Too Late 2016

The film unfolds through a nonlinear, noir-tinged mystery told in five segments that appear out of order, weaving together the fates of a troubled woman, a private investigator, a circle of dubious acquaintances, and a family-driven pursuit of truth. Each piece adds layers to a case built on secrets, desire, and consequences that ripple across lives in Los Angeles.

In the first segment as it’s presented, a young woman named Dorothy Mahler is hiking a nature trail near downtown Los Angeles when two street dealers, Jesse and Mathew, cross her path. She borrows a phone and reaches out to Mel Samson, a private investigator she has encountered before, pleading for help because she believes dangerous people in the city are after her. While they wait for Samson, Dorothy takes a dose of ecstasy given by the dealers, who promise to return for her later. As they converse, Dorothy chats with Skippy Fontaine, a park ranger who seems friendly at first. The conversation takes a dark turn when a dead body is revealed nearby. The mood shifts abruptly as Fontaine attacks and strangles Dorothy. When the dealers return, they discover her body and fear she overdosed on the drugs they provided, fleeing in panic. Samson arrives too late to intervene and finds Dorothy dead, setting a somber tone for what follows.

In the second segment, Samson goes to the home of Gordy, a sleazy strip-club owner, claiming to have been in a car accident and needing to use their phone. He encounters Gordy’s younger, neglected wife Janet, and shares a drink with her. The scene then pivots to a confrontation with Gordy and Skippy Fontaine, revealing the core motive behind Dorothy’s murder: Dorothy had photographs showing Gordy receiving oral sex from another stripper, and Gordy orchestrated Dorothy’s death to keep Janet from learning about his infidelity. Janet, outraged by the tale, retrieves a gun and, urged by Samson, shoots Gordy and Roger Fontaine, Skippy’s father, killing both. In a final, fatal act of rage, Janet turns the gun on herself. As this revelation sinks in, Samson contemplates the cost of his own life, muttering that he needs to get his life together.

The third segment, which would have been shown first chronologically, shifts the timeline to a moment prior to the events above. Samson sits in a strip club and declines a lap dance from a performer named Jill. He then meets Dorothy again and asks her to join him for a drink, but she diverts him and slips away before he notices. He then moves to a neighboring club where a friend’s band is playing. Dorothy appears again, waiting for him, and the two share a moment in a photo booth, where Samson plays guitar and performs a song. This sequence adds a softer, more intimate texture to their relationship, hinting at a connection that transcends the immediate danger and tragedy surrounding them.

The fourth segment, which would have been last chronologically, centers on Jill, who works at a drive-in movie theater. Samson arrives with a non-deadly chest wound and discusses the year-long romance he shared with Jill, which had ended sometime earlier. He explains that he has come to confront one of the theater’s patrons, Fontaine. After getting into Fontaine’s car and aiming a gun, Samson is thwarted when Fontaine stabs him in the abdomen with a broken bottle and escapes. Jill joins him in the car and stays by his side as he dies. In his final moments, he shows her the “Jilly Bean” tattoo he got in her honor, a haunting memento of their brief, intense bond.

The final segment reveals the last act of the story’s pursuit. Samson visits Dorothy’s grandmother and mother, offering to take Dorothy’s case at no cost, driven by loyalty to the young woman he has grown to care for. During a private conversation with Dorothy’s mother, Mary, Samson hints at a past relationship they once had, revealing that he is Dorothy’s father and that he had watched her grow up from a distance for years. As he steps toward his car, Jesse and Matthew ambush him, believing Dorothy’s death was caused by the drugs they gave her and seeking to avoid implicating themselves. They shoot him in the chest and flee, but Samson survives his injuries enough to get into his car. The sight of the photos he and Dorothy took in the photo booth the night they met rekindles his resolve as he drives away, haunted yet energized by the memories and the evidence that may still uncover the truth.

Overall, the film weaves its five sections into a cohesive, intricate tapestry that underscores how motive, memory, and miscommunication drive a chain of violent choices. The nonlinear structure invites viewers to piece together cause and effect from fragments, while the recurring motifs—Dorothy’s photos, the uneasy alliances, and the fragile links between father and daughter, lover and investigator—create a somber meditation on guilt, loyalty, and the long shadow cast by past actions. The result is a dense, character-driven mystery that remains faithful to its core emotions even as the sequence of events unfolds in an unconventional, patchwork manner.