Dead Still (2020) s01e03 Episode Script

1
(gentle music)
- I'm after discoverin' this
underground photo trade.
No one photographs the dead
better than you, no one.
- I know you're thirsting
for a big case, Fred.
But be smart about it.
- [Conall] McGloin
had IRB connections.
He was up to his neck in debt.
- It's never the
most obvious thing.
There's this Communist
makin' a nuisance
of himself around town,
Czerny, and he's been
fundin' his travels
by sellin' these photographs.
- [Photographer] You took a
photograph from that album,
had a little private showing.
- I stole?
You stole it!
- Give yourself a whirl.
Percy's a sculptor.
And what is it you sculpt?
- [Percy] I'd sculpt
you if you want.
- I need to be regarded as
more than just a grave digger.
- So you don't want a job?
- No, I do.
- Hear him out, uncle.
- I'm a trustworthy fellow
and I shall be afforded that
trust as your assistant.
Do I have that trust,
Mr. Blennerhasset?
(dramatic music)
(people chattering)
(dog barks)
(soft suspenseful music)
(baby crying)
(wood taps)
- Hello?
(wood taps)
(suspenseful music)
Conall?
Is that you?
(wood thumping)
Get away, go away!
Who is it, go away!
(suspenseful music)
(camera shutter clicks)
- Where's my camera?
Where's Molloy?
Molloy?
- He came in, he
definitely came in.
But, then I saw two
drunks fighting over a hat
outside the window
and I got distracted.
- Oh spare me.
So, did you?
Did you not see him
leave with my cases?
- I watched the fight and all.
Both drunks ended up with hats.
- Yes, I saw that.
Where did the second
hat come out of though?
- I can't believe this.
I knew this was a mistake,
to take on a new assistant.
I knew it, I knew
it was a bad idea.
- Uncle, there
could be a perfectly
reasonable explanation.
- My equipment has gone missing.
And my assistant is
nowhere to be seen.
Now, I literally dragged
that man out of the grave
and this is what I get?
That camera was very expensive.
- We should probably
get a new one anyway.
The latest models
are coming out faster
and faster these days.
You need to stay ahead
of the latest trends.
- Well, when you're at the
peak of your profession.
- Because you're
awful at staying ahead
of photographic trends.
You need to variegate more.
- Nancy, this is not
the time for variegation
This is the time for
finding my camera.
- Maybe you should
call down to his house.
What a wonderful
excuse to visit.
- No, no, no, we're not going
to that low part of Dublin.
It's full of squalor and vice
and everyone sittin'
in it happily.
It's not our world.
- It's my world.
I'm from Labbard Lane.
- Yes, it is your
world Carruthers
But you're trying
to better yourself.
You bought a horse.
- This is ludicrous.
Oh, Carruthers can better
himself but Molloy can't?
- Oh, he stole the equipment,
mark my words, miss.
We know the sort.
- Of course you do,
you're one of them.
- Labbard Lane.
- Look, I'll go down and
see if I can find him.
It's a good excuse
to see the Monto.
- Can't go there
on your own, Nancy.
- All right, if that's the case.
You come with me then.
(Brock scoffing)
Think of all the mischief you
could get up to down there.
- Think of all the diseases
you could catch down there.
- Oh, we don't need
to think about all.
- Listen, I don't want to
hear another word from you.
Anyway, a man of my
standing shouldn't be seen
in an area like that.
- You don't have to be.
Just stay in the carriage
and keep an eye out.
- Well maybe I could,
I could supervise.
- Good idea.
I'll get dressed.
(upbeat orchestral music)
(tack jingling)
- I really don't think
that costume's a good idea
for many reasons.
- I want to blend in.
- You do spend a lot of time
in your own imagination,
don't you Nancy?
- Oh yes.
- Well my dear, the streets
of Dublin are not a fairytale.
- Don't worry Uncle,
I picked up an idea
from Desmond Roth
chap who kidnapped us.
- Please don't say that you-
- I've got a knife in my boot.
- You need to be careful.
Look, I just want you to be safe
when you're under my
care, that is all.
- What about when I
was a little girl?
When you sent me away?
- Oh it was just some
trouble at the time.
You were too young
to understand.
- Something happened
to you, didn't it?
(melancholy music)
- I trusted someone
I shouldn't have.
- And it caused you to
close in on yourself?
You used to be so outgoing.
- Well, it's reminded
me that I'm best left
to my own devices.
(curious music)
(dog barking)
- [Nancy] Are we here?
- Come on, let's find my camera.
You know best where to go yes?
- Well, I don't know where
the little bastard lives
but I know where you can ask.
He says he drinks in
Bulger's across the way.
- Excellent, you do that,
you know the locals.
- You see that's
the problem, sir
I'm barred on account
of a few items I sold
that weren't as advertised.
- And what did you
advertise, Carruthers?
- Rabbits.
- And what did you
sell them Carruthers?
- Cats.
- All right Nancy, your turn.
And don't hang about.
- Is she supposed to stand out?
- Unfortunately not.
- [Patron] No, I told you
before, we don't have!
- How are ya, love?
Violet's me name.
- Is it now?
- Yeah, it is.
- And you're meant
to be what exactly?
- Well I'm a working
girl, aren't I?
- Oh, of course, yeah.
How could you be anything else?
You look exactly
like all the other
working girls around here.
- Well yeah.
I've actually just
moved to the area.
- Oh, well, I bet you've
pulled more Mickeys today
than I pull pints a
porter, haven't ya?
- Well yeah, I have actually.
- Oh, I bet you
have Violet, love.
- Now, onto the subject at hand,
I'm lookin' for a Conall Molloy.
I heard he drinks in here.
- That's what you think
girls around here dress like?
That's what you think
they sound like, is it?
- I'm sorry, I didn't
mean to cause offense.
I was just trying a
bit of a disguise.
Playin' a bit of a character.
Practice my acting.
- And that's what
you called that?
- Yeah, any advice
you could give me?
- Yeah, piss off, you're barred.
(upbeat music)
- Barred?
Yes!
- [Bessie] And don't come back!
- Nancy?
- Please, call me Violet.
- All right.
Why are you all dressed
up like that, Violet?
- Am I too dressed up?
Damn, I really
wanted to blend in.
- I'm just not sure it's the
safest look around these parts.
- Oh, we're quite the
Monto match, Percy.
- I'm just passing through.
I've got a class
on Gardiner Street.
Very easy to find nude
models around here.
- I can only imagine.
- And why are you down here?
- It's work related, tracking
down some missing equipment.
Very exciting altogether.
- Well, please mind yourself.
It's a rowdy spot at
the best of times.
- Don't worry, I've
got a knife in my boot.
- Everyone around
this part of town
has a knife hidden
in their boot.
- Good, I'll fit right in.
- I'm not so sure about that.
Anyway, I best go.
(people chattering)
That Nancy girl,
she's nice and all
but I'd really like to bring you
for a drink sometime, Violet.
- Well Percy, I'm
sure Violet would love
to have a drink with ya.
She'd be thrilled with
a rogue like you I bet.
But Nancy needs
a little bit more gentlemanly
persuading than that.
You should write her a
nice letter sometime.
(romantic music)
- I want four plainclothes
men and I want guns on 'em.
- They're not gonna
give you all that
to nick some drunk
tourist peddlin'
a few obscene images.
- We'll round him
up on the slight,
won't say nothin' to no one.
- I don't know if that's gonna-
- Ronnie!
I need ya up in Francis Street.
Robbery in Rolly's Antiques.
They've got off with some
tidy snuffboxes, the bastards.
- I'll be needing to go up
for a small job this
evenin', inspector.
- Is this the
photograph trading gang
you were telling
me about Ronnie?
- Yeah, I think so Bill.
- Look, Freddie, I can't
be wastin' good men
like Ronnie here on drunk
tourists peddlin' dirty pictures
down in the Monto.
You're a tidy book, he'll
be well hopin' for the devil
if he causes a fuss.
- But I might need
men for a raid, sir.
- There's no might
about it Freddie.
If men are needed,
men'll be issued.
All right Ronnie,
let's skedaddle.
(suspenseful music)
- Farrelly, what are
you up to this evenin'?
- Just goin' for a few pints.
- That makes two of us, boy.
(people chattering)
- She's been gone quite a while.
This place seems to
be getting louder.
Should we go looking for her?
- I'm barred, I said.
(man laughs)
- I'm looking for Conall Molloy.
(cane taps)
I'm lookin' of Conall Molly.
- And who's askin'?
- Me, I am.
I have some questions.
- Answers don't come for free.
Or on tick.
- Oh right, yeah.
(coin clicks)
- [Patron] Whiskey
please, Bessie.
- So, do you know him?
- I know him well.
- [Patron] Thanks love.
- Photographer.
- Isn't he more
of a gravedigger?
- No, he's a photographer now.
He's well up in the world.
Not a gravedigger anymore.
- Well, he'll be goin' back
to bein' a gravedigger,
mark my words.
Now, could you possibly tell me
where his photographer lives?
- [Patron] The
usual there, Bessie?
- What does Conall do
that has so many
people looking for him?
- Who else is lookin' for him?
- A very unconvincin'
prostitute.
- I've misplaced my niece
and she's dressed as an
unconvincing prostitute.
- That's her,
yeah, she's barred.
And if you don't mind, I've
work to gettin' back to.
- If I was to pay
you some more money.
Would you possibly
show me where he lives?
(suspenseful music)
- I take a 15 minute
break every evenin'.
I'll give you that, no more.
- Very kind, thank you.
(people chattering)
(door creaks)
- Ransackin'.
Not a tidy one at that.
Looks like the work
of the Mulgrews.
- Who?
- You know, the Mulgrew Gang.
- No, I don't think we move
in the same circle somehow.
- They run these streets.
Well, three of them anyway.
- They run three streets?
- Oh, there's a lotta
gangs around, sir.
Streets get divided.
The gangs do whatever they
have to to stay ahead.
- And what would possess
someone to create such a mess?
- Someone didn't
pay up, I suppose.
- And what would happen to
someone who didn't pay up?
- Ask this creature.
Cats.
- Am I still barred?
- Ya are, yeah.
And I'd stay well clear of
Bertie Mulgrew if I was you.
- You don't need
to tell me twice.
- What would the gangs
want with Molloy?
- Look, you'll have to ask them.
I'm only a workin'
woman on her break.
- Does everyone think that
Molloy is a photographer?
- He'd be more regarded
as a good drawer,
an artist, you know?
He gives free drawin' lessons
to all the chiselers here.
Doesn't charge them a penny.
(suspenseful music)
- I wouldn't be gettin' mixed
up with the Mulgrews, sir.
All right, I think it's
time we get outta here.
- All right Carruthers,
let's make haste.
I don't like the idea of her
bein' around this dark place.
- Especially what she's wearing.
- Look Carruthers,
Detective Regan.
He may be of assistance.
You wait here.
(door squeaks)
(door clicks)
- What now?
- I'm lookin' for a detective?
- I know I wouldn't
be in the habit
of pointin' out undercover G-men
but I'm sure you have
a good eye for one,
if you look closely.
Here, I'll get you a drink.
- Detective Regan.
- Fuck off will ya?
You'll blow my cover.
- I'm sorry, but there's
been a crime, you see.
- It's too much money.
- Why don't you have one?
Another whiskey there please.
- I won't say no
to a free whiskey.
- Of course you wouldn't,
you're a cock man.
- Huh, what do you mean by that?
- Nothing.
- Why are you here,
Mr. Blennerhasset?
- My camera's gone missing
and my niece has possibly
gone missing also.
- Interesting.
I'm here on a
photographic matter.
- Oh, and how is that?
- You tell me, buy
me a fuckin' drink.
- I fucking warned you before
now fuck off, piss!
- Duffy, don't make
me bar ye again.
- So I'm after getting a lead
on someone sellin'
an item of interest.
So we set up and let me see it.
Oh fuck.
I'm gonna have to get
myself out of position.
Now here, do you know that
fella with the glasses?
- I'm afraid I
don't, no, should I?
- So we make like
we're talking right
and if a photograph is
produced, give me a wink.
- Must I give you-
- Just a wink, all right?
Make it big enough
that I can see it
but not so that he can.
- Very good.
Is he a photographer?
- Czerny Communist fucks.
He buys and sells quail
photography, like yourself.
(ominous music)
Did you just wink?
- I'm not very good, it's been
a while since I've done it.
I probably haven't
done it since-
- Did you wink or not?
- Yes, I winked.
- Go, Farrelly!
(dramatic music)
(man grunts)
I'll take that.
- I did not create that picture.
- But you were
tryin' to sell it.
That's good enough for me, boy.
(suspenseful music)
- Where's he gone?
Carruthers?
- Come this way, big man!
Carruthers said
you're a photographer.
- Well, might be so, I'm
looking for a photographer
in these parts by the
name of Conall Molloy.
- Molloy, yeah, he's a
photographer all right.
- Well, I need to speak to him.
- Yeah, I heard you
been askin' around.
A load of people have
been askin' around
but the only person
you need to be askin'
is them ol' rude boys.
- And where would I
find one of those?
- Ya just have.
Bertie Mulgrew,
on your doorstep.
You see it's my job
to keep an eye out
for potential trouble.
Like yourself.
So now, cameraman, march.
- [Brock] But listen, we
don't need to do this.
- Don't make a scene now, right?
We're just goin'
for a nice walk.
Isn't there a grand,
stretchin' it all together.
- [Brock] Not so fast please.
- Martin's gone mad
about the whole.
This the fancy man
Carruthers was talkin' about?
- A photographer he says.
Might help gurry things along.
- Well, we don't
need any more people
on the streets askin' questions.
Ma is vexed.
- Lift yourself up them
stairs nice and fast, yeah?
- Can't get up them any faster,
that's why it's a called a limp.
- Mr. Czerny if
you cannot tell me
where you got this photograph,
I'll have to presume
that you were the person
that took the photo.
- I stole it from
an album at a party.
- Is this type of
photography easy to get
where you come from?
- If you look in
the right place.
- Well, ya better
start lookin' soon
'cause you're not
long for Ireland
and you can kiss my
arse on the way out.
- But what if these
photographs are real?
They're so easy to fake.
- Found this man dead by
his own hand last week
and there sure as fuck
wasn't a camera set
up in front of him
when we arrived.
Now, use the trip
down to Dublin Castle
to have a little
think about the truth
'cause I'm fuckin'
comin' for it, boy.
(suspenseful music)
Farrelly, round up the boys,
we're goin' on a raid.
- No, don't go burstin' in now.
Didn't I tell ya she was vexed?
- Shut up, you.
Right, put our little
friend down there a minute
until I see if it's safe.
(Brock grunting)
- Don't talk to any
of them, all right?
- [Nancy] Uncle!
- Good evening, everyone.
- So good to see ya.
Have you been kidnapped too?
- I can't honestly tell.
There's been a lot
of salty doublespeak.
I can't quite get
my head around.
I told you to wait!
- Yeah well Bertie got
to me first, didn't he?
- And why is he after
you, Carruthers?
- Over some ferrets I sold him.
- And what did he really get?
- Cats.
- [Brock] So then you sent
that bulldog after me.
- I had to give
Bertie somethin'.
I told him I was waitin'
for a photographer,
an associate of Molloy,
so he waited for you.
- How very kind
of you Carruthers.
- Well, we're reunited
again aren't we?
- The little one's
Molloy's sister, Lily.
- Oh.
- The gang kidnapped her
like they kidnapped Molloy.
Isn't she a dote?
- Yeah, and she told me
what you said about him.
The cheek of ya, ya lanky fuck.
- I did not accuse him of any-
- Coming from a low part of town
so he'd be more likely to steal.
- Nancy putting
words in my mouth.
Anyway, how do you expect
to be believed in
that get up, honestly.
- Yeah, not a hope.
- I'm disguised as
a flash house girl,
that's the classier one.
The shilling house girls
are the cheaper ones.
- It's the same job, Violet.
- Violet?
You've called yourself Violet?
(woman moans)
- Yes, well I just did it in
order to better find Molloy.
Which I did, I might add.
So thank you Violet.
- Well, all I really
want is my camera back.
Now why does your
brother have it?
- He's a photographer.
- He is not.
I am a photographer.
His boss, Brock Blennerhasset,
memorial photographer.
Now will someone please tell me
what the hell is goin' on?
- Right, so, Mr. Blennerhasset,
in these kip houses,
there's a lot of goin's
on goin' on, yeah.
Am I paintin' ya a picture of.
- Intercourse.
- Exactly.
- Intercourse?
What sort of intercourse?
- Don't be gettin'
too cozy here.
There's work to be done.
- Bertie, if I get ya the
ferrets, will you let me go?
- You had your fuckin' chance.
(Brock grunting)
This is the other fella, ma.
- You have to be ridin'
her slower than that Joe,
you can't be ridin' her fast.
You don't want to be blowin'
up before we're done.
- Listen to the expert, Joe.
Or I'll cut your balls off
and throw them in the Liffey.
(man grunting)
So, this is the other
photo man come snoopin'.
You know the handiwork of
young Molloy over there.
- Oh I know it well.
(woman moaning)
For I am his assistant.
I came lookin' for him
and now I've found him.
I'm most happy to help.
- Ah, Blennerhasset,
me good man.
- Molloy, what was it
you were sayin' again
about pretendin'
for the picture?
- The picture, the picture,
the picture will blur if he.
(Molloy stuttering)
He has to stand there with his,
with his Mickey in
her and hold the pose.
- He's gone soft now.
- I've gone soft again, missus.
- Stiffen up, Joe.
We haven't got time
for soft Mickeys.
We have to get Bella
back downstairs
before the army
officers are out.
She's me best girl.
Can't be wastin' her all
night on your spongy lad.
Now, lap up his
(mutters) there Bella.
- This is not what
it looks like.
- You'll have to
ride her slower, Joe.
- They've taken my sister.
- [Minnie] Look how
I have them mounted.
- Ah, you're a wicked
woman, Mrs. Mulgrew.
Up on top of him there she is.
I would have never
thought of that.
I have unwittingly
left myself prone
to criminal gangs.
- Come on, we
haven't got all day.
Right, on your knees.
Back at him from behind.
Look, ridin' like dogs they are.
- Nasty devil, Mrs. Mulgrew.
Exactly how the dogs
would be out in the
street, ridin' away.
- We're not wantin' for options.
Stick it up into
your hair a bit.
- You've too many
candles, get rid of them.
- I know, I don't
know what I'm doing.
I've been stalling for hours.
- Molloy, you've more
candles than Christchurch.
Have the place
done up beautiful.
Joe is as hard as
we're going to get him.
Now take the photo
like a good man.
- Yes ma'am.
- [Minnie] Good girl,
you're doin' great.
- Please don't give me away.
I have to live
around these people
but if you can just
quietly give me
some advice at the moment.
- Fire you is what I should do.
But I'm willing to
assist you in this shoot.
And hope that perhaps maybe
we get out of here alive.
Now, let's liven up the process.
- You're gonna have to be
harder than that, Joe, my man.
This is gonna take a while.
(bouncy inquisitive music)
- What about this?
- Yes, that'll do some damage.
- Look, why don't you just
wait 'til they're finished
and they they'll let us go?
- Carruthers, look at
how I've dressed, hm?
I look amazing.
What if they and coerce me
into some horribly
explicit photographs?
- And me and all.
And probably you.
- What do you mean me?
- They'll probably
have you in there.
Ridin'!
At knife point!
- So I should be facin'
towards the camera,
kinda lookin' at it as if to
say how's it goin' you know?
All seductive like.
- What say you, Blennerhasset?
Come on now, give us some
of your perils of wisdom.
(Brock coughs)
- Bella, dear Bella.
Now, without a hint of
movement you must speak
to the camera about passion.
- Passion, for Joe?
- Well, I'm sure there's
some customers that you have
that you don't find attractive?
- Oh yeah, most all of 'em.
- Well, when you're
engagin' with these people,
then do you feign interest?
- I do my best but I do
get awful tired sometimes
and just lie down.
- Well, your face should not
be in service to the viewer.
It should be in
service to the act.
So, why don't you imagine
that you've been swept away
on a sea of passion, hm?
So hold that, breathe, relax.
And enjoy the desire
in the stillness.
Now stay in that moment.
Joe, keep up the good work.
All right.
(suspenseful music)
- Bella love, those
nipples could be harder.
- That's it.
- All right.
We may get that
Violet one in now.
- What?
- Violet.
- Get a use out of her.
- All right Violet
love, let's get you in.
(candlestick thunks)
- And that's for breakin'
me ma's door, you bollocks.
(bed squeaking)
- I don't think we need
another one, missus,
or, you know, any
more for that matter.
- Now, I want a
variety of pictures
that I can sell.
Small orgy maybe.
Bit of fiddlin'.
- It's Nancy.
- Curly, bring the old one in.
- That's Nancy.
- We need to get her out.
(suspenseful music)
- No, my brother's in there
and I'm not goin'
home without him.
I don't care who I have to
batter with a candlestick.
- Lily, sweetheart, we should
really just get the police
because none of us
have been very good
at rescuing so far have we?
- Well, what do you
expect dressed like that?
- Yous aren't supposed
to be out here.
- [Curly] Me fuckin' head.
- They assaulted
young Curly and left
and on leavin' I
decided to follow them
to see what mischief
they were gettin' up to.
- Carruthers, you rat!
That's right, I've got
a knife in my boot.
- Funny that, I've
got knives everywhere.
- DMP!
(whistle tweets)
We're not here for the ride.
- Ah, detective, you
should've made an appointment.
We're all full up tonight.
- Ah, you will be
doin' a roarin' trade
with us tonight Bertie.
Now, you wanna get outta the way
or are we gonna use your
arse as a battering ram?
- You'll probably have to
catch me first, big man.
- [Freddie] Get him!
- It's not as bad as it
looks, detective, honestly.
- Wrong there, boy.
- Jesus.
The smell!
(melancholy music)
- Czerny, that Commie blackguard
got his hands on this.
He was in here
tryin' to sell it.
I got a tip off.
- You were lurkin' round outside
on your own again, were ya?
- I have eyes and
ears everywhere.
- I wanted to be the
first to corner the market
in dirty pictures in
Dublin, that's all.
Harmless bit of fun, you know?
But there are things
I won't trade in.
- Oh really, Minnie?
What is it you won't
trade in, girl?
- A dark kind of image that
would rattle a hard woman
such as meself.
I've been asked to provide
images that would turn your gut.
That's what some people want.
Their darkest
desires, preserved.
- And Czerny said
he could get that?
- Money was what he wanted.
He shows up, asks if I'm
lookin' for pictures,
he shows me that.
Picture of a fella lookin'
like he'd been tortured for
the camera, wrists slit,
then snuffed out.
Whether it's real or fake,
it's nothin' I'm
interested in anyway.
- Right, get this kip
cleared out, do you hear me?
Your punters are gonna
get shag all tonight
'til I get to the
bottom of this.
You wanna be some peddler
of photographic filth,
not on my watch, girl.
(Minnie scoffs)
- [Minnie] I want me photos.
- Yeah, I'll deliver
the images, missus.
- He didn't look like
that when I found him.
He'd been cleaned up, posed.
Murders, murders in
front of the camera.
I knew it.
I knew somethin' wasn't right.
- How could an
animal such as this
know his way around a camera?
I hate to say it but that's
a well-taken photograph.
- Harry, take Mr.
Blennerhasset's camera equipment
down to the Yard and
we'll take a look at it.
- [Conall] I'll do it.
Just leave it, I'll do it.
(suspenseful music)
- [Freddie] Have you seen
anything like this before?
- I just can't fathom it.
- Well it's easier to
fathom when there's proof.
There ya are.
Brock Blennerhasset, pioneer
of the daguerreotype,
at the forefront of photographic
trends all his career.
Well, looks what's
in front of ya.
Ya didn't see that trend
comin', did ya boy?
But I did.
Huh?
Because some pictures
shouldn't be taken.
(eerie music)
What a night.
What a bloody night.
- I was forced
into the perversion
and it's lucky for you I did it.
- Lucky for me?
What, dragged down the
streets by the Mulgrews.
And you better fix the
door before ma gets home.
- You're a pervert.
- No, I'm not a pervert.
- Oh good, because
I was wondering.
- Thanks for lookin' for me.
You shouldn't have.
- It was no problem, honestly.
- And you got all
dressed up for it.
- It's a disguise.
- Well, the girls around here
don't really dress like that.
- Yes, I've noticed.
We're all learning
lessons today aren't we?
- Yeah, I suppose we are.
- [Nancy] Where's my uncle?
- Oh, he's inside.
I think he's gonna fire me
which is understandable,
I suppose.
- What?
- Look, don't make
a scene, Nancy.
No, I have had enough
scenes for one day.
- You can't fire Molloy.
- [Brock] I'm sorry?
- This was not his fault.
- Oh no, I didn't mean
it, I was just angry.
In fact, I was impressed with
how you worked under pressure.
You've actually got
a good eye, Molloy.
I've seen your sketches.
- You saw my sketches?
- Yes, very good.
So, when you're
finished shouting
about your job to
all the degenerates
and the criminals of
your neighborhood,
then you can continue
to work for me.
- I'd like to thank you
sir for lookin' for me.
For protectin' me there,
despite me foolish mistakes.
And I'd love to
return the favor,
should you ever need it.
- Well, perhaps, yes.
Thank you Molloy.
And thank you Nancy.
(people chattering)
(eerie music)
(lock clicking)
(dramatic music)
- [Man In Black] Czerny.
- I did not mean to
take the photograph.
I am not the one
with the (mutters).
I do not know who owned it,
it was in Canon's house.
Please.
(man gurgling)
- Here are images that flash
into my head, fully recreated.
Remember, I used to
tell you about them?
Like something bad
is about to happen?
A presentement of death.
Well, I feel it now.
Like someone is about to die.
(people chattering)
- [Freddie] Now, Mr. Czerny,
you and I are gonna have
a little conversation.
(suspenseful music)
(upbeat music)