Changeling

On a crisp March morning in 1928, Christine Collins (Angelina Jolie) gently awakens her son Walter from his slumber. With a playful streak, she measures the now-risen youngster against the wall, their banter-filled routine setting the tone for another day of school and work. As she drops him off at school, her mind turns to the demands of her job as a supervising phone operator at a Los Angeles telephone company. The hours tick by, and Christine returns to pick up Walter from school, this time aboard a cable car that chugs along the city's streets.

As they ride, Walter shares his troubles with Christine - a tussle had erupted when another student cruelly claimed that his father hated him. Christine's maternal instincts kick in, and she gently corrects her son, explaining that his biological father was never a part of their lives to begin with. She reassures Walter that this reality shouldn't be taken as a personal affront, and he nods, his small concerns alleviated.

The next day dawns early, with Christine receiving an urgent call from the phone company, requesting her presence on short notice due to a colleague's sudden illness. With some reluctance, she agrees, disappointing Walter in the process - they would have to postpone their planned outing to the movies. Though he lets out a disappointed sigh, Walter accepts his mother's words and nods, accepting the new plan. Before departing, Christine leaves Walter with a reminder: there's a sandwich waiting for him in the fridge, and some neighborhood girls will stop by later to check on him. With that, she heads off to face the day ahead, leaving her son to ponder the mysteries of childhood and the complexities of growing up.

As Christine is wrapping up her duties at the phone company, her supervisor Ben Harris (Frank Wood) intercepts her, his words dripping with sincerity. He praises her exceptional performance as a team leader and hints at a potential opening for an assistant manager position. Eager to seize the opportunity, she thanks him profusely and they agree to discuss it over dinner the following evening - though it's clear he has ulterior motives. With a spring in her step, Christine heads home, only to find that Walter is nowhere to be found. She exhaustively searches the neighborhood, knocking on doors and questioning other children, but no one has seen him. Frustrated and worried, she decides to involve the authorities, but Detective Lester Ybarra (Michael Kelly) on the phone offers little reassurance. He assures her that most missing children are simply lost or exploring their surroundings, and that she's not alone in her concerns - countless other mothers have made similar calls. Though he offers to take down her contact information, Christine hangs up, feeling frustrated by the lack of urgency displayed by the detective. The next morning, a police car arrives at her doorstep, and two officers meticulously record her statement and gather details about Walter's appearance, including snapping a photo of him.

As the weeks tick by, Captain J.J. Jones (Jeffrey Donovan), at the helm of the missing persons department, leads the investigation with unwavering dedication. Meanwhile, Christine's own search efforts span the country, from Las Vegas to other distant cities, as she meticulously scours for any signs of her beloved Walter. Her tireless efforts are paralleled by the fervent prayers of Rev. Gustav Briegleb (John Malkovich), who implores his congregation to intercede on behalf of Christine and Walter's safe return, despite their lack of affiliation with his parish. As the months drag on, however, the investigation remains stagnant, offering no tangible leads or progress.

In a small town in Illinois called Dekalb, an ordinary man and his young son (Devon Conti) find themselves at the center of an unexpected drama. When the father forgets his wallet at home, he's given a brief reprieve to retrieve it by the owner of a humble diner, who agrees to hold his son as collateral. As the minutes tick by, the owner's patience wears thin, and he eventually decides to summon the authorities.

Back in Los Angeles, Christine's daily routine is marked by a sense of desperation and despair. That's when Jones and Lester arrive with unexpected news: Walter has been found. The joyous celebration at her workplace is short-lived, as she's soon reunited with what appears to be her long-lost son at the train station amidst a whirlwind of media attention. However, Christine's initial elation gives way to confusion when she realizes that this is not, in fact, her Walter. Captain Jones explains how five months in captivity can profoundly alter a person's appearance and perception.

As the truth begins to unravel, Jones asks the boy his name and address, and he recites the answers with an unsettling air of familiarity. Despite the doubts creeping in, Christine eventually comes to accept that this might indeed be Walter, albeit transformed by his ordeal. With a sense of trepidation, she agrees to take him home, pausing only to pose for a photo op with her "son" before departing into the unknown.

As Christine and the boy sit down for dinner, a sense of unease settles in as she begins to notice peculiarities about his behavior. The lack of table manners is one thing, but it's the discovery that he's circumcised - a characteristic that Walter had possessed - that really sets her alarm bells ringing. Her curiosity piqued, she measures him against the recordings she took of Walter back in March and finds that this child is three inches shorter than his supposed counterpart at the same age. This revelation prompts her to pay another visit to Jones, who reiterates his assurance that they've found the right boy, but agrees to send a doctor over to verify.

The next day, Dr. Earl W. Tarr arrives for the examination, but his cursory inspection and bland reassurances only serve to further fuel Christine's doubts. Despite his attempts to calm her fears by explaining away discrepancies as mere stress-related shrinkage or potential tampering by kidnappers, she remains unconvinced.

That night, the boy makes a fatal mistake in calling Christine "mommy" while saying goodnight, triggering a fiery outburst of rage and anguish. The plate she hurls against the wall sends shards flying near his head as she screams at the top of her lungs to have her son returned. Later, after the boy has fallen asleep, she slips into Walter's room, apologizing for her earlier outburst while reaffirming her conviction that this child is not hers.

The next morning, a phone call from Gustav jolts Christine awake, directing her to read the front-page article in The Times and then meet him at his church for breakfast. As she scans the news, she learns of her own public denials and the police's bafflement at the mounting evidence that points to this child being her son. Gustav then shares a cautionary tale about Davis's ascension to chief, where he armed the toughest cops with machine guns, ordering them to eliminate as many criminals as possible - not to eradicate crime, but to eliminate competition.

With this warning and the promise of potential rewards if she succeeds, Christine is left to ponder her next move in the face of uncertainty.

As Christine's confidence grows, she takes her case to the dentist, revealing that Walter's teeth were unusually even due to an absent muscle, a detail she's eager to share with Walter himself. This anomaly is mirrored in Walter's school life, where his teacher has no recollection of him despite having taught him for over a year. The boy's inability to locate his assigned desk serves as further evidence that this is not the same individual who attended her classes. The teacher vows to testify in court, convinced that Christine is mistaken about Walter's identity.

Christine takes her message to the public, proclaiming the police were wrong and vowing to provide proof of her claims. This bold move incenses Chief Davis, prompting him to instruct Jones to take immediate action. Jones apprehends Christine and the boy, leading them into a tense "conference" during which he accuses her of being either delusional or a liar - or perhaps something far more sinister. When Christine reaffirms that the boy is not her son, Jones nods to his cohorts, and they promptly escort her away to an asylum, where she'll undergo a grueling examination designed to assess her sanity and capacity for self-care.

Meanwhile, in Wineville (now known as Mira Loma), near Riverside, Lester's investigation into the disappearance of a Canadian child leads him down a winding path. He pulls over to seek directions from a stranded motorist - none other than Gordon Northcott, the enigmatic owner of the Northcott Ranch. As they converse, Northcott seems increasingly uneasy, eventually providing Lester with directions and hastening his departure. Undeterred, Lester tracks down Sanford Clark, the young boy at the center of the case, and informs him that it's time to return home to Canada.

As Northcott boards a train bound for Seattle, he's forced to confront the harsh reality that a one-way ticket won't take him across the border - leaving him with few options but to rely on chance or circumstance to reach his destination.

As Christine returns to the asylum, she's met with a mix of curiosity and disdain from the other inmates. Among them is Carol (Amy Ryan), a woman who has found a tenuous grip on reality despite being confined within the institution's walls. Like Christine, Carol was brought in under the dubious "Code 12" designation, which seems to be little more than a euphemism for having crossed a police officer in some way. For Carol, this meant speaking truth to power after she was assaulted by a rough customer while working nights - an incident that took on added significance when it was revealed her attacker was a cop. The options available to the women of the asylum are stark: keep quiet and leave, conform to the institution's expectations at the cost of one's dignity, or risk everything in a futile struggle against the system. The consequences of choosing the latter are all too evident, as Carol matter-of-factly explains the horrors that await those who dare to challenge the status quo.

Christine's first appointment with Dr. Jonathan Steele (Denis O'Hare) is a stark reminder of the institutional forces arrayed against her. Determined to present herself as model patient, Christine attempts to tread carefully, only to find herself rebuffed by the doctor's condescending attitude and accusations of lying. The final blow comes in the form of a damning photographic evidence: a front-page article featuring Christine and the boy she posed with, smiling together in a moment of joy that now seems like a distant memory. As Christine's attempts to explain are met with increasing skepticism, her words become jumbled and her composure falters - leaving her feeling vulnerable and trapped in a never-ending cycle of despair.

As Sanford languishes in the waiting room, his mind begins to wander back to the unsettling experiences that led him to seek out Lester's counsel. The rhythmic pounding of a ruler against the table serves as a catalyst for a traumatic flashback, one that transports him to a rural ranch where he was initially meant to stay only briefly. However, circumstances conspired against Sanford, forcing him to remain under the watchful eye of his cousin and the enigmatic Northcott.

The narrative takes a dark turn as Sanford recounts the disturbing routine they would often follow. Under the guise of "rescuing" vulnerable boys from the city streets, Northcott and his cohorts would pose as concerned adults, only to reveal their true intentions once they had the unsuspecting youngsters in tow. The victims would be taken back to the ranch, where they would be imprisoned in the chicken coop alongside other captive boys. Sanford's account takes a ghastly turn as he reveals that Northcott would periodically slaughter his captives using an axe, with Sanford often being forced to participate in the gruesome acts.

The gravity of these events becomes even more unsettling when Sanford shares how Northcott would occasionally leave some of the victims alive, only to demand that Sanford finish the job. The psychological toll of such heinous activities is compounded by the fact that Sanford was not only a witness but also an active participant in the disposal of the bodies, which would be buried on the ranch's grounds. As Sanford recounts this grim history to Lester, it becomes clear that his presence in the waiting room is merely a temporary reprieve from the crushing weight of his own dark past.

As the emotional toll of the investigation becomes apparent, Sanford is overcome with sorrow while Lester stands stunned, his cigarette having reached its bitter end without ever being lit. Composing himself, Lester asks if Sanford can recall the faces of the boys they've met, and receives a solemn nod in response. A stack of photographs depicting missing youngsters is then produced, and Sanford begins to scrutinize each image with meticulous care. As he identifies familiar faces, he sets the corresponding pictures face-up on the table, slowly building a pile of around ten to fifteen images, with only a handful of rejects remaining. Lester's attention turns to the recognized pile, his eyes scanning the names printed on the back of each photo. A particular image catches his eye, and with a whispered "Jesus Christ," he sets it aside, this one bearing the label "Walter Collins -- Age 9." With Sanford in tow, Lester exits the room, summoning two fellow officers to join them.

The following day, Christine finds herself embroiled in another tense conversation with Steele, her frustration evident as she is forced to ingest her medication. Her resolve stiffens as she refuses to sign a document acknowledging wrongdoing and police triumph, declaring that she will only be released the next morning if she does so. Her anger intensifies, prompting the doctor to summon an orderly to escort Christine from the room. Carol, witnessing this scene unfold, rushes to Christine's defense, engaging in a fierce battle with several nurses and orderlies before landing a punch on the good doctor himself. As expected, her actions earn her a stint in the shock treatment room. Later, when Christine visits her friend, Carol reveals that she has experienced two miscarriages, but remains resolute in her determination to fight on. With a hint of rebellious defiance, she declares, "Screw them and the horse they rode in on." Christine's laughter is a welcome response, and Carol reassures her, "There's a time and place for being ladylike; this isn't it."

As Lester's team, comprising Sanford among others, arrives at the ranch, they embark on a painstaking search for evidence. With Sanford in tow, they begin by securing the site before proceeding to unearth the truth. His reluctant guidance leads them to a spot where a small coop once stood, but now only its remnants remain, ravaged by fire. Lester orders Sanford to start digging, and with hesitance, he complies, eventually unearthing a shoe encasing a skeletal foot, followed by a hand, then the bony remains of ribcages. As his companions recoil in shock and disgust, Lester intervenes, telling Sanford to halt his excavation, which he does after a brief struggle, collapsing in despair.

Later, Jones engages in a telephone conversation with Lester about their discovery and its far-reaching implications, particularly in regards to the Collins case. However, their discussion is interrupted by Gustav's sudden appearance, accompanied by an army of lawyers demanding Christine's presence. Jones swiftly instructs Lester to transport Sanford to the station and confronts Gustav, only for the latter to obtain Christine's current location. The next day, we find Christine standing at roll call, where inmates assemble outside their cells to be counted. Steele approaches her, proposing a contract, but she responds with defiance, proudly declaring, "Fuck you and the horse you rode in on." Enraged, Steele orders immediate shock treatment and hastens to his office just as Gustav bursts in, accompanied by an entourage of lawyers. As Gustav demands that the head nurse bring Christine forth, an order is issued to allow her to leave the shock room and proceed to Steele's office. He informs her that she is free to depart, which she does without fully comprehending why. As she exits, we see Steele holding a newspaper with the headline "Bodies of missing children found at ranch - Collins child believed deceased" (though it's not an exact match, the sentiment remains). Christine steps outside and overhears a newsie shouting the headlines, prompting her to faint. However, Gustav appears suddenly, catching her and escorting her home.

As the narrative unfolds, we find ourselves witnessing an intriguing turn of events: the supposed Walter, a persona fabricated by an unknown force, sits down for an interview with Lester, his assertions of innocence met with skepticism. Lester's probing questions are fueled by the recent tragedy involving the Collins boy, and he warns that the fake Walter could be charged as an accessory to murder. Initially unmoved, the ruse begins to crack when Lester hints at Sanford's impending imprisonment at a tender age, prompting the fake Walter to open up. Meanwhile, in Vancouver, Northcott returns home to his sister's abode, where he is greeted with a warm welcome and invited to freshen up. However, as soon as he ascends to the upper floors, his sister swiftly ushers him out, and together they summon the mounties, who promptly arrive to apprehend Northcott.

In a separate thread, Christine receives an unexpected visit from Gustav, accompanied by S.S. Hahn (Geoffrey Pierson). As they converse, Gustav inquires about Christine's next move, prompting her to float the idea of pursuing a civil case against the entire department. Hahn, a seasoned lawyer with a reputation for prevailing in four previous cases against the city, reveals that he is taking on this particular case pro bono due to its significance. This news arrives concurrently with the revelation that subpoenas have been issued against the department, including Jones and the chief, as well as the triumphant release of all the women from the asylum who were wrongly institutionalized under Code 12 – a development that brings joy to Christine's heart as she witnesses Carol share a warm smile with her as they part ways.

As the tumultuous days unfold, roughly two weeks after the initial chaos, we find Christine and her cohorts entering the courthouse, surrounded by a sea of protesters brandishing signs that loudly decry the integrity of the Los Angeles Police Department. Within the court's hallowed halls, representatives from all parties gather, with one notable exception - the LAPD itself. The committee heads' displeasure is palpable as a recess is called, and Christine is whisked away to a separate courtroom where the trial of Northcott is underway. As fate would have it, Northcott enters a plea of "Not guilty," his demeanor exuding an air of nonchalance.

Meanwhile, in the audience, a somber woman approaches Christine, her eyes brimming with a deep sense of loss and longing. This is Leanne Clay (Lily Knight), a mother whose life has been forever altered by Northcott's heinous crimes. The instant connection between these two women is a poignant reminder of the devastating impact his actions have had on countless lives.

On the same fateful day, we bear witness to the reunion of Arthur Hutchins - the unwitting impersonator of Walter Collins - with his genuine mother. Chief Davis, ever the master of spin, attempts to salvage his department's tattered reputation by highlighting its many positive contributions, despite the aberrant actions of a few rogue officers. However, this PR gambit is swiftly derailed when Arthur innocently reveals that it was the police who instructed him to adopt the persona of Walter Collins.

As the trials unfold, we are treated to a series of clips showcasing the testimonies of various individuals, including Chief Davis, Walter's teacher, and his dentist. Among these, Captain Jones' interview stands out, as Hahn expertly coaxes an admission from the captain regarding Christine's unjustified institutionalization without due cause.

The trials eventually come to a close, and verdicts are rendered. Northcott is found guilty, prompting a moment of surprising tenderness when he addresses Christine, referring to her as "a real classy lady." His punishment: solitary confinement at San Quentin until October 2, 1930, whereupon he will meet his maker via the gallows.

In the civil trial's aftermath, the decree is clear: Captain Jones will be permanently suspended from duty; Chief Davis will be demoted; and an internal review will be conducted to ensure that similar egregious errors do not recur. The wheels of justice may turn slowly, but in this case, they ultimately deliver a measure of accountability for those responsible.

As Christine settles into her mundane routine on September 30, 1930, a sudden interruption from her old lawyer friend Hahn (character) shatters the tranquility. News arrives that Northcott, the notorious figure behind Walter's demise, has requested a meeting with Christine to reveal the truth about his alleged crime. Despite initial trepidation, she agrees to meet him the following day, driven by an insatiable hunger for justice.

The encounter unfolds like a carefully crafted dance, as Northcott (character) recites a rehearsed script of confession and redemption. However, when Christine presses him for the truth, he remains steadfast in his denial, claiming that God has forgiven him and that telling the truth would be a betrayal of divine mercy. Frustrated by his refusal to cooperate, Christine resorts to physical force, but even this fails to extract the truth from Northcott's lips.

As the appointed hour approaches, Northcott's fate is sealed. He stands calmly on the gallows steps, chatting amiably with the reverend, before a sudden loss of composure as he begins to sing "Silent Night" in a haunting melody. The execution proceeds smoothly, and Northcott's lifeless body hangs motionless for several minutes.

Years pass, and Christine is seen on February 27, 1935, declining an invitation to an Oscar party at her operator friends' home. Ben (character) pays her a visit, asking if she'd like to join him for dinner the following night, contingent upon "It Happened One Night" winning Best Picture over his preferred choice, "Cleopatra". Fate aligns with Christine's expectations, and as she beams with triumph in her office, the phone rings. To her surprise, it's Leanne Clay (character) on the line, bearing news of a major breakthrough – one of the long-missing children has been found.

As Christine bursts into the Lincoln Heights precinct, she's met with a somber atmosphere as Leanne and her husband watch anxiously from a viewing room. The tension is palpable as they await the outcome of their son David's (Asher Axe) interview with Lester. David recounts the events that led him to escape from the clutches of Northcott and Sanford, two sinister figures hell-bent on causing harm. He explains that he was part of a group of five boys - including brothers Winslow, Joseph, and Walter - who were being held captive in a coop. One fateful night, three of them managed to break free, with Walter and David getting stuck. As the lights turned on, Northcott and Sanford realized their charges had escaped, prompting a frantic chase. David's tale takes a harrowing turn as he reveals that Walter freed him from the fence, but they all dispersed in different directions, leaving David to wonder if he'll ever see his fellow escapees again.

Years went by, and David found solace in a kind stranger who took him in, allowing him to finally open up about his ordeal. When Lester presses him on why he waited so long to come forward, David's fear of being blamed for the tragic events or facing consequences is palpable. Just as the tension becomes too much to bear, David's parents burst into the room, enveloping their son in a warm embrace that nearly brings Lester to tears. As the family moment subsides, Christine and Lester step outside, where David shares his hopes of finding Walter and the other boys who managed to escape. His words are laced with conviction as he suggests that if one boy survived, it's possible that the others did too, hiding in fear, afraid to resurface for fear of reprisal. Whatever the truth may be, Christine reveals a newfound sense of hope - not just for the victims but also for herself. As she gazes at Lester with unyielding determination, her words are simple yet profound: "Hope."