Hello.
No!
No!
Hello.
Oh, god.
sh*t.
1, 1,000; 2, 1,000; 3, 1,000;
4, 1,000; 5, 1,000; 6, 1,000; 7,
1,000; 8, 1,000, 9,
1,000, 10, 1,000.
- Hey.
- Hi.
- Yeah, I just checked
into the motel.
- Oh, where is it?
- Yeah, it's a Budget
Inn out in Yucca Valley.
- Yeah, the drive is fine.
It was productive, I guess.
Not sure if any of it will
be worth printing, but--
- M-hm.
Yeah, I know.
I did see this abandoned
housing development.
I think it might actually be
like an old military base.
- Oh, really?
- Yeah, it was--
it was really creepy.
Uh-huh.
- Get lost there?
- No, I didn't get lost.
Not yet.
- That's OK.
- Yeah.
Yeah, not having the cell or
GPS, it's like it used to be.
It's like how it was when
I first started Yeah,
this is going to
sound kind of corny,
but I already have this
feeling of freedom.
- Good?
- M-hm.
Yeah.
It is.
That's what I'm looking for.
That's what I needed.
Yeah, it just feels good
to be away from the studio
and out on the road again.
- Well, remember,
the mortgage is due.
The credit card is due.
Can't be late on that again, or
there's going to be penalties.
- Yeah.
Oh, I know.
Yeah, I'll pay it
when I get back OK.
- Well, I should have a
check from the gallery.
Walter said it'll be a good one.
- He always tells you that.
- No, he doesn't
always say that.
- Yeah, I know.
I know.
- Sorry.
I love you.
- I know you do.
I love you too.
Yep.
OK.
Good night.
f*ck.
- Where are you.
Tell me where you are!
- I don't know.
- Tell me where?
- You would fix your car
just like you intended.
- Young man, you have no
right to take the car.
- Yeah.
What if I don't fix it?
- You'll fix it
all right, mister.
You better not take
too long either.
- Supposing I get a fix.
What happens then?
Me and my girl go away.
We won't bother you.
How do we know you'll
keep your word?
Looks like you're just
going to have to take it,
ain't you, mister?
- Bang.
- Hey, I'm just checking in to
see if that check showed up.
So today, I went out
to this pet cemetery,
and I stopped by this
junkyard on the way,
and I actually took a
portrait of this old man that
lived there.
And it got me thinking
about sh**ting more people.
And I'm always--
I'm so focused on the
landscape and the buildings.
Everything but people.
Oh, I went and watched the
sunset out by the sand dunes.
It was amazing.
I didn't even photograph it.
I just wanted to experience it.
The light was this pure,
extraordinary light.
And with the absolute silence,
it just was transcendent.
Got me-- I don't got me
thinking about this trip.
It's like beginning again.
Actually, it made me kind
of excited about the future.
Yeah, anyway, enough rambling.
I will try you tomorrow.
Yeah, OK.
I love you.
- How could you be
that f*cking stupid!
- Don't call me that!
- I'll call you whatever I want.
- Oh, sh*t.
- Look what you f*cking
did to yourself.
- Yeah.
- Yeah, hey.
I want to report a disturbance.
Yeah, but, look, I don't want
to get mixed up in it, OK?
Room 6.
No, I'm in room 6.
The fight, the disturbances
next door to my room.
Yeah.
- Yeah.
OK, I'll take a look.
- Keep it down.
- Oh, sh*t.
- The guy next door, what
are you guys doing here?
- Don't worry about it, man.
- Oh, f*ck.
- Yes.
- Yeah.
I just wanted to be a good
neighbor and apologize,
for earlier.
All that damn noise.
- Yeah, it's no problem.
- No, no, no, it's a problem.
It's a problem.
She is a problem.
You know how they can get, man.
You have a sister?
- No.
Is she OK, your sister?
- OK?
Yeah.
Yeah, she's OK.
She would like you.
You want me to get her?
I mean, she'd probably
want to apologize, too,
for all that noise.
- Yeah.
No, it's a bit late, so--
- What is that back there?
- It's a camera.
- That's a funny-looking
camera, man
- Yeah, it's an 8 by 10.
- How about you, ah,
take our picture?
- No, it's getting late.
- You're not going to
make me beg, are you?
Come on, man, real quick.
She'd just love it.
- Yeah.
OK, sure.
All right.
- Hot dog.
- f*ck.
- I can't believe I
forgot my manners earlier.
I'm Renny.
This is my sister, Suzy Q.
- I'm Alex.
- Hi.
- Come on in.
Make yourselves at home.
Well, I figure maybe just--
yeah, just sit on
the edge of the bed.
- Yeah, the man with the
camera, whatever you say.
- That's true.
- Oh, sh*t, man,
this is for you.
It's a peace offering of
sorts, you know, for earlier.
- Oof.
Jesus!
Smells like turpentine.
- Ha, ha!
It'll take paint
off just like it.
- Has some.
It's real good.
- Yeah.
Nah, I don't know.
- Oh, come on.
You're going to like it.
- Come on.
- All right.
f*ck it.
Ooh!
Ooh!
Damn, what is that?
- That's what you
call my secret recipe.
- It tastes like maple syrup.
Ooh!
Oh, god.
- Have some more.
- You sure this isn't
going to make me go blind?
- Not if you watch
yourself, man.
Just f*cking watch it.
- Oh, f*ck.
Yeah.
All right.
Woof!
I gotta take this photograph
while I can still see straight.
- All right.
Ah!
Where are you from, Alex?
- Los Angeles
- Oh, f*ck, I knew it, city boy.
City boy.
- Don't hold it against me.
- I like the city.
- Yeah, of course you do.
You love the city.
- All right.
Do me a favor, just
hold real still.
- OK.
Cheese.
Nice.
- Mind if I take a couple more?
- Sure.
So-- So what do
you do in the city, Alex?
- I'm a photographer.
- That's a real job?
- Yeah, my old man
said the same thing.
- You make any money doing that?
- Yeah, these days, barely.
Just enough to get by.
- You like it?
- Yeah, I do.
It means everything to
me or almost everything.
Hold still.
- Alex, you ever sh**t p*ssy?
sh**t p*ssy pics? 'Cause
if you want, Suzy here,
she will let you sh**t
pretty pink p*ssy.
- f*ck you.
- Yeah.
You will, right?
Come on, man, I'm just jerking
your chain, that's all.
It's a f*cking joke.
Have a drink.
- Yeah.
No, I think I'm good.
- We're sitting
here on your bed.
You're taking our
picture, and you
don't want to-- you don't
want to have a drink with us?
Come on.
- Your sister?
- Yeah.
- Nice to have met you.
f*ck!
Bottoms up.
- Tip that baby up.
There you go, big guy.
- God.
Oh, yeah.
- Just a little bit more.
- Little more.
- Come on.
- All I want to do
All I want to do
is taste your love
Taste your love
Now, it's going to be
Time for you and me
We will fly away
Learn to play
And taste your love
Taste your love
Taste your love
Taste your love
- f*ck!
Oh, god.
Oh, f*ck.
Hello.
- Hey, can I help you, man?
- I thought this
was f*cking you.
Wow, you look like f*cking
warm sh*t or something.
- Yeah.
- You have fun last night?
- I can't even
remember last night.
- You were really
something else, man.
- What do you mean?
- Just your moves.
You know, those sexy
f*cking dance moves.
She was so sweet on you.
She was so f*cking sweet.
- Nothing happened, did it?
- Come again?
- Nothing happened
with Suzy, right?
Me and Suzy, nothing happened?
You know, I'm married.
- You're married.
I mean, you're asking me
if you f*cked my sister?
You f*cked my sister?
You're too easy to rile up.
Look at you.
Nothing happened, man.
I'm just f*cking with you.
Don't worry.
- You f*cking got me, man.
- M-hm.
What are you doing now?
- I was going to hit the road.
- I got just the thing for you.
You gotta see it.
- Yeah.
No thanks.
I'm thinking I'm going
to go towards Nevada.
So.
- Oh, no, no, no.
This is 15, 20 minutes.
20 minutes down the road, tops.
Ain't no photographer has
seen this sh*t before.
- Yeah.
Yeah, fine.
f*ck it.
Let's go.
- You mind if I burn in here?
- Yeah.
No, no, no, please.
- No?
- No.
Don't smoke.
Do you like jazz?
- f*ck, no.
Where is this?
You take these?
- Yeah, that was my first book.
Kind of put me on the map.
- Dude, it looks like you
just take a bunch of pictures
of poor, old, busted-up places.
- Yeah, I guess, on the surface,
you can look at it that way.
Or you could look at
it as a moment capture
where nature or the
unforgiving power of nature
is gradually reclaiming
its topography from the--
what man is built on it.
- Yeah, it's just a
bunch of old buildings.
You like being a tourist?
- A tourist?
Maybe I do.
- It's right up here.
Right up here.
- My granddad lived
under those rocks, man.
Slept under them years ago.
- Really?
- Yeah, man, he
had it all dug out.
Set up nice.
He had a little place
to sleep, and then
he even had a little
kitchen with propane.
Over here, was a military base.
They heard he was
making dynamite.
Thought he was a f*cking
n*zi or some sh*t.
And they stormed the rock,
g*ns blazing, shot him all up.
And they shot him dead.
And they fill in the hole.
It's like he never
even existed, man.
- Got a hell of a
headstone, though.
- You ever seen a UFO?
- Well, I thought I
did once, but then it
turned out to be just a
satellite being shot into space.
- I see them all the
timeout here, man.
UFOs.
- Oh, yeah?
- What do they look like?
Diamond shaped.
Bright lights.
And they're zigging
and they're f*cking
zagging all across the place.
I think they're hunting
for their next victim.
Now, get this.
Get this.
Get this.
True story.
No bullshit.
June 28, 1992,
right as my mother
is f*cking forcing me into
this sh*t world, earthquake
shakes the Mojave,
7.4 on the Richter.
7.4.
That is big.
That's powerful, man.
That's what shook
up all these rocks.
24 seconds.
24, that's what it took.
Listen, 1, 2, 3, 4,
5, 6, 7, 8 9, 10, 11.
12, 13.
14, 15, 16, 17 18, 19,
20, 21, 22, 23, 24.
That is how long it took to
break five f*cking faults,
rip a 53-mile gash
across Mojave, man.
You want to see it?
Place where it happened?
I mean, the house I was born in?
- Yeah, I don't know.
It's getting kind
of late, Renny.
- Come on, man.
You're going to like it.
It is just like one of your
pictures from the book.
It's just like it.
- You were born here.
- Yeah, right in there,
on the f*cking floor.
- Your family lived in there?
- Yeah, you could say that.
- Uh-huh.
It just looks like
nobody has lived there
since the f*cking Dust Bowl.
- What are you saying, Alex?
- Nothing, it's just, I--
- Just you're calling
me a f*cking liar?
- No, that's not what I--
I believe you.
Look, if you say you
were born in there,
man, you're born in there.
- You think I'm just
telling you some story?
- Oh, now I get it.
You're f*cking with me again.
OK.
Yeah, I'm not falling
for that again.
- I let you f*ck my sister.
You call me a liar.
- What?
- What?
- You f*cking tourist!
She's not really my sister.
Ah!
Ah!
Ah!
- Hey, I'm just checking in.
Wanted to see if
that check showed up.
I went out to this pet cemetery,
and I stopped by this junkyard
on the way, and I actually took
a portrait of this old man that
lived there, and
it got me thinking
about sh**ting more people.
And I'm always I'm so focused on
the landscape and the buildings
and everything, but the people.
I went and watched the
sunset out by the sand dune.
- That's the last
you've heard from him?
- Yeah.
- Can I get a copy of that?
- Sure.
- Now, do you know
what he was going
to be taking photographs of?
- Just random things.
He comes across, landscapes
and old buildings mostly.
Here.
- Death of the New West.
- So on this trip,
he was saying that he
wanted to recapture what he
felt when he made that book.
- When was that?
- About 20 years ago.
- Did he say how he
was going to do that?
- Yeah, no cell phone, no GPS.
Just driving around to
purposely get lost, I guess.
- Purposely get lost?
- Yeah, that's what he calls it.
- What I need to ask you may be
difficult, but it's important.
- M-hm.
- Was there any
indication, any sign
that maybe Alex was
having an affair?
- No, he would never.
Yeah, I'm positive.
- Even those closest
to us can have
another side that we don't
see, that we don't want to see.
- Not Alex.
- I had a case in Nevada.
There was another
missing persons case,
a man about Alex's age.
And this guy was a real family
man, a pretty wife, three kids,
and a cute little doggy.
The whole bit.
One night, he doesn't
come home from work.
The next day is Sunday,
and he would never
miss church with the family.
Never.
A week or so goes by,
and he is still missing.
It's like he just
vanished into thin air.
And the cops aren't
doing anything.
And so the wife calls me.
I take the case and start
digging into things--
bank records and credit card
statements, phone bills.
And I notice all these
calls to this same number.
Now, this number
is not his wife.
It's not his work.
It's definitely not the church.
It's a strip joint just outside
of town called The Lusty Lady.
So I go there asking around.
It turns out he's
actually a regular.
He's real sweet on the girls--
Diamond.
Bouncer tells me that
Diamond has been known
to earn extra cash on the side.
- Alex is not out
f*cking some hooker.
- I'm not saying he is.
I'm just saying
people have secrets.
I'm sorry if I
upset you earlier.
Sometimes the job can
be a little unsavory.
- People can have
secrets, just not Alex.
Not anymore.
I know him.
- What do you mean, not anymore?
- It was such a long
time ago, but he
used to go on benders, blackout,
and he'd try to hide it from me.
That was the old Alex.
That person doesn't exist.
- I see.
- Do you really think
you can find him?
- Yes, I do.
Oh, my god.
- Looks like some kind
of project in here.
- Yeah.
Single or double?
- Actually, I'm
looking for someone
who would have stayed
here about a week back
for a couple of nights.
Do you recognize the
gentleman in this photograph?
- It's hard to say.
Doesn't look familiar.
- Do you keep like, a guest
book or registration log?
- Yeah, that's confidential.
- I'm a private detective
hired by the family.
And I get it, you know.
I understand that you have to
protect your guests' privacy,
but I'm looking for
someone whose missing.
Might be hurt.
This woman here,
that's his wife.
She's very worried about him.
Come on, give me a hand.
- What did you say, last week?
- Yeah.
Name is Alex Clark.
- Alex Clark, Room 6.
- What does this red mark mean?
- Well, that means he left
without returning the room key.
- That seem odd?
- No, it happens all the time.
People pay in advance and
forget to bring the key back.
- You changed the locks on
the doors when that happens?
- No.
No, it's all electronic now.
Key cards.
You gotta change with the times.
- Did he leave any
luggage, like, maybe
some photographic
equipment behind?
- It's hard to say.
Cleaning ladies didn't
bring me anything.
- Can I take a look at Room 6?
- Sure.
It's $50 a night.
Pay in advance.
- I can't just
take a quick peek?
- Peek all you want
for $50 a night.
- Sam.
- Yes.
- Hi.
- Any news?
- Not much to report that
we didn't already know.
Alex was in Yucca Valley
at the Budget End Motel.
I confirmed that he registered
here on Wednesday the 10th.
Checked into Room 6,
and I'm staying here.
I'm actually In the same room.
- Was it he slept there?
Bags?
- No, I haven't found
anything of his.
- This doesn't make any sense.
- Clark said that Alex
left without checking out.
There was an elderly
gentleman, Jessup, Gus Jessup.
I talked to him at his junkyard.
He says that Alex
took his photograph,
but he only saw him briefly.
- Yes, I've been to the
abandoned military base.
I found a packet of
lens tissues there.
Nothing else.
I'm going back out
there tomorrow.
- Well, I can't
really say as of yet.
Something's not quite right.
- What do you mean?
- I don't know.
It's just a feeling.
Hey, one other thing, does
this phone number mean anything
to you--
760-129-7639?
- I don't think so.
- Nothing.
I figured it was a long shot.
OK, I'll give you a
ring tomorrow, sooner
if anything substantial pops up
- OK.
- OK, talk then.
"The wild beasts of
the desert shall also
meet with the jackals,
and the wild goats
shall bleat to its companion.
Also, the night creatures shall
rest there and find for herself
a place of rest."
- Did he turn up yet?
- No.
I think something bad
has actually happened.
I've hired a private
investigator.
- You hired someone to find him?
Sam, I mean this in the best
possible way, but, Alex,
I mean, he's always
been unreliable.
- He wouldn't just
disappear like this.
- All I'm saying is,
you've been paying
the mortgage for
the past two years,
and now you're paying
someone to track him down?
He's going to turn up.
I promise you.
And when he does, I
just think that should
reconsider this toxic
cycle he's gotten in.
It shouldn't be
about him anymore.
- And that's when you decided
to hire Mr. Palladino?
- Yeah.
Like I said, I hired him
after multiple attempts
with the police to try
to get someone to look
into my missing husband.
- Listen, I'm here now.
Your husband is a priority.
All the information you gave
me, more than I usually get.
This morning, I put a
call out to the sheriff
in Antelope Valley.
Valdez.
He's good.
He's put a BOLO out
for your husband.
My number is on the card.
If you hear anything.
I'll call with any news.
- How much do you know
about Harold Palladino?
- What do you mean?
- What do you really know
about Harold Palladino?
- I feel like there's something
you should be telling me.
- Harold used to
be on the force.
Did good work.
But he had a reputation.
- A reputation.
- Yes.
Like unsavory?
- One way to put it.
There were allegations.
- What exactly did he do?
- I'm not sure of the details,
but it cost him his badge.
- Hey.
- Hi.
- You a cop?
- No.
- Well, you driving a cops car.
You look like a cop.
- Not a cop.
Positive.
- You know, if you
really are one,
you gotta say so, or else that's
entrapment, and that's ill*gal,
- Miss, like I said,
I'm not a policeman.
- Can I get in?
- Sure.
- Hi.
I'm Suzy.
What's your name?
- Harold.
- You wanna have
some fun, Harold?
$40 for a suck, $100 for a f*ck.
What's wrong.
Harold?
It's not sexy enough for you,
or do you like little boys?
f*ck you.
- Hey, hang on a second.
This-- this is for you if I
can ask you some questions.
Ah, not so hasty.
- f*ck!
- Don't be greedy.
Answer the questions first, OK?
Have you ever seen the
gentleman in this photograph?
- I thought you said
you weren't a cop.
- Just look at the photograph.
- I ain't never seen that man.
- Look again.
- I said, I ain't
never seen that man.
- You sure?
- Yeah, man, I'm f*cking sure.
- OK.
- Are we done?
- No.
How long have you been
working this area, this motel?
- I don't know.
Two, three months.
- Business good?
- All right.
- Where are you living?
- None of your f*cking business.
- Hey.
Language.
Do you want the money or not?
Where do you live?
- Here and there.
- Here and there.
- M-hm.
Sometimes here at the motel
and sometimes other places.
- Other places?
- Places you don't
ever want to go.
- Is that right?
- M-hm.
Real dangerous.
- There's $80 more for
you waiting up in my room.
- Harold Palladino here.
This is--
- f*ck.
- I'm not sure how I
feel about that in here.
- Hm?
What do you mean?
- The photo is weird.
- Weird because you took it?
- Yeah.
Now, it's hanging
in our bedroom.
- What, are you embarrassed
someone is going to see it?
- Yeah, I guess.
- Oh, that's interesting.
Who are you planning on
inviting into the bedroom
that you don't want to see it?
- Ha, ha.
Very funny.
I just-- doesn't it
seem sort of egotistical
to have something of
mine up in the house?
- No.
- I think so.
- Well, too bad.
I like it.
- Why?
What do you like about it?
- Formally, the
composition is pleasing.
It's balanced, it's exposed.
- The proper exposure is good.
- It fills up the empty
space on the wall nicely.
- Yeah, I'm glad that's--
seriously, though, what
do you like about it?
- Seriously.
I like looking at it
right before I go to sleep
and imagining what's
projected on the screen.
Sometimes it's a black and
white thriller, a cheap slasher,
or like a sci-fi monster movie.
- What about porno?
- Porno.
At a drive in?
Come on.
- Yeah, bring the whole family.
OK.
So what's playing tonight?
- I don't know.
Maybe it is porno.
- Really?
- Maybe.
- Hey.
Hey.
Hey.
Hey.
Hey.
Hey.
Don't you f*cking wake him.
What do you think?
- Gross.
- Oh, I think it
f*cking suits me.
f*ck you.
- Hey, this is Alex.
Leave a message.
- It's so stupid.
I keep expecting you to pick up.
I keep expecting you to
walk through the front door.
I think I can hear you outside.
Oh.
I wish you'd never left, Alex.
I wish you'd never
gone on this trip.
I wish you were here.
- Make sure those lips--
- Yeah, things go well.
- Oh, f*ck me, man.
f*cking b*tch.
Hey.
Where are they?
- Where are who?
Jesus.
What the f*ck is going on?
- I think I got a
pretty good lead on what
might have happened to--
- Alex.
- What happened to Alex.
- Are you serious right now?
- Yes, I am.
What are you doing here?
- What am I doing here?
- What are you doing here?
You're clearly not out
looking for my husband.
- Actually, that's
all I've been doing.
- What does this
have to do with Alex?
- I got doped, plain and simple.
- Bullshit.
f*cking bullshit!
Just like the story you told me.
f*cking family man
and a stripper.
That was you.
That's how you lost
your badge, isn't it?
f*cking strippers,
or f*cking witnesses?
What else did you do?
- Who told you that?
- What the f*ck does it matter?
- It doesn't matter.
Never mind.
But look, I've got a lead.
I got a hunch.
- A hunch.
- Yeah.
Listen, Sam.
I got drugged.
This f*cking hooker--
- f*ck you.
You are fired!
- Sam!
Wait!
- f*ck!
- What a f*cking world.
- OK.
Thank you.
Help me.
Help me.
Please, help me.
Please, help me.
- Hey.
Hey.
- Please.
Please.
Please.
Please.
Please.
Please.
Please.
Please.
- Please.
Please.
Please.
Please.
Good.
Go.
- I don't know.
Oh, my god.
Oh, my god.
Oh, my god.
Oh, my god.
Oh, my god!
- Let's see what you've got now.
- Watch it, b*tch!
Oh, please.
- Brother?
No.
- Sam.
Sam.
Sam.
Sam, I'm sorry.
- What are we doing here?
- Well, this whole thing
just sometimes steers itself.
Ah.
I don't even really
know who you are.
And now, I'm dying.
- No, you're not.
You're just hurt.
- No, you can tell
when you're dying.
I didn't know that
until just now.
I used to come here as a kid.
Well, not exactly
here, but once.
Just like it.
And it was double features
and triple features.
And then as a teenager, you
know, the awkward fumblings
of young men.
- Hey, easy.
- Time.
It's slow.
And then it's not, right?
- Harold.
Harold.
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A Desert (2024)
Moderators: Maskath3, GabrielAlejo2341, sidolanters