September 23, 1995.
The captioning says the song playing is Palehead’s “Here We Go” but CBS says it’s “I Will Refuse” by Pailhead. I don’t remember this song from 1995 but okay.
As the song plays, we hear two teenage boys chattering, as they videotape themselves. I don’t know who one of them is but the other is, of course…CASSIDY CASABLANCAS! Or really, Kyle Gallner but you know what I mean. They invite us into the twilight zone that is the modern American mall, where Cassidy’s buddy informs us you’ll find “tweakers, preps, horny housewives and morons galore.” They pan over the food court behind them, stopping to “schwing” over some disgusted girls and then they play eenie meenie miney mo, settling finally on some random dude, who gets both miney and mo. “Looks like it’s homeslice’s lucky day,” Buddy says. Cassidy proclaims it a “regular Saturday afternoon in America’s town square” and then pulls out a sawed-off shotgun, cocks it and giggles as he shoots “homeslice.” “Oh my God, did you see his face?” he asks. People scream and scatter. His buddy appears on-camera with a Tec-9 and says, “Everyone.”
We fadeout and come back in on a television talking head going on about the “Rampage at the Mall.” We learn that 15 were killed and the two gunmen took their own lives. We swing over to police storage, where some unknown extra is stacking the boxes of evidence, each marked “Closed.”
Cut to present day. Vera, Lilly, and Scotty walk outside, as Scotty exposits that the Lieutenant is still holding a grudge over her behavior with that fugitive whatshisface. That’s how Vera describes “Joseph” and that’s how I think of him anyway so that nickname’ll stand. Scotty wonders aloud where the fugitive whatshisface is “docking his tugboat these days.” Ick. Lilly giggles and Vera changes the subject to what he and Scotty will be doing later that night. Specifically, nurses. Lilly brings us up to speed–“Milking that newfound bachelorhood, huh?” They meet up with the Lt. at a food stand, where he greets Scotty and Vera normally. Lilly hopefully says “Boss?” and he nods at her.
The boss wants to know if they remember the Coulter-Hanlon shooting from five minutes ago. As it was just
five minutes ago a decade ago and presumably a big story with its catchphrase and accompanying graphics, they do. Well, he tells them, during a recent renovation of the mall, the boys’ videocamera was found in an airvent.
Who’s got popcorn?! They watch the video and we see the same footage we saw at the beginning. Miller refers to the boys as “a real laugh riot” and Jeffries says that the survivors said the boys “busted a gut” through the whole incident. Maybe that wasn’t the most appropriate phrase to use in this situation, Jeffries. I’m just sayin’. Boss exposits that this is the only footage that exists of the rampage because there were no working cameras in that wing of the mall–“only at the two exits.” Scotty points out that none of the witnesses mentioned a videocamera and they discuss the unreliability of witness recollections. Vera’s just glad he doesn’t have kids. Boss makes them rewind. He caught Cassidy’s buddy, who we learn is Neal, handing off the videocamera. Miller doesn’t get it–“So what?” Boss draws her a picture. If Cassidy and Neal are both onscreen, “[W]ho was he handing it to?” “The third shooter?” Lilly wonders.
We open on drawings of the boys as Vera reads, “I am The Destroyer, The Apocalypse, The Widowmaker. I am a rifle. I am a gun. Look down the barrel of my hate, we’re going to have some fun.” Pleasant. Vera is reading a selection from the journal of Cameron, who we learn is Cassidy, with artwork by Neal. Lilly shows a drawing of a monster holding a shotgun with the caption “If it breathes…KILL IT!” and concludes that the boys were “broadcasting their intentions loud and clear.” Boss says that everyone knew their plans because the boys talked about it constantly but as Lilly explains, “No one believed them.” Vera wonders whatever happened to kids just getting into fistfights. Lilly exposits that the boys were juniors at Lakefield High School and had been friends since childhood. Vera joins in the Happy Fun Time Exposition Hour and tells us that Neal was a janitor at the mall, while Cameron worked at Cinnamon King. Boss theorizes that the “third shooter” worked at the mall, also. Lilly asks where the camera came from and Vera tells her that they’re running the serial numbers. Then Lilly notes that according to the boys’ computer logs, “The Destroyer” and “The Apocalypse” were userids the boys used in a game called “Renegade Massacre.” Lilly asks, “If Cameron was ‘The Destroyer’ and Neal was ‘The Apocalyse,’ who’s ‘The Widowmaker’?” Boss suggests they ask the parents and Lilly tells him that Neal’s family moved to Georgia two years prior but Cameron’s family is still in town.
Coulterhaus. Jeffries and Valens talk to Cameron’s dad. He’s riding a horse called “Good wombs hath borne bad sons but my son wasn’t bad.” A bit wordy but you know how horses’ names are. He knew that the rampage wasn’t Cameron’s idea because he was “polite.” Jeffries asks if Cameron played a lot of computer games. His dad says that he tried to get him into sports but the boy never could get into them. Valens asks if he’s familiar with “Renegade Massacre,” to which CameronDad says, “It’s just a game.” Jeffries shifts the topic slightly and asks if the boys ever played the games with other kids. CameronDad says that they played with other kids all the time, specifically mentioning Dayton Moore, who Jeffries says was one of the survivors. Mr. Coulter tells them that Dayton used to live down the block and that the three boys were best friends until high school. Dayton, he says, is “a real bossy kid” who used to bully Neal and Cameron “all the time.” They thank Mr. Coulter for his time, as he asks if they’re going to question Dayton Moore. Jeffries tells him that they’ll be in touch and CameronDad asks if it’s easier for them to pretend that the parents are monsters. Valens begs his pardon and Mr. Coulter jumps atop his trusty steed again, mentioning the media coverage and finishing, “That day we lost a child too.”
Flashback. We open on sirens and police cars as we realize we’re outside the mall that day in September. The Coulters are out in the crowd, looking as worried as everyone around them. An officer says that the survivors are about to exit. The survivors begin walking and in some cases, being carried out. It’s a horrible scene. A little girl, being cradled by a SWAT officer. A little boy walking out, cradling his arm in a bloody sling. The Coulters watch, expectantly. A teenage boy runs out and a woman calls out “Dayton!” Now it’s just officers leaving. “There’s more coming out, right?” Mr. Coulter asks and if you had to, you could pinpoint that as the moment his soul began to die. Or when my emotions really started to be manipulated. An officer appears in front of them. “Are you the parents of Cameron Coulter?” he wants to know and he pronounces it “Cam-ron,” the kind of annoying thing that sticks in your throat whenever you think about a moment like this after the fact. Mr. Coulter tells the officer that they are and the officer informs them that they need to come with him. Mr. Coulter doesn’t understand and tells the officer that they have to wait there for their son. The officer emotionlessly tells them, “We think your son might have been involved.” Mrs. Coulter is flabbergasted. Mr. Coulter is angry. He tells the officer he’s mistaken and that his boy is not involved. Mr. Coulter’s loud outburst has drawn attention to them and the camera pans the faces of the nearby crowd, who look at them accusingly.
Present day. “Everyone blamed us,” CameronDad says and describes the Coulters as an “ordinary family,” to which Jeffries replies that your average everyday family doesn’t have “military assault rifles” at home. That’s because they’re boring. CameronDad claims a right to his hobbies because he’s a hunter. Valens wants to know what kind of animal one hunts with a Tec-9. CameronDad looks chastened. Hey, Scotty–why don’t you kick him now?
Interview with Dayton Moore. Lilly and Miller walk in and Dayton wants the door open–“me and closed rooms don’t do so well.” They ask him if he grew up with Neal and Cassidy. He backs up Mr. Coulter’s story that the boys were friends until high school. He’s anxious. Lilly asks if he likes playing online games. He says that he doesn’t so Miller asks him about “Renegade Massacre.” He says he doesn’t know if it’s familiar. Lilly asks about “The Widowmaker” and he admits that it was his ID. He says he stopped playing with the boys because “it wasn’t just a game–it was practice.” He was a popular jock by then and didn’t need “a fantasy life.” Lilly counters, “You did online.” Dayton, who I keep wanting to call Drayton because that’s the name of this guy running for office here, says that being seen IRL with those 2 n00bs would not have been very k3wl.
Aaaaaand we flashback, the ominous tones of “Bullet With Butterfly Wings” taking us back. Dayton and his friends, who we can assume are other popular kids, are sitting at a table in the Food Court O’
Doom Renegade Massacre. Dayton’s friends are dicks. Miney Mo from the beginning points out a “butterface,” a word that I don’t remember being in widespread use back then but whatever. Butterface strolls through the food court and pulls up her hair, as Miney Mo defines butterface for your dad and those three other guys who don’t know what it means. Dayton and his dick friends laugh. “Check out Davie the dork,” Miney Mo says. “Bet Clearasil’s making a killing off of him.” What a dick. This is a little too much dickery for Dayton, who finally issues a “come on, Zack.” We see Neal, sweeping around the food court. Zack gets his attention and tells him that he “missed a fry.” Neal doesn’t see a fry so Zach throws one on the floor. Neal sweeps it up and walks away, as Cameron watches. Billy Corgan tells us that “Someone will say what is lost can never be saved.” Zack tosses his half-eaten hotdog on the floor. Neal, just a rat in a cage, picks up the hotdog as Neal tells him he’s “one talented litter getter.” Neal takes a big bite of the hotdog and Cameron appears beside him to tell the dicks that “someone should take an Uzi to this freakin’ mall.” He takes off his handsome visor and runs a hand through his sweaty hair, a hand that he presumably will not wash before he returns to make cinnamon treats for you. He shoots a finger gun at Dayton. “Pow.”
Back to present. Dayton tells the women that this incident happened a couple of months before the shootings and indicates that he feels responsible for the massacre. Lilly tells him that those shot were innocent and that Dayton isn’t responsible for their deaths. “Then who is?” Dayton asks. Er, this is just a guess, but I’m going with “the shooters.”
Lilly in bed with the fugitive whatshisname. “They look so normal,” she says, as she looks through the boys’ yearbook. Is she going to say that they were quiet and kept to themselves? She and whatshisface start fooling around and whatshisname is squicked out by the still-open yearbook. Lilly says it helps her remember. He asks her what it helps her remember but she doesn’t answer and instead mounts whatshisname. Ick. Where are her fifty deformed cats?
Her phone rings. It’s Vera, who’s been watching the security footage and has found something Lilly should see. She says goodbye to whatshisface and tells him to get some sleep because he “won’t get much later.” Ick.
Lilly gets ready to watch the footage with Miller and Jeffries, who don’t seem to have found anything. Vera cues up 3:05 PM, when the shooting started. The shooting lasted fifteen minutes and trapped the survivors in that wing of the mall, due to the lack of exits on that end. Lilly wants to know how the shooter got out and Vera answers that they were wondering the same thing. They conclude that the “third shooter” is posing as one of the survivors, which I figured out before the credits. I mean, come on. And as much as I hate watching Lilly roll around with whatshisface, and I do, they called her out of bed for this?
Morning in the office. Scotty says that they’ve been interviewing survivors all day but haven’t turned up any relevant details. Boss tells them to keep going because someone has to remember something. Scotty points out that people don’t want to remember, a fact that a Vietnam vet and seasoned lawman like the Lt. ought to know. Vera walks up, looking like death. Scotty asks if he had a late night with the nurses and Vera answers that “somebody’s gotta play doctor.” Why does that not bother me as much as Lilly and whatshisname? Anyway, Vera has the trace on the camera. It was stolen from a mall store. Davie Schulman, one of the survivors, and “the dork” from Dayton’s flashback, was a stockboy there. Miller is going to do his interview.
Boss asks to see Scotty alone in his office. Ruhroh. Scotty looks nervous, even more so when the Lt. asks him to close the door. The boss tells Scotty that “Detective Renaldi at West” gave him a tip on a case he’s working, concerning a pedophilic boxing coach. Scotty’s brother’s name has turned up in the investigation. Valens wants to know what his brother’s involvement is and the Lt. tells him that brother Valens was in the boxing program when he was 12. Another former student is going to testify and “says he should, too.” Scotty tries to brush it off. The Lt. suggests that he just takes the file and has a looksee. He also points out that the coach is still working with children until the case goes to court. “No harm in looking, right?” he asks and Scotty takes the file.
Random stable. Miller walks up to a man grooming a horse, as the man flashes back to his teenage self and we see it’s Davie Schulman. He’s saying that after the shooting, he lost his trust in people and that’s why he ended up working with horses. Also, they’re pretty. Miller tells him that they’re talking to all of the survivors, because they think there might have been a third shooter. Davie looks surprised. Miller asks if he saw anyone with the boys and he tells her that he “barely remember[s] anything.” Flashes, mostly. Gunfire and what bullets do to flesh. “It’s not like in the movies,” he tells her and she agrees. He says that he doesn’t really like to talk about that day so Miller switches focus and asks about the videocamera, which was stolen from the store at which he worked. Davie looks guilty. He looks at Miller and says, “You think I stole it?” Miller asks if he did and he denies it but Miller concludes that he knows who did.
Flashback. Edwyn Collins’s “A Girl Like You” is playing as our Butterface walks into the electronics store and greets Davie. She compliments the videocameras and suggests they make a porn. Davie blushes. “I gotta have one,” she says, referring to the cameras, “Make a distraction.” Davie is confused and she claims to be kidding. Zack and some random girl are sucking face outside the store. Butterface thinks Mr. and Mrs. Dick should get a room. Davie dismisses him as a jerk, but Butterface protests that he’s “not that bad.” Davie wonders then, if that’s true, then why does Dick act like he and the fair maiden Butterface are not acquainted? Butterface refers to herself as “the hit and run queen,” to which Davie protests. She says that she’d thought that Zack would be different, although why she’d think that, I don’t know. She goes to school with him, right? She sees how he interacts with others? Davie tells her that she deserves someone who treats her well, as she stuffs the camera into her bag. She asks if he’s referring to someone in particular and he shrinks into teenage insecurity. She tells him she has to go and when he asks about the videocamera, she laughs and acts like she was just joking earlier. Then she tells him goodbye, shows him the camera in her bag and tells him thanks.
Back to present, where growed up Davie is telling us that Tina was a lost soul who “wouldn’t have hurt anyone.” Davie dropped out of high school and lost touch with Tina after high school, though.
Hotel restaurant. Grown up Tina is telling Jeffries and Lilly that as a teenager, she was desperate for attention and dismisses her shoplifting as a “means to an end.” Jeffries wants to know how the camera she stole ended up with the shooters. Tina doesn’t know what he’s talking about. Lilly asks if she knew them. Tina says that she knew them from high school but wasn’t close to them. She reaffirms that the boys talked about killing people. Jeffries asks about the camera again and Tina tells them that she was busted with it by the mall security officer.
Flashback. Our soundtrack is Filter’s “Hey Man Nice Shot,” which of course, is about a public shooting. The security officer calls her a klepto and she tries for the underage sexpot routine, but he’s not buying it, telling her that he’s going to call her parents. Someone calls his name and he leaves the room, telling her to stay. She, being a teenage bad girl, does not. She walks out into the hallway, where she finds the security officer showing the surveillance system to Neal and Cameron. The security guard tells the boys that most of the cameras are “dummies,” including all of the ones on the second floor. Cameron foreshadows that someone could bring in a gun and no one would know. Neal is imagining the looks on peoples’ faces. The security guard comments, “That’d be something to see. All those happy little folks, not so happy anymore.” Tina runs away.
Back to present. Lilly wants to know why the security guard was showing the boys the security. Tina guesses that the guard was “a loser or desperate for attention.” Or just drawn in by the sweet face of Kyle Gallner. Jeffries asks about the camera for like, the fifth time, and Tina says that the guard never called her parents and she assumed that he kept it.
“Barry Lewis,” Vera says and a nervous-looking man says that he’s him. Valens tells the man that they’re the police and they’re there to talk about the mall shootings. Barry says that he doesn’t spend a lot of time thinking about that day. Valens asks why he never mentioned swiping the videocamera and Barry doesn’t know what he’s talking about. Vera thinks he’s playing dumb and Valens clarifies–the camera he used to film the shootout. Barry reminds them that he was shot, but Vera thinks it’s a clever coverup for his involvement. Barry claims the boys stole the camera from his office, but the detectives still think he’s lying. Valens asks why he showed the boys the surveillance system and Barry sheepishly admits that it was because the boys gave him respect. Vera is unmoved. “So you gave two sociopaths the keys to the kingdom?” Barry says that showing them the system didn’t matter because the boys didn’t want to be hidden when they carried out their plans. They wanted to be on camera for the “same reason everybody else does.” Fame! I’m going to live forev–oh, wait.
Flashback. Elevator doors open and Barry walks out into a food court of horror. Gunfire is rattling in the background as a bleeding woman crawls toward him. A man lays dead to his right. As he finally looks up, he sees Neal and Cameron standing in front of him. Barry drops his nightstick. The boys regard him for a moment and then Cameron says, “Smile for the camera, sucker.” He blasts Barry in the stomach and laughs. Cameron cocks his rifle again as Barry cries out pitiably, “Hey, hey, heeeeeeeeey!” Cameron laughs. Neal says, “Let him bleed” and they walk away. After they walk away, Tina, who we saw hiding behind a pillar, calls out quietly to Barry, urging him to come to her. He crawls to her and she tells him to look at her. He says that he can’t feel anything. She asks him where his wallet is, trying to find a picture of his wife or children so that he’ll think about them and survive. He says, “I don’t got nobody” and she cries. “Then you got to live,” she says, telling him that he has to make it, so he can get out of there and find someone. A bloody Dayton appears behind her. “I did this,” he says. “All of it. It’s all my fault.”
Back to present, where Barry is telling the detectives that what Tina told him saved his life. He doesn’t know what Dayton meant by what he said and the detectives theorize that Dayton could have been the third shooter. Barry says that it makes sense because he wasn’t and then he wheels himself away from the table.
Interrogation room. Dayton is pacing and wants to leave. Lilly tells him that they can do what they want because they’re the police. Lt. Stillman tells Dayton that they know what he did because he told Barry and Tina. Dayton wants to leave. Stillman tells him to sit down and Lilly starts the video of the rampage. Dayton tells them to turn it off. They again suggest to him that perhaps he was bored just playing a game and wanted to make it real. He denies being part of the plot and tries to leave. Stillman pulls him over to the television and makes him watch. Dayton sobs and begs them to turn it off. Lilly shuts off the TV and Dayton tells them that he tried to stop “them.” He knew what they were going to do. Lilly and Stillman think he’s talking about the shooters but he’s talking about his dick friends. Lilly asks him to clarify. Dayton says that it was because of what happened earlier that day and again says that he tried to stop them.
Flashback. Dayton is walking down a hallway at what I presume is the mall and comes upon a group of his friends, giggling outside the ladies’ room. A girl is moaning inside. Dayton asks what’s going on and his friends shush him. They continue laughing and listening to the girl inside. The door opens and we see Tina and Zack inside. Zack walks outside like the conquering warrior he thinks he is and Tina stands back, stunned. Dayton looks appropriately shamed. Zack greets his public and then pulls out Tina’s underpants from his pockets, which impresses his friends. He turns to Tina and asks, “Who’s your daddy now?” His friends minus Dayton laugh, while Tina stands silent. Tina runs out of the restroom and tries to run away but the boys grab her. As Tina yells and Dayton protests, the boys force her back into the bathroom and up against the wall. They laugh as she screams no. Dayton is kept outside. We see a silhouetted figure walking up the hallway carrying boxes. It’s Davie, who drops the boxes and runs in to save his fair maiden. He’s pulled away and punched for his troubles, but he gets them to stop assaulting Tina. The dicks walk away as Davie gets up and threatens to kill them all. Dayton protests that he tried to stop them, but Davie just repeats that he’ll “put a bullet in all your heads.”
Back to present, where Dayton is repeating that he tried. Stillman wants to know when the assault took place and Dayton sadly answers that it was an hour before the shootings began.
Now it’s Davie on the hot seat, in the interrogation room with Miller and Valens. Miller repeats the threat about bullets and says that Davie wanted the dicks to pay. Valens says that he doesn’t blame Davie for feeling like that because he would have felt the same way. Miller continues, “So you reached out to Cameron and Neal.” Davie denies being involved but Valens isn’t buying it. The dicks attacked the girl Davie loved, after all. Miller correctly figures that it hurt Davie that Tina didn’t love him back and theorizes that he thought that if he saved her from “the big bad wolves,” she would love him. Davie says that he didn’t save her and Valens responds that he tried, but Davie tells them they’re not getting it. All he wanted was for her to like him but he “let her down when she needed [me] the most.”
Flashback with accompaniment by Bush’s “Glycerine.” Davie and Tina walk out into the mall proper. Davie tries to confort her but she doesn’t want to be touched. He offers her a frozen yogurt but she doesn’t respond. Then he suggests that they go to the police and she’s incredulous. Davie is confused and asks if she still likes Zack. She says that it’s not that, it’s just that what happened was consensual. I’m going to assume that she’s referring to the private time in the bathroom and not the gang groping. Davie looks disgusted and then says that maybe they shouldn’t go to the police. She asks what he means and he reminds her of what she said, that she “let him do it, kind of like you let everyone do it.” He goes in for his big finish, asking with a pained laugh, “So what’s the big deal?” Tina shakes and looks catatonic. She stands up, pulling her bag over her shoulder. Davie calls out for her but she doesn’t hear him. She walks a few steps away and freezes, her eyes wide open. We see what she sees–Cameron and Neal walking into the food court. Cameron turns to look at her. She walks up to the boys and a crushed Davie walks away.
Back to present. Davie is saying that he should have stopped her but he didn’t believe anything bad was going to happen. “No one did,” Miller tells him. They’re interrupted by a knock on the door. It’s Jeffries, who motions for the detectives. When the three are outside the room, he tells them that Stillman and Lilly just left for the mall. Scotty asks why and Jeffries tell them that Tina just entered the mall a few minutes earlier with a gun.
Food court. We open on Tina’s hands cradling a handgun. She’s sitting in the center of the court, overturned chairs around her, as SWAT officers stand a reasonable distance away from her. Lilly runs in and wants to go talk to Tina. Stillman first refuses but Lilly stands her ground, pointing out that Tina doesn’t want to hurt anyone but herself. Stillman relents and Lilly, gun drawn, carefully approaches Tina. As she reaches Tina, Lilly holsters her weapon and tells Tina that she’s going to sit down with her, if that’s okay with Tina. She begins by telling Tina that she knows what happened to her. Tina tells Lilly that she hasn’t been to the mall since the shootings and nothing has changed. Lilly agrees. Tina says that she “should have done this a long time ago, like Cameron and Neal.” Lilly asks her when it will end. Tina says that she wanted to hurt the popular boys like they hurt her but she’s realized now that she has to pay for her sins. And you can do that, in a courtroom, with a jury of your peers–Lilly tells her, “For every gun that’s fired, someone can’t be in a closed room. Or walk or see their child again.” Tina looks down. “It’s not just you who pays, Tina. It never is.” Tina says that she knows and Lilly asks her to give up the gun. Tina looks up and Lilly asks for the gun again. The camera pans down to Tina’s hand and she passes it to Lilly. Tina cries about the innocent victims. Lilly tells her that it didn’t matter to Cameron and Neal, summing the boys up as “human time bombs.” “I lit the fuse,” Tina sobs.
Flashback. Tina spotting the boys in the food court. She walks up to them and suggests they make a porno. Cameron tries to shrug her off and she then suggests filming them kill everyone. “You’re always talking about it, right? So do it already.” Neal wants to leave but Cameron stops him. Tina asks if they’re scared and Cameron suggests they kill her first. She asks who will make them famous then. Cameron concedes that she has a point. Neal asks what the plan is. She turns to look at Zack, who licks his lips and laughs at her. “Kill ’em all,” she says. “Kill everybody.” Cameron says to get the camera. The next shot we see is of Cameron cocking the shotgun and shooting Zack. This seems to shock Tina out of her fury and she stumbles as Neal gives her the camera. “Everyone,” he says and we realize he was saying this to her. The boys walk around the court, laughing as they take lives. People flee, screaming. People fall and plead. A woman runs through the center of the court, confused like a frightened rabbit. Neal sprays her with bullets. Tina stumbles around the room and finally runs, covering her mouth. She dives behind a pillar as we see flashes of violence porn. Bloodied bodies, screaming, laughter. Neal’s face in closeup, looking forward. Cameron’s face in closeup, looking toward the sky. Tina hides behind the pillar, watching, the only person who saw it all coming and would live to talk about it. Neal and Cameron survey the now quiet food court and meet in the center. They shake hands and hug. Neal raises the Tec-9 to his temple as Cameron raises the shotgun to his mouth. We see Tina’s face, frozen in horror, as the final gunshots ring out in the background. Tina cries and hides the camera in the airvent. As she turns back around, she sees what she reaped. A woman, lying motionless. A blood-spattered hand resting on someone else’s blood-soaked hand. A man with a bloody nametag reading “Jason” and a bloody face. Another woman. Tina weeps and begs Barry to wake up. She curls up next to him and sobs.
Final montage, to Joan Osborne’s “One of Us.” Lilly and Stillman walk Tina out of the mall. Back at the house, Scotty takes down what I assume are the pictures of the victims and Jeffries recloses the evidence boxes, wheeling them out. We cut to Vera and Miller putting the boxes back in storage, where the boxes on the rack form a kind of cross. I don’t know if that’s intentional or not. Flash to Coulterhaus, where Cameron’s parents sit at the table. Mr. Coulter looks up and GhostCameron and GhostNeal are standing in the doorway watching them. Neal looks down. Cameron at first looks indignant but as his mother looks at him, he looks down, ashamed. He walks away as the camera pans across framed photos of him as a little boy. We cut to Davie walking a horse through the stable. Then we go to Barry smiling outside, as he feeds a boy in a highchair and a woman, presumably his wife, walks up. Dayton walks through Philadelphia, stopping to watch a group of elementary-age boys play football. He smiles as he catches a young couple kissing and looks up at the sky, as if he were noticing the sun for the first time. And we’re back at the house, where Scotty finally picks up the file for the boxing coach. He takes out some photos of boys in boxing gear, pausing on one whose helmet reads “Valens.” He looks up, thinking. Cut to Lilly’s house, where she’s in bed with whatshisface and looking at a photo of Tina. Seriously, where are her cats? She smiles at whatshisname, puts the photo on the bedside table and snuggles up to youknowwho as we fade out. Aaaaaaand ick.
– recapped by Rock Geisha