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(crickets chirping)

(light piano music)

(birds chirping)

(light music)

(music stops)

(light piano music)

(steps clacking)

- Why are you wearing smart shoes?

This isn't a smart job.

- You didn't tell me anything.

- Well I told you to wear boots.

- No, you didn't.

- Yes, I did.

- No, you told me to create a low profile

whilst also maintaining the image,

- That we mean business.

- Those were your exact words.

- And what says business more than boots?

- That is such a shite.

You can't just give me one
sentence's worth of description

and expect me to have it nailed down.

Why do people talk to
you again, and not me?

- Because I'm the approachable one,

and occasionally, once in my life

I actually like to smile.

- Yeah, right.

- Yeah, see, that's what I mean,

right there, fucking unapproachable.

- God.

- Did you even bother to bring a gun?

- You didn't tell me to bring a gun.

- Would you not have
thought it been a good idea

to compensate seeing that I'm
the one who usually carries

and mine was thrown in the
river last week by Marcus?

Now we're gonna be going in unarmed.

Well done, dickhead.

- So it is a break-in then?

- Well that's besides the point.

- There I was thinking we'd be

going back to doing entertainment
at kids birthday parties.

- Well no one wants you
for entertainment, do they?

- (laughing) Yeah, yeah.

- Right, okay, story time.

So there's this guy.

Let's call him Some
Fucker Who's Gonna Get It.

He's an actor.

He's a failed actor actually
but he's a swell guy.

You know what, let's
just call him Swell Guy.

Swell Guy goes for an audition

but he bottles it.

He bottles it worse than
when you bottled that guy

with that top shelf bottle of
tequila in the club last week.

- I'd forgotten about that, yeah.

Bad comparison.

- You know, I never really
did say thank you for that.

- Well it was either that

or you light up the entire
club with a machine gun.

It is probably best
you're not carrying, Cary.

- On to our Swell Guy.

Now I don't know if he
was having a bad day

before that audition

or if that just throws something off more.

But after he left there,

it was only gonna get worse from there.

- I know,

he kept staring at us.

- After the audition on the way home,

the Swell Guy gets a call

saying that his poor dear
beloved brother has died.

Now to make matters worse,

on the way back, some
poor sod tries to mug him.

Now, due to the quite understandable state

the Swell Guy is in,

you quite understand that he
goes to pound town on the guy

and not in the good way.

Now it just so happens
that this is perhaps,

no, it is the worst mistake

that Swell Guy has ever, or
will ever make in his life.

'Cause it just so happens the
guy he goes to pound town on

happens to have enough
wealth and money and contacts

to hire me,

Legendary Cary and his
trusty sidekick James Wright.

And that is how Swell Guy turns into

Some Fucker Who's Gonna Get It.

- So how did you know he
wants to become an actor?

- Well I've been observing
him for the last few days

and he's been reading a
piece of paper on his own.

So either he's an actor or he's a psycho.

- Or he's both.

- Well then, we should be charging double.

- And how'd you know the brother was dead?

- Our employer told me

that the brother was no
longer part of the equation,

so I made the natural and
professional assumption

that the brother was dead.

- And the person who is employing us is?

- Faulkner.

- As in the Faulkner?

- As in his son, Faulkner Junior.

When his father moved to the country

he took over the business.

Find he's even more erratic and
irrational than his old man.

And he pays double.

- [James] Well, that would make
sense, there are two of us.

- [Cary] Double each.

- [James] How much exactly is that?

- [Cary] We have money people who sort it

so I don't know exactly what it is.

- [James] Money people?

It definitely means he can pay us.

- Exactly.

That means he can afford the best

so he can afford to snuff out the best.

That means we can't mess this up.

- Do you remember, mate,

when we first started out doing this?

We were beating up rich dickheads and

thieving richer dickheads.

The pay was pretty good.

It was kind of fun, but let's be real,

we're not going anywhere.

- I don't know, I'm pretty content.

- Well mate, content is just stale.

- And what word would
you have me use, then?

- What's that word for
people who live in the past?

- Nostalgic?

- Uh huh.

- I'll take that.

- I didn't mean it as a compliment.

- Yeah, but see, I'm taking it as one.

That's the difference between you and me.

There's no mystery left
in the world, no intrigue.

There's no passion.

People just go and do
their everyday lives,

start in the morning, end in the evening.

We're out of time, you and me.

Literally.

It's nearly nine o'clock.

He'll becoming back from his walk.

When we get back, you
and me are gonna have

a proper chat about this.

No doubt about it.

(knocking)

It's time for you to work your magic.

Oh, by the way,

Faulkner says that he wants him alive.

- [James] I think you're
supposed to tell me earlier.

(tense music)

- [Cary] Shit.

- So we've got another job.

(lightly tense music)

- [Man] Hello.

- Hi.

- Are you the man with
the big house by the sea?

I'm Richard, by the way.

I just got the run down
castle next to yours.

- We don't usually get a lot
of new people around here.

- By the looks of things,

you don't get any people around here.

So, how did you manage to
get such a nice location?

- [Writer] Well, I used to write.

- Oh, well, I've been
around enough of you lot

to know that I should never
ask what you're writing about.

But I probably will at some point.

Despite that, I'm not
a big fan of reading.

But I'm sure whatever
you did was pretty good.

It got you the house, didn't it?

- Yeah.

Yeah it was.

- So what do you do now?

Retired then?

- I like writing.

But the writing doesn't seem to like me.

Not recently, anyway.

- [Richard] What, so you
come here every morning

looking for a bit of inspiration

from the calming waters of nature?

- And silence, usually.

- Well, so you like your isolation then?

- [Writer] I'd like anything
that'd enable me to write.

- Well, I respect that commitment.

There are few people
with that kind of focus.

Well, in my experience anyway.

- [Writer] Thanks.

- I'm quite fond of isolation myself.

If I spend too much time with people

I tend to go a bit insane.

Well, especially the sort of
person I usually hang out with.

You should come take a look
at my house at some point.

It's old and empty, probably haunted.

But you never know,

might get a bit of
inspiration for your new book.

- I'll try anything at this point.

(tense music)

- Well, this is certainly an
interesting turn of events.

What the fuck are we supposed to do now?

- Well.

We could go and collect the money

for this half of the job.

And then call in an
anonymous tip to the police

and let them come in and
finish it off for us.

But I have a feeling neither of us

wants to do that.

- Nice.

Faulkner wanted him
alive so we can't do it.

And if the police find out about this,

they're gonna think we've done it

so we're fucked either way.

We've gotta do this.

- Throw around them

and get justice for Swell Guy.

- So he's some Swell Guy again?

- What, he got it, didn't he?

- Find who killed him,

and find how we did it,

and we can bring this guy to justice.

I mean he did kill him.

- Okay, let's do it.

Lock the doors, search the house.

(light music)

- How the hell'd you
get a place like this?

- Yeah, I know, it's strange.

The previous owner just
built this, a sort of hotel.

And he had a vision,

kept on making more
and more modifications.

Tried to add a pool, extra rooms.

But eventually, either
he just ran out of money

or conviction, like you,

and he just left.

And obviously no one in their right mind

would ever buy this place.

So I did.

And it was ridiculously cheap.

- Why?

- It's interesting.

I mean, it's a bit bougie, barbaric,

but it's not boring.

Are you taking notes?

Amidst all this, I think I can
find something interesting.

I've got money to spend and

I just have too many houses.

I'm a house hoarder.

All right, on with the tour.

Yeah, I know it's strange

but I'm not a psycho, trust me.

I just want to enjoy
my very own retirement.

I mean, I can afford it.

- So what'd you do before?

- I was a thief.

- Are you joking?

- No, if I was joking, that
wouldn't be very funny.

People were hurt, but never me

because I was good.

I was very good.

- Also very humble.

- No, no, honest.

If you're gonna be good at something

you might as well let people know.

I mean, they're gonna find out either way.

But I would appreciate it

if you wouldn't tell anyone about this.

I don't really want to be the
talk of the town just yet.

- I've got no one to tell.

- Perfect.

In my experience, the quiet ones

are always more trustworthy.

The loudmouths, not so much.

So you probably shouldn't trust me.

(tense music)

- What are you doing?

- It's a nice tie.

He doesn't need it.

(door knocking)

(music intensifies)

(letter clacking)

- So this was, and will be
at some point, the bedroom.

- What the hell happened here?

- Well this is the part of the house

the last owner never refinished.

He gave up, but I won't.

This is the last of it.

Have you enjoyed the tour?

- Yeah.

Nice place.

Is this everything?

- Yeah, you've seen everything.

- There must be a cellar.

- No, I don't think so.

I saw the blueprints.

- You sure?

- Yeah.

- There's something behind here.

(tense music)

- (sighing) It's all right.

It's the apartment guy, the concierge.

(ripping)

It's a bank statement.

Who has their bank statements
mailed to them anymore?

- I do.

I don't trust online banking.

It takes five years to set it up

and then another five to
connect to the printer.

- [James] God, a couple
more years with you,

we'll both be in Cameroon.

- Haha.

- [James] Say what, the accounts

that's on display is unrivaled.

- Why don't you check
the rest of the mail?

I'll go check the rest of the house.

- [Richard] I just can't believe it.

- [Writer] Well fuck it then, let's go.

(ominous music)

- All right, after you.

- His name was Gordon Bale, by the way.

Loos like Gordon really
liked ordering food and

instead of cooking or
going out for dinner.

More importantly, Gordon
made a rather significant

cash withdrawal three days ago.

We need to find out what he
might have bought with that.

- [Cary] James?

- Yeah?

- [Cary] Come here.

I found a drawer.

- What?

- Is that what an author
would call an anticlimax?

- It's what anyone would
call an anticlimax.

- How did you know there
was a room in there?

- Crime fiction, hidden
doors, hand in hand.

- [James] Gun?

- Looks like it didn't protect him

as well as he thought it would.

- That's our lead. We need
to find out who sold him that

and then we're really onto something.

- Arthur.

- He could help us.

But would he?

- As a matter of fact,

I don't think that was an anticlimax.

In fact, I think it was perfect.

I have the skill, you have the knowledge.

And you need the inspiration.

It's way better than staring
at ducks all day, trust me.

If you do this with me,

you'll be churning out
masterpieces in no time.

- I thought you're retired.

- Old habits die hard.

- Oh.

Because of last time.

- Yeah, because of last time.

- Well, Arthur's a big boy.

He can get over this sort of thing.

Anyway, it's bad for
business if you hold grudges.

- Look, if what we know
about this Faulkner is true

and he gets wind of this situation,

he'll know that we haven't
completed the jobs to his specs.

And when that happens,
we're gonna end up like him.

You know where Arthur is,

you know who Arthur is.

If you go there,
Faulkner's men are probably

gonna be swarming the place.

Let's be honest, Arthur
might just rat you out.

- James.

Do you know anyone who's got anywhere

without taking the necessary risks?

- Well I know a lot of people
who've gone to the morgue

by taking necessary risks.

- Fair enough.

- And tell how much of an idiot you were

at your funeral.

- Yeah, yeah, whatever.

You keep searching here

and we'll meet back at the office in say,

- Three hours.

- Three hours.

- [James] Not two.

- Not two.

- Three hours.

- [Cary] Three.

- At the office.

- [Cary] At the office.

- In three hours.

- Jesus Christ!

Yes, three hours.

- Don't die.

- [Cary] I won't.

- But if you do, I'll
haunt your fucking ghost.

- So what do you say?

One job, not a bank.

Just a house, something easy,

enough to get your blood pumping.

You've been writing about it for so long.

Take the next logical step.

It'll make you feel so alive.

- Oh.

Be careful.

Faulkner's the kind of person
who has a contingency plan

against these sort of things.

(door shutting)

(pen clicking)

- How about you try,

"It was a cold and lonely night."

- Sorry, what?

- I'm not the fucking poet.

Just write some words in random order.

It can't be that hard.

Just do something.

- Trust me.

There's nothing I hate more

than indecisiveness and inaction.

- Yes, that's the mentality.

- Hang on, why are we doing this now?

Shouldn't we be talking about our

imminent breaking of the law?

- Okay, fine.

First we enter the house.

Leave that to me.

Then you take something,

hopefully you can do that yourself.

- We take something too
trivial to be noticed but has,

- [Richard] Enough butter
to grease a monkey.

- They call me the writer.

- The most important thing
is to keep a cool head.

Relax.

Imagine the place is your own home.

Feel the house or the bank.

Just remember, if you think you know it,

nothing can get the jump on you.

- And if something does
get the jump on us?

- Second most important
thing, learn to improvise.

Don't crack under pressure.

If you can't take the
heat, don't light the fuse.

- That's not a phrase either.

- Okay, quick fire question.

We're in the house, and
the owners come back.

They see two strangers in their home.

What do you do?

- Hi, I'm Moreau, the estate agent.

Someone contacted us about selling?

- [Richard] Oh, but we didn't
contact anyone about selling.

- Someone did.

They left a key in the office,

so we came and stayed.

And then we get the fuck out there

before they ask any more questions.

- Wow, I'm impressed.

Okay, the neighbors see
us breaking into the house

and calls the cops.

- We're Italians. We own
the house and we're just

shooting a little film about a break in.

- Then why aren't you in
any of the family photos?

- I'm the photographer.

I'm behind the lens in all of these.

- All right.

Someone points a gun at us.

- We get the fuck out of there.

(light music)

(cars whooshing)

- You know, after all these years

I still struggle to comprehend

why you insist on sneaking up on me.

You're still loud.

- It's good seeing you too, Arthur.

- I don't say the same.

- I see you still carry an umbrella

even though it's not raining.

- Well you never know
when things might go south

specially with you in the mix.

- I need your help.

- Your subtlety as always
is much appreciated.

- I need to find a killer.

- Well then I would suggest you go home

and look at yourself in the mirror.

- No.

This guy does it because he wants to,

not because he has to.

And like it or not, you're involved.

- Do enlighten me.

- We were on a job to apprehend a subject

when we went and found he was dead.

- We?

Oh god, don't tell me you're still working

with James Wright.

That poor bastard deserves so much more

than working with an old
stick in the mud by the name,

sorry, I forgot you were here.

- May I continue?

- Please.

- [Cary] We found the
subject shot in the head.

He bought a gun to protect himself.

- [Arthur] Well that
didn't work, didn't it?

- [Cary] Exactly.

We think you or one of your associates

supplied him with the firearm,

and if you didn't then we were hoping

you could help us find out who did.

- [Arthur] Well, a name
would certainly help.

- Gordon Bale.

- Never heard that name before in my life.

Or probably at some point

but he mustn't have been very memorable.

You know, a lot of these
types tend to use fake names

for a multitude of reasons.

A photo would be even more helpful.

- [Cary] I came straight here.

- So that's a no.

- [Cary] James is at the
apartment, it's not far from here.

- I'd love to join you
once you've lost your tail.

Two men behind the flat there,

been following us since
we got off the main road.

One of them's wearing a hood,
probably carrying a gun.

- [Cary] Faulkner.

- Ah, I see.

- See we were meant to bring
the subject in alive and

things didn't go exactly to plan.

- Ah, well, if your boy likes specificity,

he should have hired me instead.

I wouldn't be too
concerned about these two.

Though I hope you know
where the street marks.

I'd be much more worried
about who he sent over there

to finish the job.

All right.

- That was the address.

I'll meet you there in 30.

- Good. Well, give
yourself some credit, mate.

Yeah I could lose these guys in five.

- 15 it is.

- I'll see you there and then.

Hey, Will!

Will Holcroft, is that you?

Oh my god.

Here mate, have my umbrella.

Maybe not.

(suspenseful music)

(gun firing)

(bashing)

(bashing)

(gun firing)

- Fuck.

(tense music)

- [Writer] The lights are on,

they're still here!

- [Richard] I've done my
research, they're not home.

This is our house now.

- [Writer] Okay.

(stones rustling)

- You're not ready for lockpicking.

- I'll find my own way.

(knocking)

- Welcome home.

- [Writer] I can't
believe we really made it.

- Yeah, well, take anything you want.

- [Writer] I thought we agreed

we'd only take one thing each.

- Well, go for it.

(lightly tense music)

(lighter clacking)

(tense music)

- Oy!

Oy!

He's back!

Fucker's back!

- Holy shit!

(light music)

(rustling)

(pee trickling)

(water splashing)

(tense music)

(bashing)

(grunting)

- James Wright.

(knife clanking)

(bashing)

And you?

I don't know who you are.
- Does it matter who I am?

- Well, you're not wrong.

(bashing)

(clanging)

Fucking hell.

Cary, you motherfucker,

you said you could do that in 15 minutes.

- Yeah, well, there were two of them.

Well now I've got another dead guy.

- James.

(gun firing)

(light driving music)

(music swelling)

(light driving music)

(light music)

(lightly tense music)

(wind whooshing)

- How's the writing going?

- Good.

- Good.

Cheers to that.

So, what's it about?

- For now, it's not out our crime.

- [Richard] No, I mean the story.

- You asked me what it's about, crime.

- So what happens?

- [Writer] You probably won't like it.

- Will I not like it

or is it because you haven't
decided what it it yet?

- Whether you like it,
it's not the end of that.

But be assured it wouldn't matter that.

- [Richard] So what's it called?

- Usually, I wait till the end

like some reward for finishing.

But this one, I knew from the start.

"Voyage Into The Night."

- That's quite a name, mate.

Speaking of bold names,

check this out.

- [Writer] What's this?

- [Richard] That, my friend,

is the final chapter of our story.

- What's so special about this one?

- For starters, it's not a house.

Well, kind of.

It's a factory owned by one

of the richest families in the world.

They closed when the patriarch died.

In this case, the apple
fell very far from the tree.

All the children moved away

and decided it wasn't worth a damn.

They decided wrong.

The father loved the factory
even more than his kids.

So he built a house on the side of it.

They say he left something
of great value in the house.

Something he didn't even
tell his children about.

It's a story I've heard for years.

Only three people have ever gone in.

Only one has ever come out alive.

And he didn't find shit.

- But you said the factory was abandoned.

- Well, kind of.

The family had the common decency

to leave some guards on the outside.

But the inside of the
factory is completely empty.

It's built on the side of a cliff.

Once you get past the guards,

the house and the factory
should be completely empty.

It should be smooth sailing.

- If there is a hidden way,
that won't be a problem.

Why do we go in

if we don't know something of value?

Specially now it's unseen.

- We don't.

Unless something in that
room is anything short

of our heart's desire,
we take it or leave it.

We're not in it for the money.

- I think we've all heard that one before.

- So what do you say?

(light piano music)

- This friend of yours considering,

made us come out all this way

for what again?

- Precautions.

We're not walking into that house

with dark clothes and a blunt knife.

If there's any time to
be prepared and precise,

it is now.

Arthur, it's been a while.

- Richard, you absolute madman.

When you first contacted me about this

I knew you were crazy.

But now, I think you're markedly insane.

- Well, thanks for coming anyway.

- Not a problem.

You must be the writer

that he told me absolutely nothing about.

- My hands are dirty.

- Of that I have no doubt.

Something tells me that
won't be the last time.

This should have everything you need.

Gun, clothe, all the rest of it.

I've also added the guards shift times

along with the floor plan
to the factory itself,

along with the maids' living quarters.

Yes, the maids do still live
there, sentimental, I guess.

That was all that was on record

so you're gonna have to look for that

oh so mysterious secret room yourself.

But I'm sure you've discussed it already.

That is mine.

- Thank you, Arthur.

We couldn't have done this without you.

- I know.

Richard, usually in
these types of situations

I say see you.

But in this case it looks
like it might be a goodbye.

- See you around.

- A word to the wise.

Whatever it is you might find in there,

just don't forget what you're looking for

in the first place.

He might have earned your trust,

but just remember that his motivation

is different than your own.

(dramatic music)

- It could be considered evidence, mate.

- Maybe he died.

- Yeah, I see that.

- I'm really admiring
the professionalism here.

The Faulkner guy is absolutely terrible

at hiring you two incompetents.

I mean, how does it feel
to have technically been

colleagues with that dipshit over there,

it's just degrading.

- [Cary] Not what you're here to do.

- [Arthur] Ah, yes.

- Recognize him?

- Yes, I do.

He called himself Bill Smith though,

not Gordon whatever.

- Bill Smith is a

rather generic name.

- Yes it is.

- More like John Doe.

- I called him out for it
the last time I saw him

and you know, he seemed to say

it's my first time, it
was this, it was that.

And usually with these types
it is their first time.

Or it's not.

But with him I could tell

that it probably was his first time.

Shame really, seemed like a nice guy.

- He didn't deserve to die.

- [Arthur] Yes well, neither
did our friend in the bathroom.

Well actually, he tried to kill us

so that's not strictly true.

- I reckon that's 5-7 by two two.

You don't know anyone
around here who sells those?

- My dear friend, around these parts,

I'm the only person who sells those.

- Well that narrows down the list

of potential suspects.

- No.

It's not a common gun

but I imagine you've sold a fair few.

I however, did find a letter.

- Let's have a look.

"Dear Gordon,

hope all is well.

Things haven't gone exactly
as expected at my end.

And in an attempt to get out of the hole

I've only dug myself deeper into it.

By now, people will be coming for me.

Unfortunately that puts you in danger too.

I know that you've had nothing
to do with my situation

but I would prefer it if you found a way

to protect yourself.

Go see a man at this address,
he will sort you out.

Don't use your real name.

Make sure that there is no way

that he can trace you back to him.

I don't know when of
if I will see you again

but know that I am so sorry
things ended up like this.

Dickie."

- So he wasn't reading through a script

when you were stalking him.

He was reading through this.

- We need to find this guy.

- Address says 52 Riverside Porter.

- 52 it is then.

Arthur, one final favor.

- [Arthur] Kachoo!

- Check all the people who bought that

5-6 whatchamacallit last week

and let us know if any of them seemed

under serious threat.

- Cary.

They bought a gun,

I'm pretty sure they were
under serious threat,

but yes, I will
(thunder rumbling)

let you know if anything happens,

if I find anything out.

(suspenseful music)

- Two minutes.

Two minutes and then the guard are back

and then we're fucked.

(doors slamming)

(tense music)

(gun clacking)

- Shit.

Shit, I left my gun.

- There's no time.

(dog barking)

(crickets chirping)

(gate clanking)

(lightly tense music)

Go upstairs.

I'll go up the main factory.

- Wait, that wasn't the plan.

- We're not leaving
until I find that room.

- What if they're upstairs?

What happened to caution, precaution?

- Caution and precision.

I'm not leaving until I find that room.

- [Writer] Let's go upstairs,

grab something we find interesting

and let's get out.

- Get your ass upstairs.

(melancholy piano music)

(tense music)

(somber music)

(tense violin music)

(dramatic string music)

(tense violin music)

- I am taking this box.

- You can't take it.

- What the fuck?

When we started this,

we agreed that we can take one object

in every house we went to.

This is my object.

I intend on staying alive.

If we take this, we'll have
everyone who wants to kill

out for us.

I intend on staying alive!

- I didn't even wanna do this!

I moved out here to start a new life,

to build my fucking fortress!

- Fuck off, this was your idea!

One last heist, one great haul,

one big object!

- I only started this
'cause I ran into you!

- Fuck off, you dragged me into this!

- Oh, please, you pretentious prick.

If it wasn't for me, you'd still be stuck

in that glorified office of yours

fucking contemplating about
your empty fucking creativeness!

I need this.

- You need nothing!

You've got purpose, you've got excitement,

you've got everything I could need.

I'd have a hundred men satisfied but you.

You don't need the box, no one does.

- Look at this face. Do
you think this is the face

that gives two fucks
about your permission?

- Do not.

- Don't.
(creaking)

(bashing)

(thudding)

- What bloody time do you call this?

- I do apologize, sir.

Our matter is rather urgent.

- Do you anyone by the name Dickie?

- Dickie?

Ah, you mean Richard?

Yeah, he was the previous owner here.

- [Cary] Someone very
close to him has died

and we'd like you to inform them.

- But he moved away months ago.

- [James] Do you know where he is now?

- No.

But I do know where you two will be

if you don't fuck off
from my property now.

- [James] Sorry to have woken you.

So, we breaking into there?

- Yup.

(tense music)

You know, as far as
first detectives jobs go,

that wasn't the worst.

- We were both nearly killed.

Aside from that, I say we've had worse.

- You remember that time three years ago

where I had to drag you
from that burning building?

- One of many.

- To somehow still being alive.

- Cheers.
(glasses clinking)

So what are we thinking
for the break-in tomorrow?

We can wait for the wanker to go to work

and then I can either pick the lock

or we can break the
windows and go in that way.

- You know, I say we go for
the subtle approach this time.

I've had enough of the
unnecessary attention,

to be honest.

(light music)

(tense music)

(sighing)

- [Arthur] This better be seriously good.

- Arthur?

- Oh, I guess it was.

You did it, well done.

Where's Richard?

He must be very happy with himself.

Now put him on the phone.

- Yeah, he shot off this morning.

He left me a message saying
he got some stuff to do.

Don't you know where he is?

- Oh.

Well that's not much of a surprise.

It's not the first time this has happened.

If I were you, I would probably
check his house in the city.

I can send you the address if you'd like.

And how was the car by the way?

Work well and everything?

- It worked just fine.

Bye.

(phone buzzing)

- Cary.

- What?

- Arthur.

Arthur?

- [Arthur] Is James with you?

- Yeah, mate, I'm here.

- [Arthur] All right, good.

I think I may have found
who you need to look for.

- What, Dickie?

We found his house.

He's moved out months ago.

- I think you mean Richard.

No one calls him Dickie
except your murder victim.

They must have been close

because Richard had
never been called that.

He never even told me his last name.

- Well where is he?

- [Arthur] Richard is dead.

One of my guys told me

he was found dead in his house,

killed by the same bullet that got Gordon.

Now I have no idea what's going on

and the only person who
might is his partner.

You need to find him,
you need to find him.

I don't know his name or his address,

he uses a burner phone.

Very old fashioned like you, Cary.

What I do have is a license
plate, the license plate

of the car I gave him.

I'll text it to you now.

- We find the car, we find him.

- When you find him, be careful.

He's a lot more ruthless than he lets on.

- Understood.

(tense music)

(dramatic music)

(somber piano music)
(water splashing)

(door knocking)

- [Gordon] Ah, Dickie,
you arrived, and early!

What's going on?

- Hello, brother.

(caps clinking)

This for me?

- No, they're both mine.

- Thanks.

Jesus, Gordy, this tastes like shit.

- I'm surprised you haven't
drunk any more, then.

- [Richard] Can you
bring me anything else?

- The cure for low key
alcoholism and kleptomania.

- Ooh, you gonna write
that in your new book?

- It's not like you're gonna read it.

- True.

- So, what brings you this close to home?

All the banks robbed dry?

- No, I actually came to see you.

I'm taking your advice and I'm out.

It feels fucking good.

- [Gordon] Out of what?

- [Richard] Everything.

Everything, I'm done, I'm out, I quit.

- What is going on?

- [Richard] I know, right, unbelievable.

- Probably 'cause it's not true.

- I had a brush with death recently

and it put a lot of things in perspective.

And I've got enough money
now to get out clean

and live well.

- What happened?

- Well, if you must know, Gordy,

actually, let me dramatize
it for you, shall I?

I was in a job with three blokes

with great honor and integrity.

And then they decided
to fuck me up the ass.

The first guy stabbed me
in the back with a knife.

The second twisted it,

and the third ran off
with my hard-earned cash

as I chased him still with the knife

firmly lodged in my behind.

- So what actually happened

is you went and betrayed them.

And they caught on.

- Yeah, precisely.

- Jesus.

One of these days you're
actually gonna get killed.

You better stay retired.

Although we both know
that ain't gonna happen.

- Wait till you see this
one, mate, it's insane.

Quiet neighborhood, no one
there for me to bother.

- [Gordon] You mean no one to bother you.

- Sure, but I gotta tell you bro,

this might just be it.

- Let's make a deal then.

If you don't succumb to thievery

by our next family gathering,

I'll give you something better to drink.

- Deal.

(bottles clinking)

- Good evening, Mr. Bale,
this is Detective Koby.

I regret to inform you that your brother

was found dead this evening.

He was shot.

He was under suspicions

and it is unfortunate that
trouble found him first.

I'm sorry to say this.

- Fuck out of my way, bitch.

Get off!

Get the fuck off me!

(dramatic somber music)

Oh, fuck, ah!

(somber piano music)

(groaning)

Hello?

Yeah, is this Cary Lang?

Yeah, right, it's Faulkner.

Shut up and listen.

Something's happened.

I don't know his name.

He's my height, brown haired, slim built.

Listen, I want this fucker alive.

I don't care if he's in pieces.

You get me him alive

or it's you who's six feet under, okay?

(somber piano music)

- [Richard Voiceover] Dear
Gordon, I hope all is well.

Things haven't exactly
gone as expected at my end.

In an attempt to get out of the hole,

I've only dug myself deeper into it.

By now, people will be coming for me

and that unfortunately
puts you in danger as well.

I know you have had nothing
to do with my situation.

But I would feel easier if you found a way

to protect yourself.

Go see this man at this address.

He will sort you out.

Don't use your real name

and make sure there is no
way they can link you to him.

I don't know when or if
I will see you again.

But know that I am so sorry

things ended up like this.

(door knocking)

(door creaking)
- [Gordon] Can I help you?

- [Man] Hi, mate.

I think your pizza got dropped
off at mine by mistake.

- [Gordon] Didn't order any pizza.

- [Man] It says it's for Gordon.

That's you, right?

- [Gordon] Yeah, give me a second.

Can I see this?

(gun firing)

(dramatic somber music)

(light music)

- Listen now, you scumbag.

Do us all a favor and fuck off.

I got enough on my plate as it is.

And your attitude's really
starting to get under my skin.

No, I'm not doing business with you!

Let me be

or I will rip your fucking head off,

you know I will!

- Ooh.

- Jesus.

- He is big though.

That's why there's two of us.

- Not as big as your ego though.

- Hah.

All right, let's go.

- Bro, what the fuck are you doing?

- I'm gonna talk to him.
- No, no, not like this.

- What you mean?

- Well how about for one night we dispense

of the unnecessary violence
and try something else?

How many pairs of glasses have you lost?

I mean, broken.

- Fine.

- Hell, what the, what are you doing?

- Well this is necessary violence!

- No, no, no, no.

I'll go talk to him.

Right, coax him over?

- Oh fine, you go talk to him
with your newfound charisma.

- Yeah, right, I fucking will, watch me.

- [Cary] And if your idea
doesn't work, it's mine.

- Mr. Jensen.

- How the fuck do you know my name?

- We've been looking for
you for some time now.

- And who the fuck are you?

- I'm Jack and this is Ben.

Germaine.
- Ben.

Germaine.

- And what do you two fucking want?

- We'd like to talk to you about a recent

acquisition you made.

A vehicle with this registration.

- Yeah, I've got it.

Some bloke sold it to me too
for an absolute piece of shit.

Only a fucking retard
would turn that down.

- So you turned it down then?

- [James] Hey, mate, just
tell us what he looks like.

- You're asking an awful lot of questions.

You're not cops, are you?

- [James] No.

- You sound like a cop.

- [James] We're just looking for answers.

- And how's that going for you?

- Just fucking answer his
questions, all right?!

- Don't you two surround me.

- Now you're lack of compliance
is making me uncomfortable.

- Compliance.

What's in it for me?

- Hey.

We did it your way.

It's my turn now.

Tell us about our fucking
car and our fucking man

and the fucking place he went to.

- Or what?

- Or you're not gonna like the answer.

- And what if I don't feel like it?

(gun clacking)

- You'll feel like it.

Do not compete with me

'cause you will lose.

- So let's remember what you're asking me

with a gun pressed up against my bollocks?

- Just tell us the car model

and what he's gonna do with it.

- The vehicle license plate

is in my left hand pocket of my jacket.

- [James] Jesus, mate, what
were you gonna pull out first,

the knife or the phone?

- Neither.

(bashing)

All right, all right, all right.

Just give me the damn phone!

This is the car.

He went up north.

Somewhere no one could bother him!

- Thank you very much for
your assistance, Mr. Jensen.

- You're lucky I didn't
learn your real names.

- Nope, we're just clever.

- Oh, and you better forget
about this conversation.

Because we won't.

- So, Cary.

Or should I say Jack?

When are we going after this writer?

- We'll sort out our affairs down here

and then cover up our tracks and head up.

- That should take a day or so.

So we'll leave first thing after tomorrow.

- Done.

(lightly somber piano music)

- [Man] Need a light, man?

- Cheers.

- No problem.

- Well it is a bit of a
problem. I'm trying to quit.

- Yeah but every now and then

it's nice to break your own rules.

- Thanks for feeding my
self-destructive tendencies.

- Life's too short to not treat yourself.

- I'm Cary, by the way.

- Yeah, Cary, Cary Lang.

I'm the writer you're looking for.

- Now, now, let's take it easy.

I know you can't kill me
and you won't kill me.

- [Cary] How's that?

- The can't or the won't?

Actually, I've indulged you.

Indulge me, we've got time for both.

You can't kill me 'cause
you don't have a gun.

If you did, it'd be pulled
out at the head right now

or some giant bulge in your jacket.

But you won't kill me and
that's more interesting

because you're like me.

You won't go beating up on some

smart, attractive, funny,
helpless man on the street,

even though you could.

Because you want that
squeeze of the trigger

to still mean something.

You don't want action without consequence.

You're still aware of what you do.

You don't want to do this, but you do it.

And you want something more.

And you've always wanted
that something more.

You've been trying to
crawl your way out of it

since day one.

You'd much rather do what you
love and love what you do.

And I might just be able to give you that.

I've just told your life story.

I could tell by the look in your face

you have quite a few questions to ask me.

- More than a few.

- Well, I won't answer all of them.

I'm sure we'll have more fun that way.

But the first one would probably be

how did I find you?

And why did I say all of that?

- Yeah, sure.

Go ahead.

- Well, I had to call Richard.

And after that I killed
his brother Gordon.

Loose ends, et cetera.

But you can't kill two
men and get away with it.

I'm not stupid, I'm still sane.

Someone was gonna come after me.

Someone was gonna find me.

And I just wanted to know
how sharp their teeth were.

- Are you satisfied?

- Very.

You see, us writers,

or at least the ones of us who care,

we do our research.

We try to know everything
we can about our stories.

I've talked to a number
of people from your world

who hold you and your
partner in high regards.

After all, you've sent
many of their enemies

into the ground.

And I wanted to meet you in person,

to see for certain if you are

truly who they say you are.

- You did just get the sneak on me though.

- We're not perfect, Cary.

- [Cary] No, we're not.

No, we are not.

And it wouldn't be nearly
as interesting if we were.

- So you regret killing those people then?

- The killing?

Yes, but it was necessary.

I've done more than a
few things in my life

I wish I didn't do.

There's nothing wrong with
admitting my mistakes.

But what matters is whether
or not I learned from it.

- [Cary] Have you?

- I'm here now.

- So what do you want then?

To continue as if nothing happened?

No.

What you want more than
anything is to write.

Because the world that you create

is so much better than ours.

- Yes to do what I love.

And I have.

- And how was it?

- It was...

(waves gently crashing)

beautiful.

- You know I can't let
you get away with this.

- I know.

But you can give me a chance.

And I know you will.

Because for the first time,
you've met your match.

You found a challenge.

I've already found what I desire.

I've even had to stop others

having something too valuable.

Maybe it's time for you and your partner

to search for the same thing.

- [Cary] That's what
writers call catharsis.

- Exactly, the quick, bubbling emotions,

the purifying outbreak.

- Can I get that light?

- Yeah.

- Thanks.

- You know.

Maybe not the challenge,
your out of depth,

too focused on the how and the why.

- Why'd you do it?

- Humor me.

- I think you did it

because Richard was a scumbag

and his brother was innocent.

And, like me, that's who you are.

- Richard was a friend.

An endearing backstabber,

he wanted something he shouldn't have had.

We disagreed and we all paid a price.

- It, what is it?

You won't say more than it.

- It outs all our debts.

It's gone, it's destroyed,
it shouldn't be touched.

- So what happens now then
in this grand story of yours?

- Now, I walk away.

You and James pursue.

You can catch me.

If you kill me, you get what you need.

Clear your name, case solved.

If you let me walk away,
maybe you get what you want.

- Your lighter.

- Give it back to me next time you see me.

- Well.

We're nearly there now.

You realize when we bring him in dead,

our debt with Faulkner is settled.

- He won't let us bring him in alive.

He's created his own world in his stories

and that means that he's
not afraid of death anymore.

- You think you can do it?

When we get there, pull the trigger?

- I don't know.

That's what you're here for.

I can do the things that you can't

and you can do the things that I can't.

Or won't.

- Well, we'll just have to wait and see.

- Well, whatever happens,

at least you're wearing boots this time.

(light piano music)

Argh!

(music slowly swelling)

(grand dramatic music)

(gentle piano music)

(water splashing)

(classic jazzy music)

♪ I'll see you in my dreams ♪

♪ Hold you in my dreams ♪

♪ Someone took you out of my arms ♪

♪ Still I feel the thrill of your tongue ♪

♪ Lips that once were mine ♪

♪ Tender eyes that shine ♪

♪ They will light my way tonight ♪

♪ I'll see you in my dreams ♪