Blue Rose, The (2023)

[bunniefuu]

["the blue rose"]

(SINGING) The blue rose

Is it real

It's the place

Your soul belongs to

Now you're home

And you can feel

The water's edge

The fate you cling to

The blue rose

[lesley gore, "maybe i know"]

Maybe I know that he's been

cheating

Maybe I know that

he's been untrue

But what can I do

I hear the whispering

When I walk by

He's going to break her heart

And make her cry

I know it's me

They're talking about

I bet they all think

I'll never find out

Oh, but maybe I know that

He's been cheating

Maybe I know that

He's been untrue

But what can I do

My friends are telling me

That he's no good

He isn't treating me

The way he should

He really loves me

That's all I can say

Before my tears fall

I just walk away

Oh, but, baby, I know that

He's been cheating

Maybe I know that

He's been untrue

But what can I do

Oh

Deep down inside

He loves me

Though he's never around

Deep down inside

He loves me

Someday he'll settle down

Maybe I know that

He's been cheating

Maybe I know that

He's been untrue

But what can I do

He really loves me

That's all I can say

Before my tears fall

I just walk away

Oh, maybe I know that

He's been cheating

Baby, I know that

He's been untrue

But what can I do

Oh

Maybe I know that

He's been cheating

Maybe I know that

He's been untrue

[screaming angrily]

[dramatic music]

- Sophie, darling.

How are you?

- Never been better.

I brought pie.

- Ooh.

- And that's when Billy

told me he loved me.

- No way.

- Yes, way.

- Well, are you going steady?

- We'll see about that.

- Look at this rock.

[squealing]

- Daphne Buchanan,

how the hell are you?

- Just fine, darling.

Just fine.

- This pie is divine.

- Well, I truly think I don't

have enough of your art pieces.

Would you whip me

up some new things?

- I have something

in the works for you

that you are going

to absolutely adore.

It's a black rabbit with a

big c*ck hanging out

of the side of its mouth.

- Ooh.

- I actually happen to have

a new painting for you.

- You do?

- Her.

She's somebody sad.

[screaming]

- Push.

Push.

One more.

One more.

Stay with me.

Stay with me.

- Ugh.

[phone ringing]

[knocking]

You are never going

to believe this sh*t.

- Did you break my lock?

- I got a call from the station.

- You know it's

my day off, right?

- They want us to investigate

some sort of homicide.

- Homicide?

Already?

Aren't we still, like,

labeled as rookie detectives?

- Yeah, but that doesn't

mean any of the old geezers

down at the station

are any better than us.

Besides, this could

be our big break

if we solve a bloody,

shocking, gruesome homicide.

- Homicide.

Homicide.

Homicide.

Hey, how come suicide

isn't all the rage anymore?

- Suicide is very '30s, '40s.

But nonetheless, we live

in happier times, Dalton.

- Happier times for

cold-blooded K*llers?

- Or estranged wives.

Pictured here is Harold

O'Malley, a husband

to one Sophie O'Malley.

Maiden name Steele.

- Steele?

Where-- where have

I heard that name?

- Sophie's sister

is Norma Steele.

Quite the socialite

around Hollyweird.

This man was stabbed 28 times.

He was cut up like a pie.

And Sophie wasn't at the scene.

And the cops think she

was kidnapped but I think

that she's the one who did it.

- That's quite a theory.

Are there any other suspects?

- Well, that's why they hire

us-- to come up with some.

- So this is the

O'Malley residence?

- Yes, indeed.

Do blue roses grow naturally?

- I don't think so.

- What is it?

- These are just white roses

that have been painted blue.

- Oh.

Cool.

- OK.

Well, that's not odd to you?

- It's not that odd.

Maybe they're just

very eccentric.

- Yeah.

I don't know.

Something just feels off.

- OK.

Well, while you're gawking

over common plants,

I'm going to go inside and

look for actual evidence.

- OK, well, have

a dandy old time.

- Yeah.

A blue triangle painted on the

side of the O'Malley house.

- Jackpot.

"My dearest sister, nothing

I do can please Harold.

I fear he may be cheating

on me as the days grow long

and my drive for sensual

intimacy grows short.

I put all my time

into baking pie

after pie after pie

just to please him.

But it seems like he

wants a Lorelei Lee

and I'm a mere Dorothy Shaw.

After all, gentlemen

prefer blondes.

He hit me.

The anger built up inside of

me like lava in a volcano.

If I could, I'd k*ll him.

I'd gut him like a fish.

I now fear this volcano could

explode and a world of ash

could overtake.

Please write back ASAP.

I need you to help me

during this difficult time.

With love, Sophie."

- Well, that was quick.

- I think we should give

this Norma gal a visit.

[BOBBY VINTON, "ROSES ARE RED

(MY LOVE)"] Roses are red,

my love

A long, long time ago

- So, uh, tell me more

about Miss Steele.

- Sophia or Norma?

- Norma.

- Well, she's quite the

prominent figure around town.

She owns a successful gallery.

She also has a huge

art collection.

She's also known for her

very extravagant parties.

My love

But not as sweet as you

[ominous music]

- Ah, yes.

You're finally here.

- I'm sorry.

You know who we are?

- Oh, but of course.

Detective Lilly and

Detective Dalton.

I'm assuming you've come in

regard to my sister's husband.

- Yes.

That's exactly why

we're here, Miss Steele.

- Oh, please.

Call me Norma.

Well, come and sit.

Might I get you some

tea and cookies?

- Well, Norma, I've never

denied the opportunity

to feast on cookies,

so I'll take it.

- Wonderful.

- Yes, Miss Norma.

- Kiyo, I'd like

to introduce you

to Detective Lilly

and Detective Dalton.

- How do you do?

- Quite well.

How do you do?

- I'm fine.

- Would you fetch us

tea and cookies, dearie?

- Yes, right away.

- Thank you.

- Well, then.

Ask me anything.

- Well, for starters,

when was the last time

you saw your sister?

- It couldn't have been

but eight weeks ago.

However, we always

communicate by post.

- That was going to

be my next point.

Your sister intended for

you to receive a letter,

but it was never sent.

- Oh?

Do you have the letter?

- Yes

- May I see it?

- Not yet.

We still have questions.

- Has your sister

ever lashed out

or done anything she regretted?

- I suppose we've all

done things we regret.

Haven't we?

Are you implying

that my sister could

be responsible for the

m*rder of her own husband?

- Not entirely, Miss Steele.

Norma.

- Sophie might have hurt

one of our animals once.

- Can you elaborate on that?

- Juniper, a c*ck.

A beautiful creature, just given

to her on her ninth birthday.

One day I came home to see

that she had dismembered him.

And that's not even

the worst part.

Shortly after the bird

incident, our parents

thought Sophie

could take up music.

They hired a piano teacher.

That is until-- thank you.

Oh.

Anything else?

- Do you have any reason why

she would have done this?

- Now I'd like to

make it clear that I

don't entirely not

believe my sister would

be capable of such a crime.

It's just that, well, sue

was the perfect little wife

to Harold.

Well, that is until our

last correspondence.

- Go on.

- I think she had

some small suspicion

that Harold was shacking up

with some jealous harlot.

She never directly told me so.

- Actually, she did.

- Of course.

Yes.

It makes perfect sense.

You see, Sophie

contextualizes herself

as Dorothy Shaw in this

letter, comparing herself

to Lorelei Lee.

But she was really comparing

herself to Catherine?

- Who's Catherine?

- Catherine Christianson.

She's working over at

the Red Bloom Room.

That little sl*t.

- Heard some odd stuff

goes on in that place.

- An odd place for an odd girl.

- Do you think she could be

involved in Harold's m*rder?

- Perhaps.

Maybe she wanted

Harold all to herself.

But that couldn't happen

so if she k*lled him,

then nobody could have him.

You know, now that

I think about it,

I do remember Sophie

saying something

about a threat she received

from some blonde bimbo.

I'm under the impression

that it's Catherine.

- The Red Bloom Room?

We should go see her.

Another thing, Norma.

Does a blue triangle

mean anything to you?

- A blue triangle?

No.

Why?

- At the crime scene, there

was a large blue triangle

painted by the door.

- Could it be the

mark of a k*ller?

- I don't know.

That's why I'm asking you.

- No.

I don't have any connection.

- Are you sure about that?

- Honest.

- Thank you for your

time, Miss Steele.

We'll be looking into Catherine.

- You've been quite

the help, Norma.

Thank you.

- The pleasure is

all mine, darling.

- Norma, might I ask you, where

do you get all of this art from?

- You know, I am just

such a patron of the arts.

- Any artist I would know?

- Some pieces are actually

done by Sophie herself.

Yes.

She developed quite

a talent for art

when she was locked

up in the loony bin.

I think it's best that

you two get going.

- Let me get this

straight, Dalton.

You got-- you got

a plea for help

from an endangered

girl who was involved

in some sort of a

hostage situation.

And you didn't do your job?

- Yes.

That's exactly what I did.

Didn't do.

- And then you completely

blew the protocol

for a potential kidnap victim.

Excellent work.

- You're really beating a

dead horse at this point.

So if you are going to fire me--

- Might I be frank?

Maybe you two aren't

ready for a real case.

- But we already had a real

case, the Daphne Buchanan case.

- And what happened that time?

Do you not remember?

Because I remember.

You two wouldn't stop

lollygagging and taking

precious time away

from the case.

And poor Daphne has

been missing for months.

- We were so close

to cracking it.

And then you went

in and removed us.

And I'll be damned

if you do it again.

- Oh, you will be, huh?

- Yes.

- Yeah.

- I'm going to do what

I couldn't with Daphne.

And I'm going to

solve this mystery.

- This is not a Nancy

Drew novel, Dalton.

- I know.

- We know.

- Hey.

Here's an idea.

Maybe we could actually catch

some criminals if we had g*ns.

[chuckling]

- Not after what happened

the last time, huh.

Should I go ahead and

move this case over

to Detectives

O'Hara and Danvers?

- No.

- No?

No.

I should leave this case with my

two most unqualified detectives

to solve.

That's a superb idea.

Superb.

- Can you not raise your voice?

- Could you cut the gas, Dalton?

- No.

Because you're yelling

at us for no reason.

- I have a good g*dd*mn reason.

- And that good

g*dd*mn reason is?

- My g*dd*mn reason is

you're a g*dd*mn smart a*s.

- Why didn't you just

assing somebody else

on the first place, huh?

- Los Angeles is crime-ridden.

All right.

You have any idea how many

homicides occur on a given day?

- Is that a genuine or

rhetorical question?

- Can we get a real f*cking

police car instead of

a p*ssy pink convertible?

- Too many to count.

- Dad, I promise I'll do better.

- I'm Mr. Vallens here, boy.

- Yeah.

Sorry, Mr. Vallens.

- All right, look, I want to

give you guys a second chance.

- Well, then let's go back

and help that girl Kiyo.

- No, no, no, no.

We'll handle the

Kiyo case from here.

You two, you find

that Sophie O'Malley.

And you find the k*ller.

- Thank you for

dinner, Kiyo, dear.

- Of course.

Alert me if you'd

like anything else.

[soothing music]

- (SINGING) She

could carve this hole

Let it start

Oh, it's so cold

The echo's telling her

But she already knows

She stays put

In one town

She'd have the chance

through your noise

Become familiar sound

The gray is telling you

The bridges are let down

If you catch a glimpse

of a smile in the night

She's the girl in red

But she'll sing

the blues tonight

She's an open book

Until the pages turn

She's lighting up her window

As the house begins to burn

She puts her eye

With her bath

She drinks every drop

- What can I get you?

- Uh, um, nothing.

- You're standing at a bar, bud.

- Right.

Uh, can I ask you about one

of the girls who works here,

Catherine Christianson?

- Her.

- How long has she

worked here for?

- I'd say, uh, two

or three months now.

Why?

- Have you ever had a customer

by the name of Harold O'Malley?

- Names don't exist here

at the Red Bloom Room.

- But all I had to do was ask

about Catherine Christianson

and that's her name so--

- Do you actually think she's

named Catherine Christianson?

Seem like you're living in a

little bit of a dream world.

Need some eye drops?

- (SINGING) I cried in red

To a love that I regret

Made the sunshine

Made the stars glow

But no one told me what it does

To see it go

- I'd like to speak to

Catherine after her performance.

- Yeah.

Well, good luck with that.

The performers and clientele

never speak to one another.

Besides, she scurries off like

a little mouse after her shift.

- Well, then I'll

follow her home.

Where is home?

- She doesn't have one.

She's staying at the

Belladonna Inn right now.

- About Harold O'Malley.

That name doesn't ring a bell?

- No.

Can't say that it does.

- Very well.

I'm going to show you a

rather gruesome picture.

And I want you to tell me if

you recognize the man in it.

- A face.

Something not a lot of

people show around here.

Often people wear masks to hide

something about themselves.

Wouldn't you agree?

- What's up with the triangle?

- I think you know.

This isn't the first time

that you've been here.

Detective Dalton, I'll think

of you when I dream in blue.

- An open book

Until the pages turn

She's smiling out the window

As the house begins to burn

- Hey.

Hey.

Hey.

Are you OK?

OK.

OK.

Let's go.

Let's go.

Lilly, are you all right?

Do you need me to drive?

- I got it.

- Are you sure?

- I said I got it.

- Maybe we should slow down.

Watch out.

[tires squealing]

- We almost had her.

- OK.

Well, maybe if you hadn't

been driving like a mad woman,

we wouldn't be stranded on

the street, now would we?

- You were the one who

wanted to follow her.

- Yeah.

At a reasonable speed.

- Oh my god.

OK.

Do you know how to fix a tire?

- It's a flat, Lilly.

- And?

- No, I can't.

- OK.

Well, we're f*cked.

- OK.

Well, at least I know

where she's going,

so let's just, like,

get a cab and, like,

resume in the morning.

- No.

We're walking to the

nearest auto shop.

- Lilly.

- Let's go.

- OK, fine.

Whatever.

- Let's get a move on.

[muffled boom]

You see that, too?

- Yes.

I want to run.

- Me, too.

Something tells me

that I should stay.

- What is it?

- Somebody sad.

- I'm sad, too.

Dalton, no.

[gasping]

[suspenseful music]

[tiny bell ringing]

- Yes, Norma?

- Sit down, dearest Kiyo.

Have a drink.

- What are we celebrating?

- A toast to the arts.

- To the arts.

- Kiyo, might I

ask you something?

- Anything, Norma.

- What are your

thoughts on purgatory?

- Purgatory?

- What if I told

you that you were

floating into it as we speak?

[chuckle]

- If you told me that I--

I don't know what I would say.

- Well, you better

come up with something.

Why did I receive a phone

call from the police station

informing me that you had

slipped one of the detectives a

rather concerning note?

- What?

- Oh, I kindly explained to them

how you suffer from psychosis

and how you often have

episodes where your mind alters

your sense of reality.

It's troubling that you would

betray me in such a way.

- That isn't true.

- Oh, I'm aware.

But the police aren't.

- I know what's going on here.

I know what your plan is.

And I won't stand for it.

- You're right.

You won't stand for it.

[clears throat]

- Ah, yes.

You're finally here.

- Pardon?

- I've been waiting

for the two of you

ever since I saw you

in my dream last night.

I suppose now it's really you.

So what can I do to help you?

- I'm Detective Dalton.

And this is Detective Lilly.

We're investigating

a homicide case.

And we'd like to speak

to one of your occupants.

- And who would that be, dearie?

- Catherine Christianson.

- Room 808, the love nest.

- Great, thanks.

And your name was--

- Yes?

What is it?

- Are you Catherine

Christianson?

- What do you want?

- We just want to talk to you.

- About?

- I think you know.

- I don't.

I'm sorry.

- We just want to talk.

- Goodbye.

- Harold is dead.

- He's dead?

- Yes.

- How?

- May we come inside?

We can-- we can better

explain it to you that way.

- No.

I'll meet you at the hotel

restaurant in 30 minutes.

We can discuss it there.

[cheesy music]

- I always knew Harold

was going to get his.

He was a real as*h*le.

Did he ever mention

his wife to you?

- Oh, sure.

I mean, I didn't know

that much about the girl.

But from what I heard,

she was sweet and all.

But his sexual appetite was

too much for her to handle.

- What would you

two do together?

- Wouldn't you like to know.

He'd come all the way

up here just for me.

He'd get drunk.

I'd do what he paid me for.

Then he'd leave.

It was all fun and games until

he started getting aggressive

with me.

You know, I wouldn't be

shocked if he flipped his lid

and hurt his wife.

Harold got crazy

when he was drunk.

- Do you know where

Sophie might have gone?

- I don't.

I'm sorry.

- Did you ever happen to

threaten Mrs. O'Malley?

- What would I get out of

threatening a client's wife?

I mean, yeah, Harold had

a big package and all,

but nothing to k*ll for.

- (WHISPERING) Did you

ask about the triangle?

- Triangle?

- Does a blue triangle

mean anything to you?

- As a matter of fact, yes.

That creepy girl who

works at the front desk,

she came to my room one night

and presented me with a drawing.

It was rather juvenile

drawing, a blue triangle.

And as I took it from her,

she started crying blood.

I've heard of that experience

happening to a few people.

But her eyes just

started bleeding.

Surely, there's something to it.

- Did she say anything when

she gave you the drawing?

- No.

She just smiled at me,

that skin-crawling charm,

a sickening smile, truly.

[cheesy music]

- What does the

blue triangle mean?

- We-- we don't know.

- All right, well, thank you

for your time, Catherine.

If you need anything

else, just give us a call.

- Please don't go just yet.

What if she comes after me next?

Please, you could stay

for just a few hours.

We could go back to my hotel

room and dine on champagne cake.

- She does make a good point.

Maybe we could get her to

spill some crucial information.

- All righty, then.

- Gee, thank you so much.

I tell you, they have

the best cakes here.

- OK.

- Oh, it's going to be

just like a sleepover.

- No, it's not.

- Life is so strange sometimes.

You never know what decisions

you're going to make.

They're going to

alter the future

in ways your tiny brains

could never understand.

And if you think about it, fate

really brought us here together.

- Fate is a funny thing.

You know, I never wanted

to be a detective.

My father was one and his

before him and his before him.

I guess I just wanted

to prove myself to dad.

I wanted to show that I

could be half the man he is,

which is not much of a

man, but a decent amount.

- What about you, Lilly?

What are you doing in such

a male-dominated field?

- It's a long story.

- I love long stories.

- OK.

I had a friend.

And she was incredible.

And her name was Audrey.

We did everything together,

like how friends do.

And we were even roommates

for a point in time.

And one night, she hadn't

come home from work.

And I got really worried.

And I was like, she'll be--

she'll be back in an hour.

And then an hour turned

into a day and a night.

And then-- and then

they found Audrey.

- Yay.

- Dead.

She'd been taking advantage of.

The cops barely did anything

to catch the culprits,

especially after they

found out that we were--

anyway, the-- the point

is that, like Dalton, I

guess I just did

this to prove myself.

And in a way, I guess I have.

But every day, it just

gets a little harder.

- I'm so sorry.

The world is such a scary place.

But I am a firm believer

that everything--

everything happens for a reason.

In the great context of time

and humanity and the universe,

we all have to end

up on the other side

where the grass is greener

and the flame burns brighter.

I know just what we need.

Have you ever played

with tarot cards?

- No, no, no.

No more spooky demon stuff.

- No, no.

It's not like that.

Here.

Pick three.

[eerie music]

- Yeah, that's not good.

[crashing]

[shouting]

- Help!

Help!

Help!

[gentle music]

- This is where

we must keep them.

You know what you have to do.

You know what I've taught you.

[whistling]

[gasping]

[screaming]

[moaning]

[humming]

- Eat up.

- Mm.

[chuckles] Where is my daughter?

- She will do just

fine with the others.

- I've forgotten her name.

- Now, you remember what I told

you about names, don't you?

- There are none.

- That's right.

That's right.

- Why are you doing

this to me, to us?

- You aren't enjoying it?

- No.

No.

I'd like to go home now.

- You are home.

- No.

No.

- (WHISPERING) Home.

- Who is that?

- Why, your daughter, of course.

- No.

No!

[screaming]

- Now, this only hurt a bit.

- No.

- So stay still.

- No, please, no.

- Stay still.

- When shall we three

meet again, hmm?

In thunder,

lightning, or in rain?

- When the hurlyburly's done.

[splashing]

- When the battle's

lost and won.

[thunder clap]

[ragtime music]

[door opens]

- Honey?

- Coming.

- (SINGING) It must have been

that something so important

- You're joking.

- I finally

perfected the recipe.

We can try it

tonight after dinner.

- Forget about it.

[thunder clap]

[piano music]

- Hello?

Hello?

Hello?

Where am I?

What is this place?

Can you say something?

- Help me.

- Sophie?

Sophie, darling, was that you

playing a few moments ago?

Why did you stop?

Sophie, darling, what

are you looking at?

- The lady in black

in the corner.

Who is she?

- Sweetheart, there's

nothing there.

Oh, my poor sister.

Well, OK, then.

Play again, hmm?

[piano music]

[humming]

[laughter]

- Absolutely marvelous, so

much better now that that piano

teacher is out of the picture.

[laughter]

Come with me.

There's something fun I'd

like to do with you, mm hmm.

Poor Juniper, such

a beautiful bird.

- Why does he have to stay

in the cage like that, Norma?

- Well, if we ever let him

go, he'd never come back.

- Oh.

- Some people say

that sometimes, we

have to let go of

the things we love.

But why do that?

If you love something,

and you want to keep it,

to love, to look at,

why give it away?

- Do you think Juniper

is lonely in there?

Do you think he

wants to be free?

Oh, for sure.

But if we set him free, that

would be one less lovely thing

to look at.

But he-- he's somebody sad.

- I'm sad, too.

- Well, there is a way

for us to set him free

but to still keep

him with us, hmm?

[suspenseful music]

[chirping]

- Oh, shh.

Grab his wing.

[crack]

[gasping]

[silence]

- Pin the feet too.

[silence]

[silence]

- It's beautiful.

You must show mother

and father when

they come back from their trip.

- Stop it!

Oh, my god.

- No!

[crack]

[screaming]

[suspenseful music]

[gasping]

[screaming]

- Dalton!

[horn blaring]

- Watch where you're going.

Are you trying to get k*lled?

Weirdo.

[suspenseful music]

[banging]

- Be careful.

Who was it?

- Nobody.

No one's there.

- And you locked the door?

- Yeah.

Yeah.

- Now, eat your dinner

before it gets cold.

So how was work today?

- Same old, same old.

What did you do all day?

- I cleaned the house, made a

couple phone calls, took a bath.

Oh, and I had the

strangest dream.

- In the bath?

- Yes.

I feel like it was snowing.

And I was walking

through the woods.

- Was I there?

- No.

- Oh, and then this-- this tree

was so magnificent and tall.

But then my eye line got

blurred by something.

So I flipped around

and I saw this portal.

It was a triangle all in blue.

And a fox was there.

He was leading me

into the portal.

But I awoke.

- Sounds like a hell of a dream.

Don't fall asleep

in the bath on me.

I don't need you drowning.

I love you.

- I love you, too.

Strawberry pie?

- Mm, yeah.

[baby crying]

- You need to go check on her.

If you don't, she'll be mad.

- Rose.

- I'm not joking, Dalton.

[baby crying]

- It's your baby too.

- Really, Dalton?

[baby crying]

[baby fussing]

[baby crying]

[growl]

- Dalton!

- I'm fine.

- Is this what you want?

Here.

Have it.

[growling]

- Get her pacifier, Dalton.

Get her blessed

pacifier Dalton, now!

- Please.

[screaming]

- Rose!

- (SINGING) Now that it's gone

This beautiful day

There's nothing to do

But say

My darling sweetheart

[baby crying]

- (SINGING) One more

perfect day is through

My darling sweetheart

One more perfect dream come true

[baby crying]

[cracking]

[thunder clap]

- What the f*ck?

- Oh, heck.

Oh, my neck.

- San Ysidro Hills

Psychiatric Center?

- What is this place?

- Oh, darlings, I

knew you'd come back.

[rain pouring]

- Come on.

- No.

- Now, don't worry.

Miss Sophie is going to

take good, good care of you.

Keep your eyes and ears open.

Sophie's new exhibition is

right around the corner.

- (WHISPERING) We need to

find a way out of here.

- It's a little late

for that, Dalton.

- They never let me smoke.

They never do.

I just want a g*dd*mn cigarette.

They never let me smoke.

- Oh, my god.

Is that Daphne Buchanan?

- What's she doing here?

[whip cracks]

- I would k*ll someone

for a f*cking cigarette.

- Is that Kiyo?

- I can't tell.

- Where are you taking us?

- To see Sophie, of course.

She knows you're

dying to meet her.

- Yeah, well, how would

she even know that?

- Her sister, of course.

- Norma.

- Norma.

She let us into her trap.

She's the one--

- Detective Dalton,

you're holding cell.

- Yeah, as if I'm

going in there.

- Detective Lilly, you'll wait

here for a moment, please.

[door closes]

- Dalton, your cellmate, Juliet.

- What in the hell

is going on in here?

- Don't you mean, what in

heaven is going on here?

- Oh, OK, all right, a

little Juliette, huh?

- (WHISPERING) Keep quiet.

Come with me and you'll be safe.

- Well, maybe you've

seen her in your dreams

or walking down a lonely street

at night or in the mirror,

staring back at you.

- Kiyo, why are you

walking so fast?

- You've got to keep up.

- Where are you taking me?

- This is a bad place.

They've captured us.

You'll be next if we

don't get out of here.

- Wait, what?

- What do you want to know?

- OK, well, for starters,

where the f*ck are we?

And who is Juliet?

- Who?

- Juliet, Dalton's cell mate.

- That's not what that's

called where I'm from.

- What are you talking about?

- Never mind that thing.

It doesn't concern us.

Let's just hope

Daphne doesn't f*ck up

the plan with that

chatterbox she calls a mouth.

- Nurse.

Nurse.

Please, listen.

Rose and her painting

have gone missing.

- Rose?

That's impossible.

Do I need to medicate

you again tonight?

- No, come quick.

- f*ck.

- I'm sorry.

- I'm sorry.

- I don't know what happened.

- I don't know what happened.

- Mommy, please.

- Mommy, please.

Stop that!

- Wait, I have to

tell you something.

People often use masks to hide

something about themselves.

Don't you agree?

Have you ever been in love?

- I don't know.

Are you in love?

Are you?

- Are we going to die in here?

- I can't die anymore.

- What does that mean?

I still don't understand.

- Some art isn't meant to be

understood but appreciated.

- It smells like death in here.

- Probably because it is.

[eerie music]

- Oh, my god, Catherine.

- Miss Steele, we

have a problem.

- What problem?

- Rose is gone.

She's not in her cell.

I fear something

may have happened.

- Oh, never mind that.

Are the detectives

still in our custody?

- I believe so.

I didn't see the girl as I

was leaving Juliet's room.

- You mindless buffoon.

Do you have any idea--

- I'm sorry, miss.

I'll-- I'll fix it.

- Mm, your name's

Delilah, by the way.

- I had a dream last

night, a nightmare really.

There was a little

house upon a hill.

And I lived there with

my family, my twin.

We were happy, joyful.

It was snowing one winter.

And we would all go sledding

in the ice and snow.

We were young, vibrant, happy.

And then a man came,

a man in a mask.

- Please, god, no more.

Please, no more.

- And he brought me

to the next hill over,

a bigger hill, a bigger house.

You'll like it

here, he says to me.

You can do anything you want.

But I was forbidden to

go into the basement.

But one night, my curiosity

got the best of me.

So I creeped down the stairs.

And I opened up a mirror

into a cold, dark room.

I flipped a switch.

And that's when the fluorescent

lights and the stench came.

Bodies, bodies everywhere.

I screamed.

And the man must have

heard me, because he

came running down the stairs.

He burst through the

mirror and threw me

onto the pile of bodies.

I made a break for it up

the stairs and out the door.

I began falling, tumbling,

falling, tumbling, falling,

tumbling.

And that's when I

hit the ice and snow.

It was so cold, not like

the hill at my old house,

but like the hill of ice

cold bodies in the basement.

And then I woke up.

I woke up to you here.

- Detective Dalton.

- Miss O'Malley?

- It's Steele now.

- No, don't leave

me with her, please.

- Uh uh uh, quiet down.

- No, no, no.

You cannot go.

No, please don't

leave me like this.

- I said shut up.

[gasping]

- Oh, I've always

admired you, Dalton.

Well, I knew that you'd

wind up here eventually.

Everybody winds up

here eventually.

- What's that supposed to mean?

- Oh, why purgatory, of course.

[chuckles]

- Uh, I wouldn't expect

you to understand.

You clearly don't have

an artist's brain.

- Yeah, well, if

I had your brain,

I wouldn't f*ck

with a detective.

[gasping]

- Run faster.

- I don't know how

much further I can go.

- Go in.

[baby crying]

[gasping]

- We're running in circles.

We have to find another way.

- Dalton.

- I've been looking

for you everywhere.

Where have you been?

- Everywhere but

where we need to be.

- We need to find

Daphne and Rose.

If we aren't back

here in three minutes,

you need to come looking for us.

- OK.

- Well, this isn't where I

thought we'd wind up tonight.

But I'm happy it's with you.

- We're going to end

this tonight, together.

- Daphne, Rose.

[suspenseful music]

- f*ck this.

- Keep going.

Don't stop.

Keep going.

[gasping]

- Watch where you're

going, literally.

You are a very, very

good, detective, too good.

But I wanted you to find me.

I wanted you to find me.

You know I can't let

you go to her, right?

The flame, you know what

I have to do to you now.

- Sophie, please, I know

you're better than this.

- You don't know the

first thing about me.

If you did, you would know

that this is what I have to do.

This is why I was

put on this Earth.

This is my purpose.

- What purpose?

k*lling people?

- I am not k*lling anyone

because nothing ever truly dies.

You're just going to be in

a very dark place for a very

long time.

- Sophie, stop it.

I know you're not a bad person.

I know Norma made you

do those bad things.

- You don't know sh*t.

- Yes, I do.

She created this facade,

this fabrication of a world

unlike ours.

And you're trapped here,

just the same as us.

- You're wrong.

- No, I'm not.

- Really?

And how the f*ck would

you even know that?

- Because I saw you.

- You?

- Yeah.

- You're the lady in black?

She-- she tried to k*ll you.

And Juniper--

[sobbing]

- I'm so sorry that you

did those things to you.

[sobbing]

- This is real, isn't it?

- Come with me and Dalton.

- No, I can't.

I can't.

- You can.

You can set everyone free.

- I can't do it.

- Norma doesn't hold

any power over you.

You're your own person.

You can be free, too.

- I want to.

I really do.

- OK.

OK.

Come with me.

- No.

If I go back there

she's going to k*ll me.

- I'm going to make sure

that that doesn't happen.

We will make sure

that Norma goes

exactly where she needs to go.

- No, I just--

I love her so much.

What do I do?

- I know.

But sometimes we-- we have

to let go of the things

that we love.

[screaming]

[sobbing]

[choking]

- (SINGING) I used

to dream about a day

When you and I would go away

I dream of you at night

I dream of you in the sunlight

I dream of you, of you all night

Sometimes I think

back on the past

Back when the cars

drove oh, so fast

On graduation day

The last I saw your face

You kissed me on the cheek

And I cried relentlessly

I dream of you at night

I dream of you in the sunlight

I dream of you in blue all blue

Sometimes you find

only one person

To satisfy your thirst

But when they're

gone then the blue

Without you there's no more you

And do you recall

back on the old times

when you'd fall in love, in

love, in love and love and blue

Oh, oh I dream of you in

blue, in blue, a dream of you

I'll think of you

when I dream in blue.

[gasping]

[baby crying]

[NICOLE DOLLANGAGER, "HEARSHAPED BED"]

(SINGING) Lay me down

on a heart-shaped bed

Pretend it's our wedding

Pretend we just met

Pretend we're in

one of those movies

They rent in the back

of every seedy place

we pass on the interstate

The signs say heaven

waits on the other side

Just hold me through

these lonely nights

We'll have a blue

wedding tonight

Hold me through

these lonely nights

We'll have a blue

wedding tonight

To get the room with

a heart-shaped bed

Make something

gross reel romantic

Make me so no one will

ever want me again

Cause when I sleep with faith

I only find a corpse

in my arms on awakening

Just hold me through

these lonely nights

We'll have a blue

wedding tonight

Hold me through

these lonely nights

We'll have a blue

wedding tonight

So get a room with

a heart-shaped bed

Tell me something

Get a room with a

heart-shaped bed

Just hold me through

these lonely nights

We'll have a blue

wedding tonight

Hold me through

these lonely nights

We'll have a blue

wedding tonight