My Son, My Son, What Have Ye Done (2009) - full transcript

The police are called to a murder scene and quickly discover that the murderer, the victim's son, is holed up in his house with two hostages. Through a series of interviews with both the murderer's fiancée and his theatre director the police piece together a picture of a man losing touch with reality.

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My Son, My Son, What Have Ye Done Thriller
2009 720p [H246-mp4] Subtitles English

[train horn blaring]

[train horn blaring]

[melancholy acoustic
guitar music]

[woman singing] Aqu f
me sˇento a cantar.

Con carˇff o verdadero,

Versos que le compusˇeron.

A Don Valente Quˇntero.

Eran las dˇez de la noche.

Llegaron unos se ff ores.

Se fajó su carrˇllera.



Con sus 5 cargadores.

La querˇda le dec f a.'
"Valente, żqué vas a hacer?"

El mayor anda borracho,
algo te ha de suceder.

Valente le contestó.' "No
te quedes con pendˇente."

"Mˇra que sˇ él es 'mayor', yo
tambˇén soy 'sostenˇente'."

El mayor anda borracho.

Por las cantˇnas tomando...

[music fades]

Y'all want me to take
the wheel, Hank?

No, no. It's no problem.

I've driven halfway across
the country with one hand.

Remember that cracker
cop I told you about?

Yeah.

Son of a bitch rode
my ass for 20 miles,



then tried to take
me on the left.

He didn't know, of
course, that I was a cop

and I had a 350 supercharged
under the hood.

I gunned it.

Took that cracker for
the ride of his life.

We were doing 140.

And that's when I saw
that son of a bitch

reach for his blue strobe and
plant it on the dashboard.

I couldn't believe it.
The guy was a cop.

He wanted to bust me.

I pulled over and acted like
I was shaking in my boots,

and he came swaggering over.

"Well, I guess I led you
into that one, hey, boy?

"But you see, I just knew
you were gonna go for it,

"what with you looking in your
rear-view mirror like that.

"I knew you were gonna
try and race me.

"Now, I'm afraid I'm
gonna have to see

your license and
registration, son."

So I pulled out my badge,

and he nearly shit in his pants.

"I ought to run you
in," I told him,

"for endangering the life
of a homicide detective."

You know,

sometimes I'm really
not sure who's worse,

us cops or the
fucking criminals.

Change that 1140 to
an 1144, Havenhurst.

Two cars presently at the scene.

I read you. What was
that address again?

That's 105 Crystal off
Richmond below La Mesa.

You got two cars on the scene.

Okay. We'll check it out.

What's an 1144?

An 1144 is like somebody's dead.

- Like very much dead.
- Oh, okay.

This is gonna get
serious, then. All right.

[siren wailing]

Razzle them. Dazzle them.

- Razzle-dazzle them.
- Excuse me.

Hey, McDougal. Hey,
hey, McNamara.

Hey... oh, that's it.

Attack!

Want any more? Any more?

Come here. Come here.
Ah, that's right.

I always knew you were
my eagles in drag.

First cup measures...

94.

94 inches south of the north...

- No. That's north.
- Oh, west.

Correction, west
of the east wall.

Second cup measures...

- This was Mrs. McCullum...
- 72.

72 inches south of
the north wall.

- Yes?
- This was Mrs. McCullum's cup.

- I see.
- She was sitting right there.

I see, I see.

Third cup is
approximately 12 inches

west of the second cup.

We'll talk a little later.

It is noted that the
coffee in all three cups

is still lukewarm.

Time: 7:45.

Gary, did you take a shot
of the cups in here?

Yeah, I got 'em.

Okay. Take 'em into evidence.

I'll get right on that.

Red matter on the sword...

consistent with that of blood.

Position of what is most
certainly the murder weapon...

Tip pointing in a
north-northwesterly direction.

Approximately...

3 feet from the
decedent's right toe.

- Hey, Hank you got a minute?
- Yeah.

This morning when you arrived,

did you see a Caucasian
male, approximately 6'4",

with a coffee cup?

Yeah, he walked right by.
He said something, I think.

Why didn't you arrest him?

Should I have?

Yeah. That's our suspect.

Oh. He said something strange.

Yeah, Brad.

He's been quite strange.

Brad who?

Brad McCullum. He did
it. He stabbed her.

Ever since he came
back from Peru,

he's been strange.

Well, not so much strange as...

different.

It's the rainy season.

You don't kayak during
the rainy season.

Nobody... nobody does it.

That's the challenge.

Well, can we at least
go down the river

and check it out?

Yeah?

Hey, stop meditating,
okay? Open your eyes.

Look, this is the
river. This is reality.

Want people to think,

come up with a
coherent argument.

We have to do something.

I'm gonna try to talk him out.

Okay, but do it from here;
Otherwise, we can't cover you.

I'm positive I've seen him
in there with a shotgun,

and I heard him holler
something about two hostages.

Mr. McCullum?

Mr. McCullum!

Can we talk a moment?

Mr. McCullum...
can we talk, sir?

Mr. McCullum, can
we talk a moment?

Would you come outside, please?

No. No!

You come inside if
you want to talk!

I think I can handle this.

You got to make nice
with the guy, you know,

like call him compadre
or something.

- Compadre?
- Yeah, yeah.

He's lrish, I think,
maybe even Scottish.

Mr. McCullum, may
I call you Brad?

You can call me Brad.
You can call me Farouk.

You can call me any
damn thing you like.

Hey! God is here. He's
in the house with me.

But I don't need him anymore.

I don't need God anymore.

[plunking piano notes]

Brad, you pestered me for years

to get you this piano.

I got it for you,

and you have never used it.

Then you wanted the drums.

I got them. And you
just sit there.

[cymbal clangs]

Mom, you were the one who
tried to persuade me

to want them.

[car door slams]

What's going on here?

We're having a problem
with one of the residents.

I've got to go in there.

I've got to get to the
McCullums' house.

I'm sorry, ma'am. I can't
let anyone through.

But, Officer, this is
lngrid Gudmundson.

- She's his fiancée.
- Whose fiancée?

Brad McCullum. The
guy in the house.

Brad just called me
a half an hour ago.

He sounded very urgent. Has
anything happened to him?

Look, I'm his fiancée.
I think I can help.

- Detective Havenhurst?
- Yes?

Detective, I have
a young lady here

who says she's the
fiancée of the suspect.

Don't let her go.
I'll be right over.

I'm Detective Havenhurst.
I'm in charge here, Miss...

lngrid Gudmundson.

Has something happened to Brad?

Well... what can I say?

Brad is our suspect in a
stabbing that took place

across the street
from his house.

He has apparently
taken some hostages

and barricaded himself inside.

I don't mean to alarm
you, Miss Gudmundson,

but it's all a little strange.

You see, he's claiming
his name is Farouk

and shouts about God and
tosses oatmeal at us.

It's all a little confusing.

Can you help us out?

Well...

I...I don't know where to begin.

You see, I've known
him about two years.

We're supposed to get
married next month.

You know, when he came back
from Peru about a year ago,

he would call himself
Farouk once in a while.

He was different after that.

I mean, after the trip to Peru.

Did anything in particular
happen to him there?

Yes.

I mean... no, not to him.

He was with his
friends, these rafters,

these white-water
rafters, and...

he didn't go.

I mean, he didn't participate
in the expedition

because he told me he
heard this inner voice

telling him not to go.

And they were angry with him.

And they went into
those rapids, and...

all of them drowned.

Ooh.

Yes!

Yes!

Yes!

Check it out.

It's perfect. This is our river.

This is where we need to be.

I don't know.

We should go further down
and see how it turns out.

Brad!

Why are you acting so strange?

I'm just looking at the river.

Well, that's our challenge.

I don't like your
attitude, Brad.

Are you chickening
out or something?

It's as simple as that.

I'm not going rafting
down that river.

What do you mean by that?

I mean that I'm not going
to take your vitamin pills.

[thunder rumbles]

Ooh.

I mean I'm not going to
take your vitamin pills.

I'm not going to drink
your herbal tea.

I'm not going to the sweat lodge

with the 108-year-old
Native American

who reads Hustler magazine
and smokes Kool cigarettes.

I'm not going to
discover my boundaries.

I am going to stunt
my inner growth.

I think I shall become a Muslim.

Call me Farouk.

And he was different after that.

He changed somehow.

He told me he would only
follow this inner voice,

no matter what.

And you couldn't talk him
into anything after that.

And he spoke about God.

Often.

How he'd seen him.

Brad, darling...

can't you see I'm trying
to straighten the bed?

Forget about the
bed. Listen to this.

My dear children, I hope
I'm not disturbing you.

I'm just so happy for you both.

I'm so glad you
two are together.

Here, dears.

I've brought you some
brownies I just baked.

Brad, can't you see that lngrid

is trying to straighten the bed?

You have to keep
your eye on him.

You know how he is.

Can't she ever knock?

You've got to listen to this.

I don't want to listen to that.

You need to listen to me.

You've got to move out of here.

You're too old to have your
mom buying your clothes

and serving you cookies...

Okay, okay. But she means well.

Just for the night.

[glasses clink]

Thank you.

You've got to be
patient, you know?

She needs me.

She lost her husband when I
was barely two years old.

Why do you never call
him your father?

Because I never knew the man.

Listen to this.

Subject of this song is, I'm
born to preach the gospel,

and I sure do love my job.

[man singing] I'm born...

To preach the gospel

I'm born...

This is it!

[singing] To preach the gospel.

This is what I mean.

It's the real thing.

[singing] And I sure do...

I mean...

It's him.

[singing I haven't never
been to no college.

Him who?

Him. Him.

[singing] But when Jesus
Christ anointed me...

Him. Him. God. That's who.

I've seen him. I've seen God.

Ever since I was a child,
I knew he was very close.

Right here in the house.

Where?

In the kitchen.

This is him.

This is... This is God.

This is what he looks like. See?

This is the face of God.

You see... how kind he is?

Oh! Brad...

I am so glad to see you
back to low-fat foods.

I didn't think that bacon and
eggs was doing you any good.

Yes, Mom.

You know, the next day he
wanted to buy me a home?

This is the house.

But I said to him, "Brad,
this house is not for sale."

So he just moved on to
the next one over there.

Well, then I'm going
to buy you this one.

Brad, darling...

I know you mean well, but I
don't want to live here.

It's too close to
your mother's house.

Besides, we have to
start our own lives.

Well, then I'll
buy you this one.

It's further. See?

I don't know.

How 'bout this one?

No.

Brad, where will you
get the money from?

You don't have the money.

I plan to come into some.

Brad, this house isn't
for sale either.

So what?

So what?

So what?

So what?

Brad, stop that.

I want you to stop that
right... right now.

Wouldn't it be nice
to live on the moon,

with banks of television screens

where we could watch
the Earth transform?

We would live in seclusion.

A honeymoon on the moon.

Brad.

Detective,

why would Brad get up so early,

urge me to come over right away,

and then walk across the street

and attack some neighbours
that he barely knows?

Miss Gudmundson,

I have to inform you...

the suspect did not
attack his neighbours.

He stabbed his mother,
and she is dead.

His mother?

Why his mother?

I just... I don't understand.

He loved her so much.

I remember this dinner
we had the other night.

Oh...

Oh, you can do better than this.

- Oh, no, Mom.
- My goodness.

That's okay, I've had...

- Just one tiny, tiny, tiny...
- I'm finished.

- I had two helpings.
- Just one tiny...

Thank you. It was delicious.

It was.

And there will be a
little something else.

[whispering] I hope
it's not Jell-O.

Oh, Mom, Jell-O.

It's very nice,

but I just can't
eat another thing.

But, Brad, you love Jell-O.

Be a good boy. It's
good for your bones.

No, Mom, please, I can't
eat another thing, okay?

Besides, this Jell-O
looks hideous.

I think I'd better feed
it to the flamingos.

Oh, come on, Brad. You
don't really mean that.

Mom, I'm sorry. I
was just kidding.

Really, I don't even
know how to tell you

how great I think you are.

You're... you're the greatest
mother in the world.

Oh... Brad.

I wish your father were alive
to hear you talk this way.

Tonight I'm gonna take
my best girls out.

We're gonna go driving
over Coronado Bridge

at over 90 miles an hour.

Brad, you know your
driving scares me.

You always drive too fast.

You know, last night I
took Coronado Bridge

at 130 miles an hour.

I wanted to know how it
felt being in Star Wars,

driving through the valley
of the shadow of death.

[imitating rocket bursts]

[both chuckle]

Would you like some, Mom?

Of course.

Enough?

Almost. Good.

There you go.

[man singing in Spanish]

Hey! Hey, you guys!

I'd like to order a pizza!

And make sure

you get me some transportation

to Mexico...

large enough for me
and my two hostages.

And fast!

So we ordered his pizza.

I got an idea.

What if we laced the pizza
with some sleeping pills?

If we put some hot
chilies on it,

he'll never taste it.

Thanks, Fargas, but
it's not gonna work.

You watch too much Tv.

So what are we gonna do
about the getaway car?

The classic thing.
Just play for time.

Besides, I'm not convinced
about the hostages.

Who's he got in there anyway?

We checked with the neighbours,
and they're all accounted for,

so I don't know.

There's two guys over there
that want to get in,

one guy with a pizza
and another guy

who said he just came
up from Los Angeles.

He said Brad called
him this morning.

Is his name Meyers?

Yeah. Lee Meyers.

I know him.

We've all been working
on a play together.

[discordant cello music]

This sword cuts deep.

Straight through the lungs.

And justice is flouted...

women: And stomped
in the ground.

The sword smith of destiny...

women: Hammers the weapon.

A child is brought to
this house to avenge.

Stay right there. Freeze.

Who the fuck is gonna
deliver this thing?

I'm gonna do it.

Okay.

Your weapon.

- Show him your weapon.
- Okay.

Mr. McCullum, I have...

Mr. McCullum, I have your pizza.

Mr. McCullum!

I have your pizza.

Can you see my gun?

Mr. McCullum!

Can you see my gun?

I'm gonna put my gun down.

- I'm unarmed now.
- Through the garage!

- I'm sorry?
- Through the garage!

Okay.

All right. I'm unarmed.

I'm walking up now. Where
do you want me to put it?

The centre. The
centre, right here.

Okay. Okay.

- Closer!
- I'm putting it down right now.

I'm putting it down.

- Closer!
- Okay.

Back off. Back off!

Okay. I'm away.

Okay?

- Go away!
- Okay.

But why don't you let me try?

I'm sure I could walk right
in and bring him out.

He would listen to me.

He would listen to me.

Why else would he call me
at 6:00 in the morning,

desperately asking for help?

You know I can't
allow that, sir.

This is a police
matter, Mr. Meyers.

And besides, we have a
hostage situation here,

and the special unit
is running the show.

But I would like to ask you a
few questions, if I might.

Can you tell me what the
content of that call was?

He was desperate, begging
me to come right away

because something terrible
was going to happen.

He said to me,

"Lee, everything is
crystallizing into one word:

"'Now, '

capital N, capital
O, capital W."

He said he was like
a runaway train.

And then he mentioned
something about a sword

which he had used as
a prop in our play.

He killed his mother
with that sword, Lee.

Jesus God.

With that damn thing?

Brad was obsessed with it.

I told him it is too
dangerous for rehearsals.

But he insisted on using it.

I remember when he
got it. I was there.

He made a big fuss about
driving down to his uncle.

He killed his mother?

- Hey.
- Hey, Uncle Ted.

Hey, this is my friend Lee.

- Hi.
- Hi.

You haven't seen the new
birds yet, have you?

No.

Come on out here and
let me show you.

You need to be careful,
though. They can be mean.

Think dinosaurs in drag.

Brad, I thought you said your
uncle ran a chicken farm.

Was!

You know, Lee, I think my uncle

bred the largest
chicken in the world.

Was. It was the biggest.

- Oh, my God!
- What?

- What?
- My glasses.

Out of my pocket!

Doug, he got the glasses again.

Yeah. Yeah, yeah, yeah.
That's the animal.

That's it. Take it.

This is disgusting.

Don't you do that again.

Brad, this is disgusting.

Maybe we should get
away from the fence.

Good one, Doug. Good one.

I had this one rooster, Ben,

a behemoth.

This thing weighed 45 pounds.

It was bigger than any
damn turkey you ever saw.

So you raised him
for cockfights.

Fuck no, man. For meat.

Why pluck 20 when you
can pluck just one?

- Well, that's true.
- But the beast.

The beast was Willard.

You remember Willard, don't you?

- Oh, yeah.
- He was a monster.

Yeah, they got too large,
too mean, too dangerous.

And could Willard
kick. He was angry.

You see these holes
here? See 'em?

To approach him,

you had to hold this
up like a shield.

And damn if he didn't jump
up and kick holes in it.

And when I was down
to my last can,

that was it, boy;
I'd had enough.

I'll be burning their spurs
off with a blowtorch.

And where are they
now, these big birds?

Well, after Willard,

they couldn't produce
no more offspring.

I think they got too
heavy to jump the hens.

Uncle Ted, I came
about the sword.

Now... what exactly did you say
you needed this sword for?

We need it for a
theatrical production.

A what?

Brad, do you mean to tell me

that you're serious
about this acting shit?

Yes.

Only faggots and
Negroes with attitude

become actors.

Are you a faggot now?

'Cause you don't look
like no Negro to me.

Look, Uncle Ted, you
don't understand.

This is serious stuff.
We're doing a Greek play.

It's been around
for 2,000 years.

A Greek play.

Well, the only thing that
Greeks know how to play with

is each other's balls.

Is this one of those
Souvaki plays

where the guys all get up
and dance with each other

like a bunch of fairies?

There is a Greek guy,
moved in not long ago

right over there.

I had to lock my
sheep up at night,

made 'em so nervous.

A Greek play!

Brad, does your mother know

you're mixed up in
shit like this?

Brad...

it isn't a Greek sword.

The style is all wrong.

So what?

So what?

So what?

Brad...

it's really not the
right kind of sword.

You know what the book
of Job has to say?

About swords?

Fuck, no. About ostriches.

Job 39:13.

"The wing of the ostrich
beateth joyously,

"but are her pinions
and feathers

"the kindly storks?

"For she leaveth her
eggs on the earth

"and warmeth them in the dust.

"When the time cometh,

"she raiseth her wings on high

and scorneth the horse
and his rider."

I knew he was quarrelsome
and disruptive.

But we had to accept
him the way he was.

At the same time,
he was so talented.

But he did give me problems.

Let me warn you straight out.

These ancient Greeks
were not just

a bunch of philosophers and
aesthetes pussyfooting around.

They were into the real thing.

So as I was saying before,

we're dealing here
with a trilogy.

You know that the king
comes home from Troy

only to be killed by his wife.

Then the son returns
home to avenge him,

to take his mother's life.

But there's a history
to this curse

that weighs on these people.

The killing goes on
for generations.

Orestes is just the last link

in a bloody chain.

It all starts with Tantalus,

the one who spends his
eternity in hell,

chained to a rock by the gods,

starving for grapes
just beyond his reach.

He is the source of
our word "tantalize."

He is at the root
of our own curse,

lusting for something we
want but we cannot have.

He challenged the
gods, this Tantalus.

He wanted to see
if they were real.

So he invited them for dinner.

And just as a test,

he served up his son in a stew.

The gods puked up his flesh

so he could still father
more cannibals and killers.

It's like his own son Atreus

who cooked the son of
his brother Thyestes

and then invited
him for a feast.

I'm saying, to understand
Orestes and the curse,

you must feel the whole weight

of this godforsaken
Tantalid house,

a dynasty of ruthless kings
and diabolical queens

who eat each other's flesh and
fuck each other's wives...

century after century,
generation after generation.

And only Orestes can
lift the curse.

But he has to murder
his mother to do it.

So he's damned if he does,

he's damned if he doesn't,

and doubly damned if he wavers.

That's it! That's it.

Razzle them.

Dazzle them.

Razzle-dazzle them.

I'm the director, Brad.

You do what I tell you.

Lee, some people act a
role. Others play a part.

[chuckles nervously]

You know, one thing I could
just never get out of my mind.

I never understood
what he meant.

He clutched his sword,
and he said to me,

"A bird was the largest
animal I ever killed

before I killed my mother."

How long ago was that?

Weeks, maybe a month.

But rehearsals went very well,

especially when
Brad had no lines

and the chorus was performing.

You remember?

In position.

In position!

Concentrate.

Concentrate. Let's go.

Earth breeds many
things, begetting...

women: Pain, terror...

And horrors of suffering.

And the depths of the
sea teem with...

women: Murderous monsters.

And flaming comets stab
down through the sky

and blast creatures that fly.

Women: And creatures that crawl.

And things more horrid still
like the cradles of storms...

- Cradle of storms.
- Cradle of storms.

- Cradle of storms.
- Cradle of storms.

But who can describe
the audacity of man

or the daring and
passion of women

that stop at nothing and
lead to mortal ruin?

The cruel bitch
of female passion

can break apart the
yoke that joins a pair

and force apart the
dark embrace...

women: Of beasts and man alike.

This sword cuts deep.

Straight through the lungs.

And justice is flouted...

women: And stomped
in the ground.

And the sword smith
of destiny...

women: Hammers the weapon.

A child is brought to
this house to avenge...

To lift the seeping
stain of ancient blood.

Women: Brought by her,
we shudder to name

the dark, brooding fury.

But there was always trouble

whenever we rehearsed
Brad's part.

What was the play about?

About a son killing his mother.

[discordant cello music]

Child...

you have in mind to slay,
and slay your mother.

Oh, no, you slay
yourself. You, not I.

Beware... your mother's
vengeful hounds from hell.

I must heed my father's,
not spare you.

Did she do it... or did she not?

Bear witness here.

This robe...

she dyed it in the blood

that ran around her
lover's sword.

Brad, this isn't a Greek robe.

This spurted stain has
aided time to blur

the many dyes that once
adorned this robe.

I stand here now, made glad,

made mad with blood,
exalting... wailing.

Hear me, woven web
that slew my father.

Stop it, stop it,
Brad. Enough, enough.

You skipped a hundred lines.

It makes more sense this way.

It does.

You're just standing
there, delivering lines.

You're not acting.

And at this point, I
told you to move.

Lee...

I need to say something
to you about basketball.

We all know you were
a great player.

No, you see... I was a
little short for the game,

so I had to become the
classic distance shooter,

a 3-point man.

Now, in one of my
games, it happened.

The ball is passed to
me. I jump; I look.

And in midair, I realize...

I'm shy of midcourt, some
70 feet from the basket.

And I can't come down,
because if my feet touch,

I'm travelling.

So I have to shoot.

I freeze in midair.

Then everything else
around me freezes...

so I shoot.

It was more of a
shot-put than a throw.

And it just swished through.

No. No, it hit the rim... hard.

It kind of rattled in.

That's enough.

That's ridiculous.

But I think I've found it.

What?

I've found the still point.

The unwobbling pivot
of the world.

Do you know what I mean?

No. Can we do it again?

Please?

Chorus, back.

Come on, quick, quick.

Get in position. Position.

Concentrate.

A Greek play.

Let's go.

Earth breeds many
things, begetting...

women: Pain and terror...

And horrors of suffering.

And the depths of the
sea teem with...

women: Murderous monsters.

And flaming comets stab
down through the sky

and blasts creatures that fly...

women: And creatures
that crawl...

And things more horrid still,

like the cradle of storms.

- Cradle of storms.
- Cradle of storms.

- Cradle of storms.
- Cradle of storms.

But who can describe
the audacity of man

or the daring and
passion of women

that stop at nothing
and lead to...

women: Mortal ruin?

The cruel bitch...

The rooster! The rider!

The rooster! The rider!

A man on a rooster! The
rider of the Apocalypse!

[rifle clicks]

The rooster. The rider!

The rider of the Apocalypse.

No, not the rider. It
was the horse owner.

It was the goddamn horse owner
wouldn't let me have the horse.

Look, imagine it's the
opposite time of the year.

There's no snow.

And this... this horse
is fully grown.

And this little guy
would be riding this,

the smallest horse in the world.

And then Willard, my rooster,

would be chasing him around

the biggest tree on this planet.

[serene music]

[man singing] Dˇcen
que por las noches.

No mas se le ˇba en puro llorar.

Dˇcen que no com f a...

Now, here's the thing.

The rooster would stand taller

than the rider and
the horse together.

- God, that sounds fantastic.
- Yeah.

There was gonna be a commercial.

It was gonna make
a bunch of money.

It was gonna be great!

A commercial for what?

How should I know?

But it was gonna be great.

[man singing] Muerte
la fue llamando.

Ay, ay, ay, ay, ay...

Cantaba.

Ay, ay, ay, ay, ay...

Gem f a.

Ay, ay, ay, ay, ay...

Cantaba.

De pasˇón mortal...

Mor f a

[door creaks]

[door thuds]

Subject of this song is, I'm
born to preach the gospel,

and I sure do love my job.

[man singing] I'm born.

To preach the gospel

I'm born.

To preach the gospel

I'm born.

To preach the gospel.

And I sure do love my job

I haven't never
been to no college.

And I didn't get a
chance in school.

But when Jesus
Christ anointed me.

To preach the gospel.

He sure didn't leave me no fool.

Oh, yes

I'm born.

To preach the gospel

I'm born.

To preach the gospel

I'm born.

To preach the gospel.

And I sure do love my job.

Well, they have lots
of educated preachers.

That picked up in the end.

And dropped their hearts
unfixed with God.

And walking around
scared to death.

Oh, yes

I'm born.

To preach the gospel

I'm born.

To preach the gospel

I'm born.

To preach the gospel.

And I sure do love my job

[door thuds]

Hey, Detective, have a look!

Mr. McCullum, what is this?

It's a flamingo that
slammed into a tree.

Give it to my mother.

He kept talking
about his mother...

Mr. Meyers, please.
Please, it's safer here.

I understand.

He was obsessed with her.

When I'd play his mother

and lay murdered at his feet,

he whispered to me,

"Twitch your feet.

I wanna see my mother's feet
dancing her to heaven."

He disrupted our
rehearsals so many times

that I had to take
him out of the play.

I hated to do it because he
was really so very good.

It was really very sad.

He took it hard.

He just couldn't get
it out of his system.

He just couldn't shake it.

When we took the
play to Calgary,

he came all that way
with his mother

just to see the performance.

That was the last
time I saw him.

He was with his mother.

He seemed so caring.

And he really was
taken with the city.

He was so fascinated by it:

All those glass tubes.

Brad, where are you going?
What are you doing?

Can't you see it, Lee?

This is the tunnel of time.

Wouldn't it make
the perfect stage

for a cosmic melodrama?

Like a hound on the trail
of a wounded deer,

we will track him down
by the drip of blood.

Women: I snort, lungs bursting,

from long man-slaughtering toil.

Ranging over every
corner of this Earth.

In pursuit...

Without wings, I have
flown over oceans.

And now that this man is here...

- Somewhere...
- Cowering...

women: The scent of human blood

grins wide for me.

- Look!
- Look!

- Look!
- Look!

- Look!
- Look everywhere.

Women: Cast your eyes
in every direction.

Don't let this mother-killer

get away unscathed.

I now stand here, made glad,

made mad with blood,

exalting, wailing.

I slew her.

I deny no word hereof.

Hear me, woven web
that slew my father.

This robe, she dyed
it in the blood

that ran around her
lover's sword!

Women: Yes, you must tell
the manner of your deed.

Drawn sword in hand,
I lopped her head.

Women: Who, and by craft
of who, did urge you on?

Fate and necessity
made me do it!

Brad, don't participate.
You're disturbing the play.

Just be quiet.

Draw from their killers
blood to answer blood.

[serene jazzy piano music]

[music continues]

Brad? Brad. Brad, let's go.

Brad, let's go.

[man breathing heavily]

Brad? Brad. Brad.

- Yes.
- What is it?

Lee, you don't need to
give me such a close look.

Okay? Yeah, I admit I've
been crying a lot lately.

But it's strange.

The tears only come
out of my left eye...

never my right.

How do you explain that?

[man chanting mournfully]

[man chanting mournfully]

[shouting] Why is everyone
staring at the house?

Why is the whole
world staring at me?

[whispering] Why are the
mountains staring at me?

[thunder rumbles]

Why do the clouds
look down upon me?

Why are the clouds
looking upon me?

Why is everyone staring at me?

Why is the whole
world staring at me?

[mournful chant continues]

Why is the whole
world staring at me?

All right, team one,
up on the roof.

Team two, shore up the wall.

Team three, into that garage.

Team four, go long, perimeter.

Let's go, fellas. Move out.

Lieutenant,

we have a relative

and close friend of
the suspect here.

I think they can be useful.

All right.

Put 'em in the van.
Be there in a minute.

Joey, keep me posted, okay?

In the van. Come on.

Hi, I'm Lieutenant Brown. Ma'am.

Look, try not to be...

too distressed about
all this, okay?

Because right now, we're just
assessing the situation,

all right?

Now, I appreciate if you
stay here in the van

so when I need you, I
know where you are.

- Can you do that for me?
- Yeah.

All right. Stay with them?

[phone line trilling]

Same old thing.

It rings 30 times, but
he doesn't pick up.

Let me try to get in there.

Look, I can offer
myself up as a hostage.

He can take me in a swap.

No, you won't.

I can do it. I can do it.

It's not protocol. Look,
my show. I run it.

You take orders, or you
get behind the perimeter.

Is that clear?

Thank you.

I'm really sorry.

How totally inconsiderate of me.

Neither of you have
had any coffee. Here.

Thank you.

And forgive me for not
thinking of it sooner.

You know, when we
were up in Canada,

I realized that Brad
was crying a lot.

He didn't like to talk about it

or else made a joke out of it.

But I remember, one time,

he turned to me, a
little bit more serious,

and said,

"I cried in the laundry
room for four years

until they renovated it and
used it for something else."

Yeah, it was only two days ago
that he called me, desperate,

from Tijuana.

He was crying, and
he was telling me

about this hotel room he was in

and how he had placed
prescription glasses

around the light on
his night table.

I went across the border the
next morning to pick him up.

Now...

did you buy all these
prescription glasses?

What do you mean

by placing prescription glasses

like this, Brad?

This is my way of
bringing heaven to Earth.

You see...

[festive music]

[men singing in Spanish]

No, no, no, no, no. It's okay.

[speaking Spanish]

Oh, not today, not today.

But I'll take a card.
It's all right, okay.

Maybe later. Okay.

Thank you, thank you.
No, no, no, no, no.

Not today. No, it's
okay. Thank you.

As soon as we got
back to the States,

he wanted to go to
the naval hospital

in San Diego.

I was glad...

because I thought he wanted
treatment for his depression.

There. You turn up here.

Turn right.

But that's... the
naval hospital, Brad.

I want to go to the
naval hospital.

Right.

Right here.

My father died here.

Sir?

I would like to visit the sick.

Sir, who would you
like to visit?

The sick. The sick in general.

Oh, the general.

Well, I'm not
certain if he's in.

Why don't you just park
your car over there, sir?

One more time, sir.

Who do you mean by "the sick"?

Madame...

I mean the sick in general.

Sir, you can't visit
the sick in general.

Can I at least buy a
pillow for the sick?

You can inquire at the
gift shop about the...

But, sir, please wait one moment

while I make a call.

Hello? It's the front desk.

No, this man just came.
He's asking about a...

I don't know. Just stop him!

He's asking about the sick
or a pillow, I don't...

Security, there's a man
going to the gift shop.

Yes, civilian. With
a woman, right now.

He's behaving very strange.

Brad.

They're calling security.

Brad!

Brad, let's... let's
just go, okay?

[let engine roaring]

Look how beautiful San Diego is.

It's like the city of God.

[man chanting mournfully]

Do you... mean to leave it here?

Yeah. I'm hoping some
young future player

will find it.

Did you see that, lngrid? The
whole world almost stopped.

What do you mean?

Brad... I didn't see anything.

Excuse me, sir. I'd
like to give you this.

Your bag?

Yes, as a gift. I
insist, please.

No. What am I supposed
to do with this bag?

Just take it. It's wonderful.

It's got all kinds of... see?

Oh, wait, I've got to
keep this one thing,

but you can have the rest.

No, you know, I
can't. I don't know.

Enjoy it. Thank you.

Okay, uh...

Brad, all your glasses
are in there.

Oh, it's okay. I can
read without 'em.

I'm just following
this inner voice.

It feels so good to say
good-bye to your things.

And then?

After Balboa Park, I
brought him home,

to my place.

That was yesterday.

He slept for most of the day,

and then at night,
he got restless.

He started talking a
lot about machinery,

how much he hated it.

And then he disconnected
all the clocks

and the refrigerator.

And then he went outside

and started banging on his car

so hard that it scared me.

When he finally came back in,

he had that pillow with him.

And he gave me this look

that I'd never seen before,

and that's when I
got really scared.

I said to him, "Brad, I don't
want you staying here tonight."

And he just... he left
without saying a word.

Detective, the Roberts woman

seems to have
recovered her speech.

She says she's
feeling much better

and she can talk
to you now, sir.

I'm coming.

Miss Roberts, I know this
is difficult for you,

but could you tell me
how it all started?

Well, it all seemed so normal.

It was early in the morning,

and of course, we were
up having our coffee

when Brad came across the
street with his mother.

Actually, she was
hurrying ahead,

and he was following
a few steps behind.

My mother offered
her some coffee

because she sensed
that Miss McCullum

wanted to talk to her
about something.

So she said to me,

"Why don't you take
Brad out in the back

and show him your garden?"

So I took him outside

and showed him my
dried-out flowers

and all the dust,

talked to him about the problems

I was having with
water shortage.

And he seemed to be very
interested in all of this.

And then when he tossed
his baseball bat at me,

I asked him, I said, "Brad,
what are you doing?"

No, but that was later. No,
let me tell the detective.

When they were out back,

my daughter and Brad McCullum,

Mrs. McCullum leaned in
and whispered to me...

Brad tried to smother
me with a pillow.

Oh, no.

He wasn't kidding.

I think we should
call the police.

- Oh...
- Now, this has gone far enough.

We've got... Here he comes.

But I'm calling.

She's had so much trouble
with this garden

with no rain, you know,
and everything, so...

Adele, you sit here.

I want you to sit here.

Excuse me.

How 'bout some coffee, Brad?

I'll pour you a cup of coffee.

Oh, no.

No, wait, I...

I got to go get my cup.

Can't start the day without
my special coffee cup.

It took quite a while
till he returned,

about ten minutes or so.

We almost thought he
wasn't coming back.

We were discussing whether or
not we should call the police

when he walks in
with his coffee cup.

Mmm, boy, Mrs. Roberts,

you sure do make the
best coffee around.

Where's he going?

He's going to his car.

He's got a bat.

Here. Take it.

- Brad, what are you doing?
- Hit me.

What?

Kill me before it happens.

Kill me before it happens.

Kill me.

What are you doing?

Kill me!

When he ran her through
the first time...

Ran her through?
What do you mean?

When he ran her through
with the sword,

she said calmly,
"My son, my son,

what have ye done?"

That was the last
time she ever spoke.

There was no screaming.

In fact, no one screamed,
least of all his mother.

I was astounded at the silence.

Okay. We're gonna
give this a try.

You ready?

You stay behind here,
and no heroics.

Brad!

It's me, Lee.

I came down from I.A.

lngrid here is with me.

I'm here, Brad!

Brad, it's going
to be all right.

I promise you,

nothings going to happen to you.

But you have to come out, Brad.

Brad, it makes no sense
keeping the hostages.

Let them go!

Yeah!

In a minute, Lee. I'm
still feeding them.

Brad, it's me.

Talk to me.

Tell me, who are the hostages?
What are their names?

McNamara and McDougal!

Oh, my God!

They're his flamingoes!

They're his birds!

What do you mean by birds?

They're my eagles in drag.

It's okay. It's okay.

Come on. That's all right.

I hate it that the sun
always comes up in the east.

Police! Don't move!

Put your hands in the air!

Turn around and face the wall!

Put the weapon down slowly.

Now, walk...

Walk back towards my voice.

Keep coming. Keep coming.

Slow down. Keep coming.

Stop there. On your knees.

Hands on your head.

I want to be left in the
desert, in the wild.

I want to be taken
south of the border.

I have taken a new vocation
as a righteous merchant!

Hi, lngrid. Hi, Lee.

Sorry, folks, I can't allow
communication with the suspect.

Please step back.

Detective, do me a favor.

Can you include two
things in your report?

One, forget about flamingoes.
I see ostriches.

I see ostriches running.

[frolicking harmonica music]

[ostrich hooves thundering]

And two...

what ever happened
to my basketball?

[man singing in Spanish]

[melancholy instrumental music]