Patriot (2015) s02e04 Episode Script
The Sword and the Hand
1 CLERK: Is that it? Just Tall Boys? EDWARD: That'll do.
I like my Tall Boys, which is weird because, uh, I'm a short man.
What's your name? I'm Chris.
I'm Rick.
CHRIS: What're you up to today, Rick? Uh, you know, taking five.
Busted my ass all week on the job, you get it.
So, um, wh what do you do? I, uh, I find buried treasure, Chris.
(CHUCKLES) (WHISPERING): Fuck it, run.
("SURE SHOT" BY BEASTIE BOYS PLAYING) 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Mike D, come and rock the sure shot I've got the brand-new doo-doo Guaranteed like Yoo-hoo I'm on like Dr.
John, yeah, Mr.
Zu Zu I'm a newlywed, I'm not a divorcée, yeah And everything I do is funky like Lee Dorsey Well, it's The Taking of the Pelham One Two Three If you want a doo-doo rhyme, then come see me I've got the savoir faire with the unique rhymin' I keep it on and on, it's never quittin' time and Strictly handheld is the style I go Never rock the mic with the pantyhose I strap on my ear goggles and I'm ready to go 'Cause at the boards is the man they call the Mario Pull up at the function and you know I Kojak To all the party people that are on my bozack I've got more action than my man John Woo And I've got mad hits like I was Rod Carew, yeah Because you can't, you won't, and you don't stop Because you can't, you won't, and you don't stop Oh, well, you can't, you won't, and you don't stop I keep my underwear up with a piece of elastic Use a bullshit mic that's made out of plastic To send my rhymes out to all the nations Like Ma Bell, I got the ill communication 'Cause you can't, you won't, and you don't stop 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Keep on and rockin' the sure shot.
WOMAN: Could you specifically say what you learned during this first period, during these first moments you crossed this line you continue to mention? Uh, that I guess that a man may need to strike another man 17 times in the face to render him unconscious, which is contrary to the way I formerly imagined it.
I cartoonishly imagined that a man would accomplish that incorrectly imagined as being brief if not instant.
And I learned that, for better or worse (SIGHS) in those moments, in that place, it turns out that I am the sort of person who counts those blows and whose stomach is turned by them.
(GUNSHOT) Hold him.
(GRUNTING) JOHN: Keep going.
JOHN: You okay? My God.
Son.
JOHN: You gonna be okay? Can you make it to the train? Go.
Go.
- Careful, stay in his blind spot until - Yeah.
Are you going to be able to stay in a straight line? (PANTING) TOM: Another thing about being on the far side of this line? You're consigned to side streets, figuratively, literally.
And the dangerous thing about this, well, there you cross paths certainly, necessarily with others consigned to side streets.
Are you sure that's mine? - What? - (GRUNTS) Are you sure that's my finger that you're putting on my hand - and not John's? - Y you got to stop talking, man.
(GROANS) Will it take or, I mean is that the term? If it's John's? - No.
- Even if you're best friends? Yes.
Stop fucking talking.
(GROANING): I'm sorry.
I'm in incredible pain.
Shut the fuck up.
If you want a veterinarian to put your fingers on your hand, don't talk because my patients don't fucking talk because they're cats.
Oh, my God.
I can't, I can't do this.
Go to the fucking hospital.
(DENNIS GROANING) (PHONE RINGS) Hello? - PADDOCKS (OVER PHONE): Mr.
Tavner? - Yeah? This is Brent Paddocks from the General Accounting Office.
I've been awaiting your return call to address an overage on a case file.
We still need to address that.
Also, there's the new matter of an expense, a chair.
- A chair? - Yes.
- A chair.
- Yes.
- Brent, is it? - Yes.
Paddocks.
- Fuck you, Brent.
- I'm sorry? This call is being recorded, I was about to mention that.
Mr.
Tavner, who's John Lakeman? John Lakeman? He's received, possibly in one case, apparently in another, governmental funds in excess of any authorization.
And our our cross-reference processes have indicated - governmental billing for a travel billet for a - (PHONE BEEPS) - Did they see you? - Yeah.
- With the gun? - Yeah.
Fuck! He was an impossible target already.
Now they're alerted.
I shot at someone else, across the street.
- Who? - I didn't get her.
The car was just down the street, they might think that's what I meant to do.
We may be okay.
We should separate.
Go.
No, no.
You go, you're hurt.
I can wait, I'll take the next one.
Go, son.
Go.
Oh, my heavy Motivator I can't ease your labor Blessed with faith and cursed with sons Oh, my lovely Resonator Hear your voice trembling Let your notes come tumbling down To sing our song Blessed with faith and cursed with sons Oh, my sleepless Dreamless singer All the weightless gather Calling mother to her Oh, my pale Defender When will we protect her? When will we ever see her home? To sing our song Blessed with faith and cursed with sons To sing our song Blessed with faith and cursed with sons.
- Okay.
- Okay.
BERNICE: I guess I don't have to know what happened to you exactly, but I want you to go to the hospital, John.
Whatever else is happening.
I can't.
I have to do something else now.
- Mom? - Yeah.
- Icabod? - Yup? You should leave the area.
I'll see you sometime later.
Mom? What, honey? I'm sorry.
I need help.
What? I've been trying to do this alone, but I can't.
I don't want to bring you into but Fuck, I need help.
- It's okay.
- What do you need to do? Shoot someone.
DENNIS: How much time's left on the "finger back on" clock thing? One and a half hours.
Ah, fuck.
(GRUNTS) That's not a lot.
- What? - That's not a lot of time.
In terms of getting my fingers back on.
- F fuck.
Come on! - Don't yell at me, man.
I didn't tell you to grab a gun with your hand.
I saved the day! Now it's a new day.
And I want to spend it getting my fucking fingers put back on! Come on! Where's John? He said he was coming right back.
I I need guidance.
I don't know if I'm allowed to go to the hospital or if these fingers are mine or his, or what the fuck! Come on! I need guidance! Goddamn it! Goddamn it, guidance.
You know, at this stage of this thing, I feel like I need to remind you of the context of these decisions.
WOMAN: Which is? That a hostile regime was perilously close to acquiring devastating power, and that these decisions were made in a context Well, that simply couldn't happen.
JOHN: I can't see, can't see very much right now.
I'm supposed to shoot somebody this morning.
I don't want to shoot the wrong person.
BERNICE: Who are you trying to shoot? JOHN: No one in particular.
BERNICE: You're trying to shoot no one in particular? Is that, um, that's a plan? JOHN: Yeah.
BERNICE: You know, I know I'm not supposed to ask about the plan, I guess, but now I have to ask about it because that's a shitty plan.
And I'm mad at whoever gave it to you, and JOHN: Well, it's not the plan.
It's the new plan.
After other plans got fucked up.
But I've been involved in some events here, some events in Paris that tell a story if you string them together.
You can guess the ending if you stringed them together, so I need to make it look like the story is over.
- By shooting a random person? - Yeah.
BERNICE: Well and that's going to allow you to what? JOHN: Shoot another person later.
But I can't really see anybody right now, so I can't really pick anybody to shoot.
I'm saying, I kind of want to pick someone who sort of deserves it a little.
I thought some guy might be scolding his wife in a not cool way, or some dude might kick his dog, I was hoping.
But I can't fucking see anything.
BERNICE: I'm not going you can't just shoot someone, John.
- JOHN: Yeah, but I am.
- BERNICE: Well, you're not.
JOHN: Well, I am.
I'm just gonna wing them, but I'm gonna do it.
BERNICE: There's no one doing anything like what you said.
I don't see anyone doing anything like that.
JOHN: Shit.
BERNICE: There's just two old ladies, and a guy, like, walking to work.
A kid playing the accordion beside his father for spare change.
JOHN: Man, I really need to shoot somebody.
Fuck.
PETER: So okay, so possibly, I can help.
JOHN: Cool.
PETER: We travel to Europe plenty.
- McMillan.
- JOHN: Okay.
PETER: These dark-haired boys who play accordion in the Metro, in the parks, right here, they're not regular little boys.
They're accordion slaves.
BERNICE: Accordion slaves? PETER: They're Romanian slaves, these accordion boys.
They're abducted from Romania, from Gypsy clans, by older Gypsies, in order to play accordion music here for tourists, for spare change.
They sleep in crowded shitholes, and they're paid monthly pennies.
They'll play these melodies for ten years, and never earn enough money to buy, say, uh, an ordinary belt.
The accordion slaves of Paris.
They have pimps.
See? Right there.
BERNICE: That man is not his father? PETER: No.
BERNICE: He's an accordion pimp.
PETER: Yep.
He likely oversees a clan of a hundred accordion boys.
I first took notice a a few years ago, when these children's faces, I noticed, even as they played their joyful tunes, were bereft and soulless.
They have slave faces.
Because they're forced to panhandle forever.
For accordion pimps.
JOHN: Mom? BERNICE: Yes.
JOHN: Can I shoot the accordion pimp? BERNICE: Yes.
What? BERNICE: Well, I kind of want to see that.
PETER: Me, too.
Well, just watch from here, I guess.
Or just leave would be best.
What do you do, Bernice? BERNICE: Secretary of Transportation.
PETER: Of America? BERNICE: Yeah.
PETER: You're a cabinet member? BERNICE: Yeah.
PETER: You really shouldn't be here.
(ACCORDION PLAYING) BERNICE: Is he doing this left-handed? PETER: Uh, due yeah I think, to to the fingers.
BERNICE: Well (STAMMERS) Is that gonna affect his aim? (ACCORDION STOPS) Oh, no.
Oh, gosh.
What just happened? Fuck.
Yeah.
BERNICE: Did he shoot the accordion boy? PETER: He did, yeah.
He did.
Yeah.
We should leave now.
Leave.
Yeah.
(SIREN WAILING) Fuck! Damn it.
I'm gonna take a nap.
Shut it down.
(EXHALES) Shut it down.
Yeah, right.
Fuck! (SIREN WAILING) (PANTING) (SIREN WAILING) Sure Shot? JOHN: Yeah.
PETER: Maybe you're not Sure Shot anymore.
Maybe you should stop taking shots, eh? I'm not quite sure how this works, but I imagine, John, if you shoot at someone and miss, possibly, that someone turns and shoots back.
At you no bueno.
So maybe it's time for you to stop taking shots is what I'm saying, John.
JOHN: I had to shoot someone today, man.
It's just what I had to do.
And I didn't do it.
I just grazed that accordion boy.
He's not gonna go to the hospital.
- Big whoop.
- No, it is, Peter.
It's a whole thing.
It's not Milwaukee, it's a whole thing.
Someone had to go to the hospital.
ALICE: I don't understand.
If you know all this about my husband, why don't you just arrest him? AGATHE: He's been instructed to commit a murder in Luxembourg.
Which is considered a crime in Luxembourg, the instructions.
And I am obligated to learn who his instructor is and arrest him.
For conspiracy to commit a homicide in Luxembourg.
And I know who his instructor is.
I won't talk about that.
- Alice.
- What? I need help organizing his arrest.
Alice, if you help me arrest John's father, I won't arrest John.
ALICE: What would happen to John? Myna asked me why your husband is so sad and I didn't know the answer to that then, but when I learned who his instructor was, I knew.
Your husband brutalizes anyone who interferes with the execution of his instructions and he can't stop doing this because of the identity of his instructor, despite all the harm it causes him.
But you can make it stop if you help me with this arrest.
Je veux la main.
What does that mean? - I want the hand.
- The hand? Not the sword.
I need two things, Alice, to make this arrest.
I need proof Thomas Tavner was in Luxembourg.
- You'll never get that.
- I have that.
Now I need to apprehend him in the presence of the money, the money that motivated these murders.
To seize him with this money, over which two men died, I cannot do this alone.
Alice.
Your husband is crying mercy, but he has no voice.
Please make sure Myna attends to her math homework as she's not a natural math student and once you fall behind in that discipline, it is hard to catch up.
Agathe.
Why'd you take the money? The answer will disturb you.
I don't care.
Your husband has physically assaulted multiple men and women who have come between him and this money.
He would ravage the women I work with.
I took the money from them because of your husband's extraordinary brutality and aggression.
I want the women with whom I work uninvolved in the final matters of his and his instructor's arrest and capture.
My colleagues aren't aware that I continue to make this case.
They believe another party's responsible.
That's safer for them.
So I'm alone.
So I need your help.
What the fuck is wrong with you? You're afraid of him but you leave your daughter with him.
He wouldn't hurt Myna.
Am I wrong? He's not yet, um I don't know the word.
Une goule.
It is almost like a monster.
But it's worse than a monster.
A ghoul? A ghoul.
He's not yet a ghoul.
Please help me apprehend the man who's changing him.
(PHONE CHIMES) - I'm sorry.
- What? I'm sorry, I just forgot what's going on.
Everything's going on.
It's okay.
- Hey.
- Hey.
John.
It's all right.
I'll be all right.
Let's get to the others.
(PHONE CHIMES) - (PHONE CHIMES) - What did he say? He said that he would only listen to me when I'll be 18.
(GROANS)
I like my Tall Boys, which is weird because, uh, I'm a short man.
What's your name? I'm Chris.
I'm Rick.
CHRIS: What're you up to today, Rick? Uh, you know, taking five.
Busted my ass all week on the job, you get it.
So, um, wh what do you do? I, uh, I find buried treasure, Chris.
(CHUCKLES) (WHISPERING): Fuck it, run.
("SURE SHOT" BY BEASTIE BOYS PLAYING) 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Mike D, come and rock the sure shot I've got the brand-new doo-doo Guaranteed like Yoo-hoo I'm on like Dr.
John, yeah, Mr.
Zu Zu I'm a newlywed, I'm not a divorcée, yeah And everything I do is funky like Lee Dorsey Well, it's The Taking of the Pelham One Two Three If you want a doo-doo rhyme, then come see me I've got the savoir faire with the unique rhymin' I keep it on and on, it's never quittin' time and Strictly handheld is the style I go Never rock the mic with the pantyhose I strap on my ear goggles and I'm ready to go 'Cause at the boards is the man they call the Mario Pull up at the function and you know I Kojak To all the party people that are on my bozack I've got more action than my man John Woo And I've got mad hits like I was Rod Carew, yeah Because you can't, you won't, and you don't stop Because you can't, you won't, and you don't stop Oh, well, you can't, you won't, and you don't stop I keep my underwear up with a piece of elastic Use a bullshit mic that's made out of plastic To send my rhymes out to all the nations Like Ma Bell, I got the ill communication 'Cause you can't, you won't, and you don't stop 'Cause you can't, you won't, and you don't stop Well, you can't, you won't, and you don't stop Keep on and rockin' the sure shot.
WOMAN: Could you specifically say what you learned during this first period, during these first moments you crossed this line you continue to mention? Uh, that I guess that a man may need to strike another man 17 times in the face to render him unconscious, which is contrary to the way I formerly imagined it.
I cartoonishly imagined that a man would accomplish that incorrectly imagined as being brief if not instant.
And I learned that, for better or worse (SIGHS) in those moments, in that place, it turns out that I am the sort of person who counts those blows and whose stomach is turned by them.
(GUNSHOT) Hold him.
(GRUNTING) JOHN: Keep going.
JOHN: You okay? My God.
Son.
JOHN: You gonna be okay? Can you make it to the train? Go.
Go.
- Careful, stay in his blind spot until - Yeah.
Are you going to be able to stay in a straight line? (PANTING) TOM: Another thing about being on the far side of this line? You're consigned to side streets, figuratively, literally.
And the dangerous thing about this, well, there you cross paths certainly, necessarily with others consigned to side streets.
Are you sure that's mine? - What? - (GRUNTS) Are you sure that's my finger that you're putting on my hand - and not John's? - Y you got to stop talking, man.
(GROANS) Will it take or, I mean is that the term? If it's John's? - No.
- Even if you're best friends? Yes.
Stop fucking talking.
(GROANING): I'm sorry.
I'm in incredible pain.
Shut the fuck up.
If you want a veterinarian to put your fingers on your hand, don't talk because my patients don't fucking talk because they're cats.
Oh, my God.
I can't, I can't do this.
Go to the fucking hospital.
(DENNIS GROANING) (PHONE RINGS) Hello? - PADDOCKS (OVER PHONE): Mr.
Tavner? - Yeah? This is Brent Paddocks from the General Accounting Office.
I've been awaiting your return call to address an overage on a case file.
We still need to address that.
Also, there's the new matter of an expense, a chair.
- A chair? - Yes.
- A chair.
- Yes.
- Brent, is it? - Yes.
Paddocks.
- Fuck you, Brent.
- I'm sorry? This call is being recorded, I was about to mention that.
Mr.
Tavner, who's John Lakeman? John Lakeman? He's received, possibly in one case, apparently in another, governmental funds in excess of any authorization.
And our our cross-reference processes have indicated - governmental billing for a travel billet for a - (PHONE BEEPS) - Did they see you? - Yeah.
- With the gun? - Yeah.
Fuck! He was an impossible target already.
Now they're alerted.
I shot at someone else, across the street.
- Who? - I didn't get her.
The car was just down the street, they might think that's what I meant to do.
We may be okay.
We should separate.
Go.
No, no.
You go, you're hurt.
I can wait, I'll take the next one.
Go, son.
Go.
Oh, my heavy Motivator I can't ease your labor Blessed with faith and cursed with sons Oh, my lovely Resonator Hear your voice trembling Let your notes come tumbling down To sing our song Blessed with faith and cursed with sons Oh, my sleepless Dreamless singer All the weightless gather Calling mother to her Oh, my pale Defender When will we protect her? When will we ever see her home? To sing our song Blessed with faith and cursed with sons To sing our song Blessed with faith and cursed with sons.
- Okay.
- Okay.
BERNICE: I guess I don't have to know what happened to you exactly, but I want you to go to the hospital, John.
Whatever else is happening.
I can't.
I have to do something else now.
- Mom? - Yeah.
- Icabod? - Yup? You should leave the area.
I'll see you sometime later.
Mom? What, honey? I'm sorry.
I need help.
What? I've been trying to do this alone, but I can't.
I don't want to bring you into but Fuck, I need help.
- It's okay.
- What do you need to do? Shoot someone.
DENNIS: How much time's left on the "finger back on" clock thing? One and a half hours.
Ah, fuck.
(GRUNTS) That's not a lot.
- What? - That's not a lot of time.
In terms of getting my fingers back on.
- F fuck.
Come on! - Don't yell at me, man.
I didn't tell you to grab a gun with your hand.
I saved the day! Now it's a new day.
And I want to spend it getting my fucking fingers put back on! Come on! Where's John? He said he was coming right back.
I I need guidance.
I don't know if I'm allowed to go to the hospital or if these fingers are mine or his, or what the fuck! Come on! I need guidance! Goddamn it! Goddamn it, guidance.
You know, at this stage of this thing, I feel like I need to remind you of the context of these decisions.
WOMAN: Which is? That a hostile regime was perilously close to acquiring devastating power, and that these decisions were made in a context Well, that simply couldn't happen.
JOHN: I can't see, can't see very much right now.
I'm supposed to shoot somebody this morning.
I don't want to shoot the wrong person.
BERNICE: Who are you trying to shoot? JOHN: No one in particular.
BERNICE: You're trying to shoot no one in particular? Is that, um, that's a plan? JOHN: Yeah.
BERNICE: You know, I know I'm not supposed to ask about the plan, I guess, but now I have to ask about it because that's a shitty plan.
And I'm mad at whoever gave it to you, and JOHN: Well, it's not the plan.
It's the new plan.
After other plans got fucked up.
But I've been involved in some events here, some events in Paris that tell a story if you string them together.
You can guess the ending if you stringed them together, so I need to make it look like the story is over.
- By shooting a random person? - Yeah.
BERNICE: Well and that's going to allow you to what? JOHN: Shoot another person later.
But I can't really see anybody right now, so I can't really pick anybody to shoot.
I'm saying, I kind of want to pick someone who sort of deserves it a little.
I thought some guy might be scolding his wife in a not cool way, or some dude might kick his dog, I was hoping.
But I can't fucking see anything.
BERNICE: I'm not going you can't just shoot someone, John.
- JOHN: Yeah, but I am.
- BERNICE: Well, you're not.
JOHN: Well, I am.
I'm just gonna wing them, but I'm gonna do it.
BERNICE: There's no one doing anything like what you said.
I don't see anyone doing anything like that.
JOHN: Shit.
BERNICE: There's just two old ladies, and a guy, like, walking to work.
A kid playing the accordion beside his father for spare change.
JOHN: Man, I really need to shoot somebody.
Fuck.
PETER: So okay, so possibly, I can help.
JOHN: Cool.
PETER: We travel to Europe plenty.
- McMillan.
- JOHN: Okay.
PETER: These dark-haired boys who play accordion in the Metro, in the parks, right here, they're not regular little boys.
They're accordion slaves.
BERNICE: Accordion slaves? PETER: They're Romanian slaves, these accordion boys.
They're abducted from Romania, from Gypsy clans, by older Gypsies, in order to play accordion music here for tourists, for spare change.
They sleep in crowded shitholes, and they're paid monthly pennies.
They'll play these melodies for ten years, and never earn enough money to buy, say, uh, an ordinary belt.
The accordion slaves of Paris.
They have pimps.
See? Right there.
BERNICE: That man is not his father? PETER: No.
BERNICE: He's an accordion pimp.
PETER: Yep.
He likely oversees a clan of a hundred accordion boys.
I first took notice a a few years ago, when these children's faces, I noticed, even as they played their joyful tunes, were bereft and soulless.
They have slave faces.
Because they're forced to panhandle forever.
For accordion pimps.
JOHN: Mom? BERNICE: Yes.
JOHN: Can I shoot the accordion pimp? BERNICE: Yes.
What? BERNICE: Well, I kind of want to see that.
PETER: Me, too.
Well, just watch from here, I guess.
Or just leave would be best.
What do you do, Bernice? BERNICE: Secretary of Transportation.
PETER: Of America? BERNICE: Yeah.
PETER: You're a cabinet member? BERNICE: Yeah.
PETER: You really shouldn't be here.
(ACCORDION PLAYING) BERNICE: Is he doing this left-handed? PETER: Uh, due yeah I think, to to the fingers.
BERNICE: Well (STAMMERS) Is that gonna affect his aim? (ACCORDION STOPS) Oh, no.
Oh, gosh.
What just happened? Fuck.
Yeah.
BERNICE: Did he shoot the accordion boy? PETER: He did, yeah.
He did.
Yeah.
We should leave now.
Leave.
Yeah.
(SIREN WAILING) Fuck! Damn it.
I'm gonna take a nap.
Shut it down.
(EXHALES) Shut it down.
Yeah, right.
Fuck! (SIREN WAILING) (PANTING) (SIREN WAILING) Sure Shot? JOHN: Yeah.
PETER: Maybe you're not Sure Shot anymore.
Maybe you should stop taking shots, eh? I'm not quite sure how this works, but I imagine, John, if you shoot at someone and miss, possibly, that someone turns and shoots back.
At you no bueno.
So maybe it's time for you to stop taking shots is what I'm saying, John.
JOHN: I had to shoot someone today, man.
It's just what I had to do.
And I didn't do it.
I just grazed that accordion boy.
He's not gonna go to the hospital.
- Big whoop.
- No, it is, Peter.
It's a whole thing.
It's not Milwaukee, it's a whole thing.
Someone had to go to the hospital.
ALICE: I don't understand.
If you know all this about my husband, why don't you just arrest him? AGATHE: He's been instructed to commit a murder in Luxembourg.
Which is considered a crime in Luxembourg, the instructions.
And I am obligated to learn who his instructor is and arrest him.
For conspiracy to commit a homicide in Luxembourg.
And I know who his instructor is.
I won't talk about that.
- Alice.
- What? I need help organizing his arrest.
Alice, if you help me arrest John's father, I won't arrest John.
ALICE: What would happen to John? Myna asked me why your husband is so sad and I didn't know the answer to that then, but when I learned who his instructor was, I knew.
Your husband brutalizes anyone who interferes with the execution of his instructions and he can't stop doing this because of the identity of his instructor, despite all the harm it causes him.
But you can make it stop if you help me with this arrest.
Je veux la main.
What does that mean? - I want the hand.
- The hand? Not the sword.
I need two things, Alice, to make this arrest.
I need proof Thomas Tavner was in Luxembourg.
- You'll never get that.
- I have that.
Now I need to apprehend him in the presence of the money, the money that motivated these murders.
To seize him with this money, over which two men died, I cannot do this alone.
Alice.
Your husband is crying mercy, but he has no voice.
Please make sure Myna attends to her math homework as she's not a natural math student and once you fall behind in that discipline, it is hard to catch up.
Agathe.
Why'd you take the money? The answer will disturb you.
I don't care.
Your husband has physically assaulted multiple men and women who have come between him and this money.
He would ravage the women I work with.
I took the money from them because of your husband's extraordinary brutality and aggression.
I want the women with whom I work uninvolved in the final matters of his and his instructor's arrest and capture.
My colleagues aren't aware that I continue to make this case.
They believe another party's responsible.
That's safer for them.
So I'm alone.
So I need your help.
What the fuck is wrong with you? You're afraid of him but you leave your daughter with him.
He wouldn't hurt Myna.
Am I wrong? He's not yet, um I don't know the word.
Une goule.
It is almost like a monster.
But it's worse than a monster.
A ghoul? A ghoul.
He's not yet a ghoul.
Please help me apprehend the man who's changing him.
(PHONE CHIMES) - I'm sorry.
- What? I'm sorry, I just forgot what's going on.
Everything's going on.
It's okay.
- Hey.
- Hey.
John.
It's all right.
I'll be all right.
Let's get to the others.
(PHONE CHIMES) - (PHONE CHIMES) - What did he say? He said that he would only listen to me when I'll be 18.
(GROANS)