say that.

I'm a producer of many, many programs.

Death, huh? Death must grip you.

Does it motivate you in any way?

- What, to die? No.

- [Steve] Where were you the night of Tuesday the fifth.

- Tuesday the fifth of what, which month?

- June. - June. Hmm.

Oh yeah, my mother's birthday.

- [Steve] Oh, she was born on that?

- Well, no, she wasn't born on the fifth.

She was born on the first.

- So you- - We went to dinner.

- [Steve] So you had a little late celebration then?

- Yeah, she came to visit. - From Michigan.

Does she like the weather here better than Michigan?

- No. That's why she went back to Michigan.

- [Steve] Oh, okay.

She likes the cold. She likes the negative 30 degrees.

Now, approximately that night, June 5th.

- Right?

- [Steve] 9:35 PM where were you then?

- In the car on the way home?

We left the restaurant about 9:20,

about 30 minute drive.

That was 20 minute drive.

- [Steve] And where were you in Los Angeles?

Were you near like the Chatsworth area at that time?

- No, West Hollywood.

- [Steve] West Hollywood.

It's still not that far from Chatsworth.

- Why are you asking about Chatsworth?

- [Steve] Well, it's, some things have been going on there,

some death, let's put it that way.

- Death is happening everywhere all the time.

- [Steve] That's true.

But it's a little more happening in Chatsworth

if you've been watching the news lately,

do you know anyone up there in Chatsworth?

Any friends? No family right?

You're the only one out here. - No.

- Except your mom visiting and leaving?

- Correct. - Okay. Okay, wow.

I'm glad I'm correct.

- Rolling. - Hold on, hold on.

Cut. - Cut.

Creativity is a process, an ongoing,

ever flowing stream.

A stream of love and jackhammers of hats

and glasses of phones and almonds.

What you're about to see has never been done on camera.

Witness the interrogation of Steve.

- Steve? - Yes.

- [Hildegard] What part of town do you live in?

- I live in Burbank. - Why'd you say it like that?

- Because it's where dreams are made, a lot of studios.

It's where everything happens, but yet it's like suburbia.

- [Hildegard] Is that why you came out here for the studios?

- It is, yeah. Yes.

- [Hildegard] And you work in the business too?

- Yeah. Yes.

And a lot of times I've had to apologize.

Sorry to bore you. - Okay.

Do you do anything else for work, Steve?

- No, that's it, just production, you know, with,

with Jack over there and Luke.

- That's it. - Yeah.

Production after production.

We've been doing a lot lately.

- [Hildegard] What time do you usually go to bed, Steve?

- During the week, 8:30 PM.

- [Hildegard] It's quite early, isn't it?

- Yeah.

- [Hildegard] Especially for someone in the business.

- Well, I work a lot of long hours,

so when we're not shooting at night, I usually am in bed.

- [Hildegard] Where were you the night of June 5th

at 9:35 PM.

- I was at the, at the store?

- The store. - A grocery store.

- [Hildegard] Which one?

- It was, well, a little family market called Kenigan's.

- What street? - Third.

- [Hildegard] Third Street. Kenigan's on third street?

- Little small little pole in the wall.

Family grocery store.

- [Hildegard] You sure you weren't investigating, Steve?

- Did you see that? - You're laughing.

- No, I mean, I'm a, I'm a movie producer.

- [Hildegard] Yeah, a movie producer.

- That's all this is.

Right so on the night of June 5th at 9:35 PM

you were at a family market on third street.

- Yeah. It was a crazy-

- [Hildegard] That happened to be open.

Markets close at 8 30, 9 o'clock,

usually the time that you're in bed right?

- True, that was different

because I was doing a lot of night shooting.

- What were you buying? - And to answer your question,

I'm a, I'm a return customer, so the family knows me,

so they let me in after hours.

I was buying vegetables.

I like vegetables, almonds. I like almonds.

Always to get some vegetables.

I like fresh, fresh vegetables.

- At 9:35 PM. - Yes.

For the prepping for the- - June 5th is a Tuesday.

- I know some of the vegetables had to get ripe,

so by the time I get stuff.

- Where are you from? - Originally?

I'm from North Dakota.

- [Hildegard] North Dakota. What's your mother's name?

- I think you're asking a little too personal there.

I mean, I'm thinking, I'm feeling

like you're gonna scam me or something.

- [Hildegard] How would I scam you and asking a question?

- I'm the producer here.

I think you're trying to get a nice profile on me.

And the next thing you know, my bank accounts empty-

- [Hildegard] Your mother's first name.

That's all I want. - Lori.

- Say it again. - Lori.

- Say it again. - Lori.

- Say it again. - Lori. Lori.

- Look- - Lori!

(indistinct)

- It is. - Spelled like?

- A silent q at the beginning, Kintigns.

- A silent q? - We came from the Q.

- [Hildegard] What's that? The old world.

- Quebec. - Oh, they're Canadian.

Wow. That's cool.

So you've never investigated anything.

- Just production sheets and business plans

and making sure food gets to places on time and talent.

- Right? That's right.

Okay, so let's get this straight, Kenigans.

The owners are from Quebec. Have you been to Quebec?

No, I have not been.

- [Hildegard] And why would you know about that?

- 'Cause I'm close to that family.

- Say your mother's name.

- Lori.

- I think we're done here.

That was a fantastic interrogation. Thank you.

- I feel like we need to talk.

I feel so stressed about this shoot.

- What?

- All of it. - What's going on?

- I don't know. I don't know.

I just feel, I just, I put all this stuff on

and I can't, I can't be normal now.

I'm, I'm just swimming in all of this stuff

and I'm very, I don't know, uncomfortable for some reason.

You're making me a little uncomfortable.

- Oh. - I don't know why,

but it's like, not like an uncomfortable, you know,

it's, it's like a certain uncomfortable,

I don't know what it is, but.

- Well, I'm sorry if there's anything,

if I did anything.

- It's not like that.

It's just hard for me to open up to people.

- I totally agree.

I just moved here like, it's LA,

it's just so hard to meet people,

who you connect, just find that, that friendship

and that love and you know, expression.

You know what I mean?

- Yeah, I know what you mean.

I just, I, it, it's, I don't know.

I, I don't want to be inappropriate

and I don't want to be, I don't know what I'm feeling.

I don't even want to interrogate you.

You, you, I was gonna interrogate you

and I was gonna talk to you and do the same kind of scene

like that they did,

but now I feel like that's not even, I can't even do that.

And I dunno why.

So I'm, it's even hard for me to look at you.

I'm like, it's, it is just like,

I can't even get my eyes on you for some reason.

When I look at you, I just feel you're like looking

into me and I don't know.

I don't know what these feelings, I don't understand.

- I know what you mean, so anyway,

I'll just stay professional,

and hopefully it's enough but (indistinct).

I want you to enjoy your time here.

- Yeah, that's good. It's good.

Not everybody gets what we're doing, but...

- Yeah, I mean, if you need a minute.

- I wouldn't go that far, but, you know.

Yeah, it is, it is quite interesting.

Lemme take this off.

I'm just, I'm just getting...

Oh. (upbeat music)

♪ Sweet time ♪

- I don't know.

Don't touch me.

- Sorry.

♪ Oh ♪

- I should go.

- Don't go, stop, stay sit.

I'm sorry.

♪ Sweet tidings then ♪

- I'm not ready for this. - That's okay.

I thought I was ready for this, but I'm not.

But will you wait for me?

- Of course.

- Gimme some time.

- I've been through a lot and it wasn't easy.

Now I'm trying to come out here,

so if you'll just be slow and patient,

maybe I'll come out it, is that okay?

- Of course.

Anything you need, I'm here.

- Thank you. Thank you. Okay.

We're gonna get lunch. - Okay.

- And then we'll keep things flowing.

We'll, we will talk later.

- Good. Good.

- I like that. Okay.

Thank you. - Thank you.

- Alright. Okay thanks.

Delilah. Wait, come here.

Is it about money?

Did you come here for the money?

- No, I mean, honestly that was part of it,

but now that I'm here, it's just-

- Take it. All of it.

I want you to have all of it.

Yeah. It's Steve's savings.

You can have it.

- Thank you.

- I feel like it was meant for you.

I feel some way. I feel like it was meant for you

and I don't know, like I can't get close

to beauty sometimes.

So I want you to take that

and I want you to do something like really good with it.

Okay? - Of course.

- Go, go, go. - Thank you.

- You're welcome.

Bye.

Shit, Steve, ruined the damn moment.

- Lunch. - You got lunch?

- Yeah. - Okay.

Gives, make sure Delilah gets some, okay?

- Okay. - She's upstairs.

- Okay. - What did she order?

- We all got beef. - Beef.

- Everybody did. - Give her my beef.

- Okay. - Thank you.

- Are you sure? - Yes.

- [Steve] Okay. I will.

- I'll have your, what did you get?

- [Steve] I got beef. Everybody got beef.

I'll have your beef. Give her my beef.

- Okay. - Thank you.

- [Steve] You're welcome.

- I'm so stupid.

I'm not the butcher. I'm not the butcher.

You are the butcher, you're the butcher.

Turn it off, dude. Seriously.

(knife clacking)

Ah!

No, no, no.

Get it together. Get it together.

He said love is is patient.

It's calm, it's kind, it's patient, it's calm, it's kind.

Love is patient. It's calm, it's kind.

It's kind.

It's patient, it's calm, it's kind.

It's patient, it's calm and it's kind. It's patient.

And it's patient and it waits. Okay.

That's what we're gonna do. That's what we're gonna do.

That's what we're gonna do.

There's something I still don't quite understand

about today, but I think it's coming close.

You earlier said something about Delilah.

I don't know if I can believe that yet.

I still think Hildegard is the key.

It's what we're looking for

and it's what we need to focus on, okay?

- Okay. - Yeah. Now listen, listen.

I'm in a space now that I, it's really hard

for me to get out of right now.

So I really need to do another challenge

to maybe one, maybe two more.

I really need to convince myself that this is right.

- That will help out. Good idea. Jack.

- If we're right, just tell me. You, you are armed.

You have a gun? - Yeah, I do.

- Okay. Secret place.

Luke has a gun.

- Yes. - Okay.

And we have additional backup ready if needed?

- Yeah, on call. - Okay, good.

Then we're gonna continue.

We're gonna forge on.

So I'm gonna pretend now

that we're starting the after lunch session.

- Okay. - Okay.

So I'm just gonna, this is rolling.

Get it now. - Okay.

- And action. Action.

We're waiting for Gregory.

The name of this play is Waiting for Gregory.

Welcome back.

We're barreling into the end

of our creative seminar today.

Today's seminar has explored many things,

and especially we've tapped into creativity.

We've tapped into the essence of

what makes a creative performance.

Why is someone motivated to do something?

What drives a character to do something?

What drives someone to do the unthinkable?

The unspeakable, dare I say the unkillable,

but at the heart of this is one core of the creative process

and the true core of the creative process is?

- True testament.

- Okay? You didn't read the manual, but close.

Trauma, trauma, trauma is at the core

of the creative process.

Because without trauma, art would be, it would be here,

but with trauma, we can go here.

Sometimes we can even go here and at the right time

and at the right place,

we can even go here.

Does it make sense?

So what we're gonna do now is we're going

to have another dramatic performance.

I want you to tell the talent that we're going

to have a traumatic performance where they are to reenact

a traumatic moment from their lives.

Go over there and yell it up to 'em. They're up there.

Lunch is over. Steve has a, Steve has a message.

- Okay. - Okay.

Yes when we come down here, you're do a meeting

where you're gonna reenact a trauma.

A trauma that you had either earlier in your life

or more recent whenever.

So that's the next game. So come on down.

- Okay. - Sounds fun.

- Thank you. Good job, Steve, thank you.

Thank you.

Yeah come on down and I'll give you guys

a couple minutes to prepare down here.

I want the audience of this seminar to, to,

I want them really to see

how these puzzle pieces come together

because the best puzzle piece is yet to come.

And I want them to see the creative process in action.

That's what I want to see.

So here is, is Delilah, beautiful, sweet Delilah,

you are more than I ever could have anticipated.

You've actually given me something today

that I didn't have before today.

And I don't know what that is yet, but I really mean that.

And I appreciate it more than you probably know.

- Thank you. - Okay.

I'm, I'm, so, I wanna give this to you again,

just so it's like on camera

because I'm really working hard to open up.

I'm trying to be a better man.

- Thank you. That means a lot to me.

- Thank you.

I want you to tap into some traumatic side of yourself.

Some traumatic memory, like Steve said, traumatic.

You can practice over here, please.

And Hildegard, please come.

You are a pure joy to work with today.

And I say that from the bottom of my heart.

You terrify me, you startle me, you surprise me.

But that is creativity and I appreciate that so much.

There's still some things about you that I'm learning

and I'm sure there's gonna be a lot

that we're gonna be learning.

- Yes.

- But I want you to tap into the trauma

and I want you to go deep into the trauma too.

And you can practice over there.

And we're gonna get the audience a little, little,

little glimpse into behind the scenes of the creative flow.

We'll give you two minutes to prepare,

two minutes to reenact.

And then we're gonna do our little show. So game on.

- Go.

(intense music) (footsteps shuffling)

Get both them. Get both of them.

Get both of them. They're rehearsing.

Both of them. They're rehearsing.

This is the creative process. See the artist.

See the artist at work.

The artist uses their body, their mind, imagination.

See, she sees it.

Over here.

The artist uses shape, geometry, memory.

She's deep into it. This is a true master artist at work.

She's going internal. She's going internal.

Wonderful. Wonderful.

How many more minutes? - One minute, 30 seconds.

- 35 seconds. Good. - 35 seconds.

- 35 seconds. 35 seconds.

Thank you.

- [Steve] 20 Seconds.

- The face, the face. You can see it.

Perfect. Good.

Expression of the face is,

means a lot in the dramatic moment.

- That's it. - Good.

- Time's up. - Perfect. Great.

The reenactment of trauma is not easy.

And so I say this in all truthfulness,

that what you're doing right now

is really developing yourself

through the reenactment of trauma.

Would any of you like to go first? Delilah, thank you.

That makes me happy.

Thank you. I appreciate that.

Alright.

The performance will not be too long, I suspect.

But we will. We will.

When you are done, take a bow,

or signal that you are done.

Let's begin the reenactment of trauma and action.

(footsteps shuffling)

- Thank you. - Wonderful.

(crowd clapping)

- Yay trauma.

- Four, $500. Steve's money's running low.

And there you are. You're welcome.

Thank you. Thank you so much.

Thank you. Thank you.

She's taught me a lot today. Hildegard, you're ready.

Reenactment of trauma. Hildegard.

And action.

Steve here. - What is this?

- [Jack] What's she doing? Oh.

I think she's doing something.

She's stabbing somebody with a needle.

Yeah she's stabbing, little drip.

That's good, oh my gosh.

That's really...

- That was really nice. It was fantastic.

Here, take this. Thank you, thank you.

- Oh. - Take it. It's the same.

Did you say you needed to talk with me?

- Yes. - Is everything okay?

Sure. Yeah.

Hildegard, you can.

Steve, do you mind keeping an eye on Hildegard?

- No. Is, is everything okay, just take it up with me.

- It's okay. - It's okay?

Everything's okay? - Yeah.

- Alright.

- We can talk over here.

If you guys can maybe go over there,

just give us a little privacy.

- Okay. - Thank you.

- Thank you.

- Here, take your, take your money.

(footsteps shuffling)

- Sorry. Sorry.

- No, no, no, no.

I'm, it's, it's nothing.

I mean, it's, it's, it's, it's, it's fine. It's fine.

I'm sorry. You know?

But if that was hard for you to do,

or if it was like, there was-

- I feel like- - Yeah.

- I feel like it really helped me open up.

It's, I mean, sorry, I'm just really nervous,

- Look at me, I'm a monster.

I didn't, you know, my face is all...

- That's why I feel like you would understand.

And I know when we were talking earlier about being patient

and not being ready to open up.

But I just, I feel like if we're honest

with each other, just about everything,

then it would really just help the connection.

- Okay. Yeah.

I mean, you're talking like pretty deep though now.

I don't know what you're,

are you talking about the shoot today?

Or is this like is this something personal?

Should we be recording them? I mean, the camera's on.

Is it like, I don't have to use the footage, but is it okay?

Can we leave it on? - It's probably better.

- Or should I tell him to, let me tell him to turn it off.

Yeah. - Hold on.

Turn it off. Okay.

It's off, right?

- It's on.

- No, no, it's, it's, it's off. Hold on.

Let me make sure, Steve.

- Yes. - Okay.

Just, I don't know, play chess with Hildegard or something.

- I'm just keeping on standby.

- Oh, you're up there?

- Yeah, I'm up here. - All right.

We need to have like a little talk.

- Okay. - Like, everything's fine,

but like, we just need a minute.

- Okay. Oh fine. - Okay. Hildegard, you good?

- [Steve] If there's anything you need to go over with me,

let me know? - Okay. Thank you.

- [Crew] And it's on standby

for when you want me to record again.

- Alright. He doesn't- - Oh, okay.

He can stay, he can stay here. It's fine.

- Oh. - It's fine.

- Okay, it's just

or he can just leave the camera like this and walk away.

Luke, you can just go take a break.

Just, you can just leave the camera set here, it's fine.

- Okay. - Okay. Keep going.

- Okay. - What's up?

- Just had something kind of weighing on me for a while and-

- Yeah.

- I feel like you're the only person who'd really understand

and it's just-

- Well, you don't even know,

well, we just, I mean, we just met,

we're just shooting a movie.

- I, I thought you said that. Like...

- No, I like you.

No, I do, I do, I do, I do.

Don't get me wrong.

I don't, sorry. Sometimes I come off really abrasive.

I'm sorry. - I'm sorry.

I, I should-

- No, no, no, no, no, no, no, no,

no, no, no, no, no, no, no.

I want to hear you out, 'cause I feel like you're,

you're talking to me now with the truth

and everything I talk today is not fake.

It's really real, when I talk about life as a performance,

art and love as a stream and all that stuff, it's real.

- And you really mean about self-development and-

- Yes. Being honest. - Okay.

- Yes and I've seen some shit

that's like super haunting in my life.

I don't know. - Yeah.

- You have too. I saw that performance.

- Yeah and it just, it really brought up everything

that I've been feeling lately and why.

- Okay. So this is heavy.

This is for real right now you're talking real.

- Yeah. - Okay.

So were you okay?

Is everything somebody hurting you or is?

- I'm I'm the Chatsworth butcher.

- Okay. What do you mean?

What do you mean when you say that?

- I mean-

- Whatcha talking about?

- I killed those people.

- Okay. Look, look, look, look, you're nice.

You're funny, you know, you're really like,

you're making me search like, like

suddenly, like I'm shaking.

- I know. - Like, I don't,

I don't understand what you're saying right now.

- And that that is still me. That is-

- Hold on but why would you joke about this? Like?

- I'm not, I really...

- So what are you saying? It's, are you being for real?

- Yes, I thought that we could be open with each other

and just really have that understanding and, you know-

- So you killed so you, so you,

you killed, you've killed people.

- Yeah. - Why?

What do you, so, hold on.

First of all, like, you kind, I'm kind of like,

I can't register this yet.

And I don't know if you're messing with me

and if you are, it's, it's, no, it's not funny.

- I would never do that.

- You gotta speak. You can speak honestly with me.

- I am, this is the most honest I've ever been.

And I know it's, it's a lot.

And I, maybe things went too far.

I mean, it started,

well I've been working on this production

of an an all female led musical about Jack the Ripper

and, and I'm playing Jack the Ripper.

It's actually, it's gonna be up at

the Colony Theater next month.

You should come see it.

- Yeah. - But I,

I was rehearsing the role

and I just really, I couldn't,

I couldn't get into the character and,

and so I tried going method and it just unlocked something.

And the first time that I really killed somebody,

I felt so powerful.

It was like nothing I had ever felt before.

And I just, something within me

just like awoke.

And I've been chasing the feeling ever since.

I mean, have you ever felt something like that,

just to be totally in control

and see the beauty of life in your hands?

It's magical.

I just felt like you would understand

and, you know, maybe...

- Why? I don't know.

- Is this too much? I'm, I shouldn't have said.

- It's okay. It's okay.

It's okay. It's okay.

I just don't know how...

No, no, no, no, no, no, no.

How can you, no, no, no, no, no.

But you're not the butcher.

You're not, you're really sweet and nice and like kind

and you're like super like,

like you're opening up to me and everything and-

- It's all, it's all of those things.

I mean, this is who I am.

I, I, I want to be sweet

and nice that I really do care about you

and everything you've seen today is me.

But just something happens when I feel

that control and that power.

And I, I'm, I hunger for it.

It's, it's nothing like you've ever felt before, really.

- It's okay, I know. I, no, no, it's totally

what you're saying is, listen, listen, I mean this.

It's okay. You tell me this.

I get it.

- You won't tell anyone. - No, no, no, no, no.

I won't tell anyone. I won't tell anyone.

I won't tell anyone.

Let's do this, let's do this.

Can we take a little break?

I think I have to like, I'm like getting really dry,

like my mouth is getting dry.

It's like the paint and everything on my face.

No, it's okay. You know what?

Why don't you just go take a little break

and let me, let me reassess things.

Yeah. I don't know.

I'm a little like, speechless.

So let me think about this for a second. Okay?

- I understand. Alright, I'm sorry.

- That's okay.

- Is everything okay?

Anything I need to know as a producer?

If she's got a complaint

I have to make note of it.

Or is everything okay?

- No, it's, it's, it's not that listen, drop, drop.

This is not even about being a producer, dude.

It's, it's, I don't know what she said if she said it's real

or what, but I, she said, she said she's the butcher.

It's not Hildegard.

Oh shit. This changes everything.

- You have to be extra careful.

- Two truths and a lie. Two truths and a lie.

We need to do two truths and a lie now.

Two truths and a lie.

- Okay. - Are you a liar?

- No. - Or are you truthful?

- I am. I I just, I just want to be honest with you.

- You be truthful in the game.

- Yeah. - Okay. Be truthful.

- Of course. - Okay.

Sorry guys. Sorry.

I'm just, I'm just in it like I had too much caffeine.

We're gonna play two truths and a lie.

Okay? Okay. - Yeah.

- Can we do that? - Yeah.

- Okay.

- Do you want more of the rest of my money?

- I need to talk to you. Yeah.

Let's do two truths and a lie.

Two truths and a lie.

You play the game by you say two things that are not true

and then one thing that's true.

- [Speaker] That's a lie.

- You say two things that are, can you explain the game?

- Two things that are true and one thing that's not true.

- [Speaker] Right? Like a lie.

- He's gotta cool off a little bit. He's been overworked.

I guess it happens to most directors, I guess.

And he's been under a lot of pressure.

I think there's been pressure with the production company.

He's gotta get a hit out there.

He's gotta get a winner out there.

We gotta get a lot of hits online for this one.

- Okay. Okay.

Two truths and a lie.

We do it over here,

I don't remember how to play it.

I'm a little, I don't know if, if it,

can you guys go play the game over there?

- Yeah. - Okay. Go play.

Let's play two truths and a lie.

You get them on there. Get them on there.

Get them on there quick.

Guys, just gimme like 10 seconds and you guys get ready.

Okay. You ready?

Everything's okay by the way. It's okay.

But just, just, just two truths and a lie.

Who's gonna go first? - I'll go first.

- Alright guys.

So we have a special game now. It's two truths and a lie.

So we're gonna, we're gonna do that game

and we're gonna have fun and we're gonna let Hildegard

lead the game now.

So she's gonna start and Delilah's gonna,

she's gonna tell some a truth and a lie too.

- Two truths and a lie. - Two truths and a lie.

- Okay. Okay. - Alright.

And action. Go ahead.

- I eat meat.

I have killed someone

and I live in Kansas.

- Good good. No, that was great, that was great.

Delilah, before you do yours,

can you just like you guys just do

some dancing over there again?

Like, that was good. The dancing is really good.

Let's just do the dancing. Steve, Steve, come here.

Quick, quick, quick, quick, quick.

Just do some, just do some dancing.

Okay go, go, go change your clothes. Get in, go, go, go.

- You'll give it away,

she acted like she was the victim in the trauma.

She acted like she was the victim.

It's an easy way for her to turn the table.

- I can't just, I don't believe her though.

- The mirror there.

- I don't believe her.

- She was acting like she was a victim

and she really is not.

- I need to put on something.

- No don't. I'll, I'll, I'll change.

- Steve, it's really happening. It's really happening.

Go.

- Just compose yourself. We gotta buy a little more time.

- Okay. - Buy some more time.

- Alright how do you play truth?

How do you play two truths and a lie?

How do you play two truths and a lie?

- Each one goes, they say two truths and they say the lie.

The third one. - Okay.

- So they do two truths at first.

- Okay.

- And then the third one's a lie.

- All right.

- Just explain that to 'em again.

- Alright, I will.

Okay. - Okay.

I think lie is last.

- Okay. Okay guys, so thank you.

So two truths and a lie is a game

where they're gonna say two truths

and then they're gonna say one thing, one lie,

and I'm gonna have to guess which ones are the,

which one's the lie and which ones are the truth.

So it's a lot of fun. So you guys ready to have some fun?

Let's, let's go have some fun over here.

Luke, I told you to move your damn handler.

Alright, let's play the game. Let's play it.

Let's play the game. It's a little of fun.

- Same game. - Same game.

So I'm gonna be the one to judge.

Delilah, why don't you go first?

- Sure. - Yeah, I think.

- Sure.

- It makes a lot of sense. - My favorite color is blue.

I've never been outside the country.

And when I was little I had a pet Guinea pig

named Papua New Guinea pig.

- You didn't hurt him, did you?

I shouldn't have said that.

- No. - Papa New Guinea pig.

- I love Papua New Guinea pig. - Aw.

- Okay. New Guinea pig.

That's a lie. That's a lie.

You are lying to me. You're lying to me.

- Oh. - About that.

- I act, I did have a pet guinea pig,

but my favorite color isn't blue.

- [Luke] Yeah, I was about to say it ain't blue,

it's red.

- Okay, listen.

- Mark?

- It's for you. - Thanks.

- You can have a little more too.

Just, just a little bit more.

- [Hildegard] Okay. What do I gotta do to do that?

- Okay. Yeah.

Hildegard. Two thirds and a lie.

- Okay. - Yeah.

- I already went, but I can go again.

- Okay. - Yes, and, okay.

My favorite color is black.

I've been to Germany

and I've also been in every bowling alley

in the United States.

- Bowling alley's a lie. - Bowling alley's a lie.

- Bowling alley's a lie. - Good. Wow.

We're, we're rocking on this game.

We're, we're doing great now.

- Keep going. Okay, that's fine.

Okay. That's good too.

- Okay, cut. Don't move.

Hold on. Real cut.

Tell me like, you want to talk to me.

Okay. I don't know.

Should we start? Stop the game.

Do one more.

- Oh, I can do another. - You wanna do another?

- Yeah. - Okay.

- You, okay?

Here, just hold this for now.

Why don't you go over by the piano

for a little bit where it's safe.

- Okay. - I have three siblings.

I used to work at an ice cream store

and I've killed somebody.

- Ice cream store.

- I did work at an ice cream store.

- So that means you killed someone?

- What? - Or I-

- Where's Steve?

Is Steve around here is everything. That was good.

Ice cream store. Ice cream store.

- So she could kill someone.

- Ice cream store is the, is the truth, right, guys?

Ice cream store is the truth.

- Oh?

- Can I talk to you really quick for minute?

We just, I don't know. We should we do you need to?

- Is that, yeah.

Is that, can, is that okay?

- Okay. Okay, okay.

Okay. Yeah, yeah.

- You doing okay?

I, I feel like you seem like you're freaking out.

- No, no, no, no, no, no, no. I'm totally fine.

- You, about some stuff?

- No, I'm, I mean, I'm just, this is what I do.

- Okay. - Like, after I have lunch.

- I wanna make sure, like, we're good.

- We're good. - Because I know, I know.

- We're good. Just, just hold on.

I mean, we're good. We're good.

- Okay. - Yeah.

- I just, I really,

I really want to make sure that we're good.

And I know our, our conversation earlier

was like, probably a lot.

- It's okay. - Is it okay?

Yeah, yeah, yeah, yeah.

I'm fine. I'm fine.

- Okay. - Just about, about earlier.

Why, why would you make up that story?

Oh, shoot. Hildegard.

Well, everything's fine. You can take a, a break.

Whatever you, you wanna, dan,

do a little dance over here if you want to.

- I'll take a break. - You wanna take a break?

- Okay. - You sure you're okay?

Because like, I feel like you're lying to me right now

and I don't like being lied to.

- No, no, no, no. It's just a lot for me to take in.

- I know. - I come here, right?

- I thought we were supposed to be honest with each other.

- Well, yeah. I, you're, I hired you to do a job.

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

- I know, but you, but you said we had this connection.

You, you, stop moving.

- I do you know how hard it is for me to make a connection

with another woman?

Do you realize that? Do you know what I've been through?

- No. 'cause you won't open up to me. Talk to me.

- Talk to you. Talk to you.

I tried talking to you.

You told me the freaking Chatsworth Butcher.

- Yeah. I, I am.

- I should take you right now

and I should just choke you, huh?

- Do it. Do it.

Don't you wanna know how it feels? Don't you wanna know?

- You're sick.

Jesus.

Gimme my knife.

- No, - It's not funny.

- Why? What are you gonna do with it?

- Gimme my knife. Give me the knife.

- Why are you gonna stab me? Are you gonna kill me?

Would you like that?

- You think you, you come in here

and you twisted my heart because that's what you do.

- I wanted you to come with me.

But clearly you can't handle that.

- Come with you. Where, what?

You're out there stabbing people.

- Yes. - You're there killing people?

- I know you have it in you I know you want to try,

with the knife.

See?

- Give me the knife.

- For what?

- Give me the knife.

My heart's already been broken. I'm wounded.

You wanna talk about trauma? You wanna talk about trauma?

I don't believe you. You're just a liar.

You're just acting.

This is just all fake, stupid,

trying to be an actress.

Oh, I'm an actress. I'm gonna come to this movie.

I'm gonna tell the director I'm the Chatsworth Butcher.

Bullshit, bullshit, that's a real knife by the way.

- I know. - So put it down.

It's not funny anymore.

- You don't think I could? - I'm not messing around.

You don't know what you're walking into.

Cut.

- Do you wanna know what it feels like

to look someone in the eye,

hunt them down, stalk them, creep up,

and when they try to run chase them

until you finally grab a hold.

Like you see their soul seeping out

after you stab them over and over,

see their blood dripping out of their body.

- Stay back. - Like...

- Don't.

- Don't you want to watch to the light leave their eyes?

- I don't, stop. No, I don't want to know.

I don't want to know, because there are things that,

that are worth living for.

And that's what we're, that's that's,

that's what I'm trying to work with today.

That's what I'm trying to work with today,

is what's worth living for.

And we don't need to do this.

We don't need to stab, we don't need to kill.

We need to, we need to bring things to life.

- Have you ever felt powerless? Truly powerless?

- Yes. I felt powerless. - When?

- I can't trust you.

I thought I could trust you, but I can't.

And I'm not telling you. I'm not telling you.

- I've only been honest with you.

- Now you have to kill me?

- Doesn't have to be this way.

I just wanna be in control. - How does it feel good?

- You've never done it. - How do you know?

How do you know what I've done?

- I can tell. - I can tell. I can tell.

- Yeah. - I can tell you.

- [Delilah] You can barely Look me in the eye right now,

and if you had, you would be able to.

- I trusted you. I chose you to come here today.

I called you. - Yeah. To do a show.

- It's more than that. - You had no idea.

(indistinct) (orchestral music)

What are you gonna do with that, it's empty.

Can you throw it at me?

Do you wanna stab me? - No.

- Do you wanna kill me?

- No. - You sure?

- Put it down. Put the knife down.

I don't think you realize what you stepped into.

I don't think you realize what you stepped into,

and I feel absolutely betrayed and heartbroken

because I loved you.

I felt love for the first time in my life

I felt love for you today.

I felt something little, something open up inside of me.

And it was beautiful.

And I'm sorry I couldn't look you in the eye.

- You can't love me if you don't really know me.

So if this, if this isn't who you love, then you never did.

But I love you

and I don't care that- - No.

- [Delilah] You don't kill people

or you don't wanna- - Don't say that to me.

- Well, it's true. You talk about betrayal.

I opened up my heart to you.

I told you my deepest secret and you betrayed me.

- Shut up. You're talking nonsense.

Shut up, you're talking nonsense.

You're talking nonsense now.

- Oh, you tell me to shut up. - You shut up.

- You told me to shut up. - Sorry.

Go back, back. Go back.

Go back, back.

- Do not tell me to shut up.

- No, no, no, no, no.

- Stop. - I told you to stop.

- Stop. Shit, Steve.

Steve. - He's not gonna help you.

- Steve's right there. - Drop the knife.

Hold it. Hold it, hold it right there.

You said drop the knife. Pick it up again.

Say that. Hold on.

Say that line, Chris. - Drop the knife.

- Good scene. - I got it. I'm good.

I'm good. I'm good.

- Did she harm you? - Did she harm me?

Did she harm me? - No.

You don't know what you walked into.

Why did you have to tell me this shit?

You're the butcher. You're the butcher.

It wasn't supposed to be like this.

It wasn't supposed to be like this.

She didn't hurt me physically,

but she hurt me another way.

I don't know what to do now.

- Alright, calm down. The situations under control.

Okay. Alright.

- Okay. - Just calm down.

All right, Jack.

(intense music)

- [Jack] Why? Why did you have to do this?

It wasn't what it's supposed to be.

- Well, I trusted you.

- You, I didn't think you were a murderer, murderer.

- [Steve] We'll get the DNA evidence back.

- [Jack] Oh! No.

- Seems to be a problem. - No, not no.

- Jack, Jack, Jack. Calm down, Jack, calm down.

- Was this some sort of set up?

Yeah, she's with me.

- Oh, Steve, Jack. - Hello. Please take a seat.

- [Jack] What's going on?

- Sit and have little conversation.

- [Jack] Hold on, hold on, hold on. Get away from her.

She's a killer. - Don't leave the gun there.

Geez, my God Hildegard.

What is this, Steve? What's...

- [Steve] Jack, Jack don't worry.

I had this planned from the start.

We've been working on this case for months.

- [Jack] Holy shit.

- Delilah, I'm gonna ask you a couple of questions.

Are you okay with that?

- I guess I will be.

- First, I would like to say it's been very nice

getting to know you today, seeing how you work.

I do have a few questions.

First, where were you the night of June 5th this year

at 9:35.

- Killing someone. (laughs) - Yeah, I know. How many?

- Six. - Okay.

- Hands up. - Yes.

- Sir. I need to get a little bit of space.

(indistinct) (intense music)

- Get grip.

(indistinct) (intense music continues)

- Sorry it didn't work out for this.

(indistinct) (intense music continues)

- So that we got you to justice, brought you to Justice.

(indistinct) (intense music continues)

- So, Delilah, do you have any final words?

(indistinct) (intense music continues)

- What? While all this was going on as well?

She getting paid more. I'm still getting paid, right?

(indistinct) (intense music continues)

- It's okay. Emotions are high, it's okay Jack.

- I want to talk to Greg, where's Greg.

- We'll wait for Greg.

- We will Jack.

(indistinct) (intense music continues)

- That's fine, Jack, can I ask you,

put that knife down.. - Give it to me, sure.

(intense music continues)

- Don't make me search you. - In this outfit?

- Yes. In that outfit. - I don't this so.

- Okay. Are you ready to go?

- How many? - Six.

- Okay I gotta ask you,

you're not carrying any weapons on you right now?

- I don't think so.

- Yes or no, don't make me search you.

- No ma'am. - Okay.

Guess we'll give you a shot too,

didn't think you gonna get caught this way.

But you did confess.

- You know it all has to come to an end at some point.

- That's right.

- It's better if I accept it.

Stay in control. - Right? Stay in control.

- Detective. Now's the time. - Heard.

- O'Neill. Steve, stop, sit down.

Give me the knife back please.

- Let go of me.

I'm cooperating, aren't I?

- No, no. Let go, no.

- Come here Detective, Detective, grab it.

Please. Grab, grab it, grab it.

Hold her. - Let me talk.

- Hold her, hold her. Stop.

Hold on. - Delilah, don't fight.

- Delilah do not fight. - Why?

- Don't fight it. - What are you doing.

- Don't fight it.

Come here ladies and gentlemen.

- The more you fight, the harder it's gonna be.

- Steve, O'Neill. Keep the gun on her.

- [Steve] Jack, you just gotta get out of harms way.

I'm fine. You never shot me yet.

Dude, you're not going.

- Officer, take the shot.

- Hold on. - Stop.

- Hold on ladies and gentlemen.

- Wait, wait.

- Welcome Delilah. Welcome to dance.

- Don't touch me. Get off of me.

- No, no, please.

- Do you have any final words?

Welcome to dance the kung fu.

Today we've explored a range of topics from creativity,

love, self-development, self-empowerment.

And the puzzle is becoming more

and more complete by the minute.

And guess what we've done humanity

a great service today by bringing to justice

the Chatsworth Butcher,

this monster of a serial killer,

and now it's time that we offer the sacrifice to Greg

for all he's done and all he does for us.

So it's gonna be quick, it's gonna be painless,

and it's gonna be well deserved.

Hold her arms. Steve.

- [Steve] Do you have any last words?

- So you do know how it feels after it all?

- The camera. - Just do it.

(gun firing) (alarms blaring)

- Is she breathing? - No.

- Are you sure? (peaceful music)

- That might be the last production for a while.

- [Hildegard] She's dead.

- Sorry Jack.

- Can you gimme my knife just one more time please.

Please. Okay? - All right. Okay.

- Thank you. - Luke.

Just one more. - Okay.

- I love you.

(Jack grunting) (sirens wailing)

- And that my friends, that's show business.

Did you guys get a load of this? They're always different.

Like the position, the, the, the,

the kind of the tone of it all.

And it is artistic. That's what people don't realize.

Like this kind of murder. It, it's, it's artistic.

Are you with me? Why are you guys so quiet?

You hungry? - Just hungry. Yeah.

- What do we got around here?

What was that chicken place? - We got craft in.

- No, no. What was the place down the road?

- Cali Kabob.

- Don't say the name of it.

What was the place down the road that-

- I don't think there was any other way-

- That was it? - I think that was it.

- Can we leave the body?

Do you think the studio will mind if we leave the body?

- Eventually we'll have to clean it up. Dispose of it.

What do you think? Is it safe?

- I think it's safe. - Did we pay off?

Did we already pay them off or are we gonna pay them off?

- That's a producer question. - That's true.

- I have to look at the business.

- Alright. - The business outlook.

But it was, we the business plan.

- We did it. - We did it.

- [Hildegard] We did it. Now we need to get some food.

- We need to get some food. - Yeah.

- We got garbage bags.

We can leave this for a little bit,

but, oh shoot, I almost forgot.

- Hmm. - The icing on the cake.

Luke, did you bring your shotgun?

- Yeah. - All right.

let's let Luke, you know, we,

I always like to make sure this is like taken care of

and give him a little- - Absolutely.

- You know what he needs. But let's, let's go.

We'll get ready to get some food,

and it's gonna be hot outside.

Take this here, it's gonna be loud.

- Look at this. It's like something out of a fairytale.

But this ain't no very fairy tale.

(gun cocks) (gun firing)

Something out of a fairytale.

But this ain't no fairytale.

(gun firing)

- [Jack] How many rounds you got in that thing?

- Six more. - Let's do it. Six more!

Then we're outta here, guys.

(gun firing)

- Something out of a fairytale. But this ain't no fairytale.

(gun firing)

Something out of a fairytale. But this ain't no fairytale.

(gun firing)

(peaceful music)

(peaceful music continues)

(peaceful music continues)

- Jack. - Yeah.

- Come over here. - Sure thing.

Put your hands up! - Hands up.

- You're under arrest.

Whoa!

It's all good. We're safe now.

- We're safe.

- I don't know. How's it look?

- Everything's put back for the most part.

Well the furniture's back. (piano twangs)

Looked over the place.

- Good. - What time are we here?

- Until 6:30.

- What time is it now? 3:30.

Not bad.

- What do we do?

- Oh, I mean, gotta pack the cars up.

- Yeah. - Do some final run throughs.

Make sure everything is put back exactly how we found it.

- So it sounds like we're waiting.

Waiting for Greg.

He didn't come yet. Huh?

- He will be here soon.

- Was he here earlier? - No.

- Are you sure?

- I'm sure. - Okay.

(plastic rustling)

- Thank you. - He'll be here.

- Yeah I know. (plastic rustling)

Any minute.

- I guess we'll just wait.

Yeah, we'll wait for Greg.

(upbeat music)

(upbeat music continues)